Download showcasing acting - Paul VI Catholic High School

Pop twist on a Jane Austen classic
Emma: A Pop Musical – Spring 2016
-- showcasing acting, singing and set design.
by Sophie Mestas, Class of 2016
Emma: A Pop Musical is the musical version of the popular teen movie, Clueless, and is based on Jane
Austen’s Emma. The musical featured adapted pop songs by popular female artists including Shania
Twain, Cyndi Lauper and Sara Bareilles.
Senior Abigail Rozmajzl, junior Caleigh Davis and sophomore Grace Tecala played the female leads.
Rozmajzl’s performance as Emma was relatable and charismatic, while Tecala showed equal talent and
polish as the rebellious Jane Fairfax.
As Harriet, Emma’s matchmaking “project,” Davis was one of the standout performers. Her voice carried
both energy and professionalism, talent and eagerness.
Although “Emma” relied heavily on its female characters, no teen musical about matchmaking would be
complete without some appropriately attractive heartthrobs. Junior Stephen Artner portrayed Jeff
Knightley, the musical’s sweet, vaguely nerdy offering; junior Nathaniel Smith, was the flirtatious, edgy
pop star Frankie Churchill, who returns to Highbury Prep; and junior Andrew Conley gave janitor and
public school student Martin an endearing flair as Harriet’s love interest.
The true key to the success of “Emma” was the show’s ambiance. An architecturally stunning set
featuring several arches, moving platforms and sliding walls was designed by junior Bobby Kelleher, who
also played Phillip Elton, the show’s conniving antagonist. The set took students and parents about 10
weeks to build and proved to be the cornerstone of the musical’s grandeur.
Radium Girls
Written by D.W. Gregory
Acting Ensemble Production – February 2016
Notes from the Directors
This production had the distinction of having two Directors – Sonya Chinje and Janell Rodriguez
Sonya very much enjoyed the process of directing this show. In the words of
Madame Curie, “It has not been easy,” but it has most certainly been worth it. The
cast worked tirelessly during the month of January, making Sonya’s and Janell’s
job 10 times easier. She hopes you recognized the actors’ dedication to accurately
portraying the true story of the Radium Girls, as well as the relevance to everyday
life. This isn’t a story of evil people taking advantage of innocence. It’s a story
about normal, hardworking people doing what they believe is right. Consider the
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last time you told a little lie for your own benefit. Consider having no power to
stop a tragedy from unfolding before your very eyes. Consider the last time you
made a change simply by standing up for yourself. All of this was found in Paul
VI’s Acting Ensemble performance of Radium Girls.
~ Sonya Chinje (Class of 2016)
Janell loved the experience of directing and she hopes to never forget it. This
challenge was not easy, but working with Sonya and the amazing cast and crew
made the process worth it. The actors’ jobs in this show were not easy tasks, but it
was very rewarding to watch them grow, not only as actors but as people. Janell
hopes you saw the very real situations these characters faced. Before you point a
finger and say, “Oh, that is the bad guy,” think about what you would have done if
you were in that situation. Thank you for coming to see the PVI Acting Ensemble
in Radium Girls. Remember: “Is there no end to what science can do?”
~ Janell Rodriguez (Class of 2016)
Sonya and Janell hope you enjoyed the show.
The Addams Family Musical
Spring 2015
By Julia Sands
After rigorous months of rehearsal, PVI Players flawlessly delivered their production of The
Addams Family Musical. The Addams Family Musical is a modern, often overlooked installment
in The Addams Family Saga. From Charles Addams’ comic strip in the New Yorker, to the black
and white 1966 TV show and eventually the Addams Family movies: “The Addams Family” and
its equally well received sequel “Addams Family Values,” the Addams Family has come a long
way. Yet while The Addams Family franchise as a whole has evolved over time, it remains a
well-loved classic in the hearts of the American people. The Addams Family Musical is no
exception to this rule. It’s composed of what we love and have come to expect from the Addams
Family – a dark sense of humor that gets raunchier over time, eccentric but lovable characters,
and the importance of family. But besides an overall familiar structure, The Addams Family
Musical is different in many ways.
The plot is one of them. Wednesday Addams, an infatuated young adult, reveals to her father
Gomez that she is engaged to Lucas Beineke. Gomez is reluctantly forced into keeping this
engagement a secret from his wife, Morticia. Meanwhile, Lucas and his family find their way to
the Addams residence to meet Wednesday and her family for the first time. His family consists
of grumpy Mal Beineke, who is disapproving of his son’s quickly-moving relationship with a
strange girl whom he has never met, and bubbly, rhyming Alice Beineke who attempts to be
supportive of her son. At the residence, Wednesday tries to convince her family to try to be
normal for one night. Morticia agrees, under the condition that they play “The Game,” an
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Addams family party tradition which involves drinking from the sacred family chalice and
confessing deep dark secrets. Of course, comedic hijinks ensue when Pugsley, who is envious of
his sister’s romance, attempts to drug Wednesday with one of their grandma’s potions which will
make her brutally honest and hopefully cut her and Lucas’s relationship short.
However, during The Game the spiked drink accidentally ends up in the hands of Alice who
confesses her dissatisfaction with her marriage to Mal. Wednesday reveals that she and Lucas are
engaged and that her father helped keep it a secret. All couples in the show are at odds with each
other at this point in the show: Mal and Alice at each other for the display at dinner and their
loveless marriage, Morticia at Gomez for lying, and Wednesday at Lucas for being reluctant to
elope. Wednesday and Lucas resolve their issues when she shoots an arrow off of his head, and
Mal and Alice fix their problems when Mal promises to be more involved in family life. Gomez
and Morticia outshine everyone with their tango. Everyone is forgiven, even Pugsley, the true
instigator of the chaos. Fester flies off to join his true love, the moon. Wednesday and Lucas
marry with their parents’ blessing.
The Addams Family Musical walks a fine line between being a traditional comedy and a comingof-age tale. Without a doubt, its actors have a great understanding of the show’s comedic timing
and dark humor, and deliver it perfectly. Several of the lines from the show that received the
most laughter from the audience were ad-libbed by the actors themselves.
However, it is the touching emotional scenes and character growth displayed that really gave the
show its glory. Wednesday is the prime example of this. She is a different Wednesday Addams
than what we traditionally see on stage or TV. She is a girl who is attempting to conform to the
norm in order to avoid conflict among the families, but never truly loses what we have grown to
love her for – her dark, biting personality. But it is not only Wednesday who changes. Her family
learns to accept her relationship with Lucas, and that she is growing up. Gomez is the best
example of this. His solo “Happy/Sad” explains his happiness for his daughter as she finds love,
but also mourns the happy childhood years with her that have disappeared. This is a much more
original and satisfying resolution than the other direction the show could have gone with: the
overbearing father with a shotgun trope [or in Gomez’s case, the overbearing father with an
“instrument of persuasion” dating back to the Spanish Inquisition]. The Beinekes grow as well,
learning from the Addams to embrace the unknown, which helps to reignite a spark of their
passion. Overall, the Addams, despite their quirks, exemplify the struggles and joys of family.
The show’s music, choreography, and acting aren’t to be overlooked either. The music, provided
by a live orchestra, consisted mainly of rock ballads, music with a more modern feel to it than
your average show tunes. The actors prove to be just as adept at singing as they are acting. The
choreography was beyond phenomenal, from the family at the graveyard dance routine at the
beginning to Morticia and Gomez’s iconic tango that feels dangerous to even look at, much less
perform. All actors and actresses in the performance outdid themselves in this production. From
the main cast to the chorus who played ancestors, the dedication and hard work that went into
crafting and portraying singular and unique characters were amply evident and impressive.
Overall, the musical was stunning and received a lot of positive reception from the audience and
student body, and we all eagerly await what PVI Players will bring to the stage next.
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The Somewhat True Tale of Robin Hood
Acting Ensemble Production – January 30 & 31, 2015
Meet the Director – Sarah Giuseppe, Class of 2015
Sarah Giuseppe is a senior at Paul VI Catholic High School. She has been doing theater
all four years, and most recently played Annie Sullivan in The Miracle Worker. Directing
this show was quite the experience for her. While it was a unanimous decision that she
would be the best for the job, directing this show had its difficulties. It was no easy task
so she truly hopes you enjoyed the show. Sarah would like to give a big thank you to her
family, the ever wonderful and reliable Bridget Hone (Class of 2015), Mrs. Miller, and
the entire cast. She couldn’t be prouder!
The Miracle Worker
Fall 2014
By Kelsey Loesch
Imagine being locked inside of a soundproof black box. You can’t see or hear and you
can’t let anyone know what you are thinking. This was the life of Helen Keller. The two casts of
Paul VI High School’s production of The Miracle Worker lent their talents to telling the inspiring
true story of Annie Sullivan and Helen Keller.
The play, based on Helen Keller’s autobiography, The Story of My Life, was written by
William Gibson and premiered in 1959. After an illness in infancy leaves her deaf, blind, and
mute, Helen’s parents are left to care for their feral child. The parents’ tendency to let Helen get
away with everything creates a chaotic household. The Keller’s last resort is to hire a young
Yankee woman, Annie Sullivan, in hopes of finally getting through to Helen. Annie plans on
teaching Helen language and is prepared to do so no matter who or what interferes.
The demanding role of Helen Keller was played by Isabella Whitfield and Meghan Kelly.
Playing a character who is blind, deaf, mute, and as rambunctious as Helen is no easy feat, but
the two actresses took to the challenge. Whitfield and Kelly played the young girl differently,
using their individual strengths to bring the character to life. Kelly focused on creating Helen’s
softer side as well as her temperamental side. Her darting eyes, quick movements, and playful
nature in addition to her guttural sobs and tantrums culminated in a commendable performance.
Whitfield emphasized Helen’s animalistic and devious nature, only occasionally allowing the
audience to get a glimpse of the contrasting calmer side to Helen, but when she did it allowed for
truly haunting moments. Whitfield’s engaging facials and strong stage presence allowed her to
portray Helen brilliantly. Both Whitfield and Kelly gave professional quality performances and
did an extraordinary job playing a character who is in no way ordinary.
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Helen’s young teacher, Annie Sullivan, was played by Abby Rozmajzl and Sarah
Giuseppe. The two embodied the stubborn character beautifully and worked well with their
respective Helen. Both Rozmajzl and Giuseppe delivered Annie’s lines with fervor, truly
displaying the passion Annie had for teaching. Both the Annies and the Helens perfectly
executed fight choreography (choreographed by Katie Hoppe) which added intensity and
excitement to climactic scenes.
Helen’s desperate family provided a source of conflict for Annie. Playing the head of the
Keller family, Captain Keller, were Nathaniel Smith and Luke Knodt. Smith and Knodt stormed
around the stage assertively spewing each line as if giving an order. Smith’s powerful stance and
cruel expressions made the rare occurrence of the Captain letting his guard down a beautiful
thing to witness. Playing Helen’s loving mother, Kate, were Maddy Whitfield and Molly
Rodriguez. The two artfully mastered playing a mother willing to give everything for her
daughter. Lastly, providing comedic relief were Joey Arzeno and JJ Cummings. Both Arzeno
and Cummings did an amazing job playing the character of James Keller.
This play, especially the wild fight scenes, could leave the stage a mess. A band of
servants, each one very much in character, would clean up the house. Each change was enjoyable
to watch because of their liveliness on stage.
Heartfelt and engaging performances brought the story of Helen Keller and Annie
Sullivan to life at Paul VI High School.
Guys and Dolls
Spring 2014
Gamblers, showgirls, and gangsters square off against the decent and upright members of
the Save-A-Soul Mission in this timeless classic. Here are a few of the overwhelmingly positive
reviews by the Cappies Critics:
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Jacob Rozmajzl (Sky Masterson), is a beautiful singer and gave a wonderful
performance; a phenomenal performance with invariable energy. Rozmajzl had an
outstanding voice and portrayed the confused, love-struck character extremely well. Not
only was he a wonderful actor, his dancing and singing were extraordinary.
Caleigh Davis (Sarah Brown) is a wonderful singer who provided soft, light vocals that
complimented her innocent character. She stayed consistent with steady reactions to the
plot and other characters. Davis realistically portrayed her harsh character’s
transformation into a girl giddy with love.
Caleigh David & Jacob Rozmajzl had a convincing chemistry between an unexpected
pair.
Spencer Loessberg (Nathan Detroit) presented the energy of a New York gambler always
on the move … was consistently funny, and smooth-talking. Loessberg’s strength in
comedy is apparent.
Abby Rozmajzl gave a fiery portrayal of Miss Adelaide. She is a powerhouse singer …
and also has a stage presence sure to capture an audience. She is just plain funny and
most definitely will put a smile on your face.
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Max Snyder (Benny Southstreet) Captivating in his energy … Snyder made acting and
character choices as an ensemble member that stood out immensely. His wide range of
facial expressions and excellent timing gave his performance great comedic impact.
J.J. Cummings (Nicely Nicely Johnson) is a true singing talent. He portrayed Nicely
Nicely ideally, imbibing his performance with the frantic, fast-paced energy of New
York. J.J. and Max Snyder were dynamic and simply joyful to watch.
Cummings, Snyder and Mr. Kevin Pucci (Rusty Charlie) did an amazing job on Fugue
for Tinhorns.
Sarah Giuseppe (General Cartwright) held a strong and consistent character throughout
the show and impressed the audience with her amazing vocals.
Joey Arzeno (Big Jule) gave comic relief to the plot and his commentary kept the
audience engaged. His impressive stunts and star power made for an indelible character.
He had the audience in stitches with flawless comedic timing.
Comedic duo Hot Horse Herbie and Big Jule were played by Nathaniel Smith and Joey
Arzeno. They complimented each other in many aspects.
Brendan McAlevy, playing the Irish Lt. Brannigan, was humorous and consistent in his
physicality as he scrambled to capture the gamblers. His hijinks brought life to Lt.
Brannigan and had the audience in tears. With McAlevy on stage, there was never a dull
moment.
Will Holley (Harry the Horse) stood out and added comedic elements.
Jason Lockwood (Arvide Abernathy) was a favorite with his quick timing and believable
acting. His performance was excellent as his realness and portrayal of age stood out
immediately.
The Havana Dancers and Hot Box Girls brought sassy choreography to life with brightly
colored costumes and an impressive finale ending with them all in splits.
Among the Hot Box and Havana dancers, Maddy Whitfield stood out in her enthralling
and precise performance. She wowed the audience with her fantastic dance ability.
The ensemble was especially impressive; remained consistent and the energy level
remained a high standard.
The sound the boys’ chorus produced was of the quality of a Broadway performance and
the dancing was more than impressive.
The supporting actors made the production particularly strong. This included the
impressive vocals of Max Snyder (Benny Southstreet), J.J. Cummings (Nicely Nicely), as
well as the hilarious and talented Joey Arzeno (Big Jule).
The choreography was in sync and was incredibly pulled off.
Another strong component of this show was the Pit Band … stayed coherent with the
actors and enchanting the audience with beautifully executed music.
The set was wonderfully made and creatively shifted.
The technical aspects of the show were all very well put together. Technically the show
was extremely well done.
The quality of sound (Bridget Hone, Emily Arzeno) was also impressive … clear and
consistent. The sound was precise and the effects added to the emotion and fun of the
show.
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The lighting, designed by Scott Wehner and Spencer Loessberg, was great. The use of
lighting and spotlights truly added to the scenes and provided an atmosphere.
The wide array of props (Alice Rowley, Chelsea West, Allyson Kraft) were unique as
they risked mingling modern devices into a vintage musical to create authenticity.
Hair, makeup, and costumes were also essential in making this production a success.
Adelaide’s makeup, designed by Elinor Curry, was appropriately retro.
Aly Prouty and Sarah Giuseppe worked on the beautiful and elaborate costumes which
conveyed the 1940s setting.
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The quality of Paul VI Catholic High School’s performance of “Guys and Dolls” was
definitely above and beyond especially in the area of sheer talent.
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The Thespians of Paul VI managed a show full of laughs and commitment.
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The high energy cast, dynamic set, and talented singers entertained a packed audience
and ended the spectacular night with a standing ovation.
The Strange Case of Dr. Jekyll and
Mr. Hyde
Acting Ensemble, January 31 & February 1, 2014
A Note from the Director
I can't express how incredibly proud I am of what everyone put into this show. We all
worked to make this show, and I was happy to present it to you. Even with the crazy snow
schedule and the missed rehearsals, we pulled together to produce what I'm sure you'll agree was
a delightfully creepy show.
I'd like to extend a special thank you to Jacob Rozmajzl for composing the music, Bridget
Hone for playing cello with him and working sound for the show, Scott Wehner for running the
light board, Lilly Cecil for stage managing, and Abby Rozmajzl for all her help with costumes.
Elinor Curry, Class of 2014
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A Dickens’ Christmas Carol
A Traveling Travesty in Two Tumultuous Acts
Fall 2013
Snow gently falls and carolers sing familiar tunes. The good folks of merry ol’ London
are getting ready for Christmas. And so it begins. Or so we thought.
But the traditional holiday classic quickly turned into a slapstick comedy about a theater
troupe performing their annual “farewell” tour with a cast that included an aging performer
desperate for attention, a diva who quits and then shows up in the middle of the play, fist fights,
ridiculous costume changes, and snow … lots and lots and LOTS OF SNOW!
The two casts – the “Tea” and “Crumpets” – performed on alternating nights. Both casts
kept the quick-paced tempo going and had everyone laughing as the actors, who played many
roles, scurried around changing into their different characters and costumes.
Not only was there a “play-within-a-play’ but audiences were treated to a play before the
play! “The Drama Before the Show” was a short performance which showed all the craziness
that goes into putting on a play from sound checks to putting on make-up. The real tech people
played themselves and did a great job – both on and off the stage.
This play was thoroughly enjoyable and even after the crumbling, surprise ending, the
sentiment of Tiny Tim came shining through – “God Bless Us, Everyone.”
Once Upon A Mattress
Spring 2013
The following are excerpts from the emphatically favorable reviews by the Cappies:
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Medieval, Charming, Laughable and Playful does not even begin to describe the
enchanting story that Paul VI exhibited in their production. The entire cast brought an
abundant amount of energy to their performance the entire show and had the audience
hanging on to every word.
Finding fault with Paul VI’s production would be more difficult than feeling a pea under
twenty mattresses. A large cast of talented students told the real story behind a classic
fairy tale with jaunty physical humor, successful character voices, and unmatched
dedication.
To describe the show in two words may be unfair, but there are two that completely
summed up the show’s strength: hilarious chemistry. It was absolutely gut-splitting, and
the key was the characters.
The Minstrel and prologue dancers, Kayla Sharpe and Maddy Whitfield, put on a
graceful opening and they set the stage for the great show that was to follow
Freshman Abigail Rozmajzl played Princess #13, Winifred the Woebegon, and knocked
it out of the park . . exhibiting great verbal and physical comedic timing. Her energy was
almost contagious, winning the hearts of everyone in the audience and everyone on stage.
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Brendan McAlevy’s portrayal of King Sextimus was expressive and engaging, and an
impressive feat for a mute character! He unarguably had the greatest stage presence ever
seen for a character that never spoke a word. Raising raucous laughter from the audience,
he was a joy to watch.
Alex Siegal, as Prince Dauntless, was hilarious as the whiny son, complete with
exaggerated facials. In terms of chemistry, very few groups matched that of Siegal and
Brendan McAlevy (as King Sextimus).
The Minstrel (Taylor Kiechlin) and Jester (Jacob Rozmajzl) created the perfect
dynamic duo, both having excellent comedic timing and beautiful voices.
The ensemble handled numbers . . . with great energy and commitment, with dancers
Spencer Loessberg and Kayla Sharpe giving stand-out performances with impressive
lifts and flips.
Kristen Washington (Queen Aggravain) had the audience captivated with her first
unuttered demands. Washington’s voice was as commanding, regal and poised as her
character. Her chemistry with other characters was spot on, adding immensely to her
performance.
The Wizard, played by Joey Arzeno, was a good contrast to the Queen’s harsh character
and added comic relief. He cleverly worked through costume difficulties with a sense of
humor that kept the show moving.
The Jester (Jacob Rozmajzl) also proved to be a crowd favorite with his athletic
abilities, smooth vocals, and clever humor. His presence and comedic style added to the
performance immensely as he brought a needed balance to the other characters on stage.
Sir Harry (Jason Lockwood) and Lady Larkin (Elinor Curry) had good chemistry and
both had fine voices.
The technical aspects of the show also shone, most notable of which was the hair and
makeup design by Elinor Curry, Taylor Kiechlin, Kristen Washington and Amanda
Silverston. The make-up was perfect in complementing the actors. Each actor looked
positively royal, creating a really immersive atmosphere. Similarly, Alice Rowley and
Evelyn Lockwood’s exaggerated props enriched the exuberant atmosphere of the
performance.
The sets were also phenomenal, with keeping three static pieces that would be rolled
around to make it look like a different part of the castle.
A standout technical element was the costumes. Every character was dressed in fabulous
period clothing.
The sound, designed by Bridget Hone, Maya White, Grace Aubrey and Chelsea West,
was run smoothly and the microphone system made it easy to hear the main characters.
The lighting was done by Scott Wehner, Spencer Loessberg, Greg Loera, and Mark
Pilipczuk and was controlled well, especially during the scene transitions. They were
very well done, with excellently timed and barely noticed transitions.
Once Upon a Mattress is a show that, if done too over-the-top, loses its charm, but the
Paul VI Players took to the challenge and delivered an excellent show, which, much like
a genuine princess, is exceedingly rare.
Everybody in this production looked like they were in a fairy tale; energy rarely dropped
and there were smiles on everyone’s faces. Overall this performance exceeds any high
school play.
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On the whole, it is a rare sight when cast and crew are as noticeably enthusiastic as those
at Paul VI High School, and that enthusiasm resulted in a superb performance from all
involved. Take a breather, team, you’ve earned it.
PVI continues to keep up its reputation for phenomenal and well thought out musicals.
Lizzie Borden of Fall River
Acting Ensemble, February 2013
Taylor Kiechlin, Director (Class of 2013)
This chilling play tells the story of the Borden family and the gruesome murders that left
Fall River in shock. People wondered, what drives a person to commit such a heinous crime?
Money? Jealousy? Hate? Were there tensions already in the family? And, who possibly could
have committed these murders?
After directing, I can say one thing for sure. I will forever have respect for Mrs. Miller
and all other directors. The sheer amount of brain power, skill, and physical labor you have to
put in is astounding. But, I can also say that working on this show, with its wonderful cast, has
been one of the most fantastic experiences in my life. The actors worked so hard and their
countless hours of rehearsing paid off.
I would like to give special thanks to a few people. First, to the Dads with Drills who
built our lovely set. We would just have had terribly constructed cardboard cutouts if it weren’t
for them. Second, to all the actors in the show who are not in Acting Ensemble. They agreed to
sacrifice their afternoons so that they could rehearse with us. Third, to Mrs. Miller, who I don’t
think I could have done this without. She was the voice of wisdom and reason, and often the
second pair of eyes I could trust to catch anything I missed. Lastly, I would like to thank my
friend Ciara Corcoran who helped me with the costuming, props, and basically anything else I
needed. I am fairly certain without her help I would have been far less organized and there
would have been many empty hands and half-dressed people on stage.
We worked hard on this production and I am delighted that so many of you took the time
to come and see it. From the bottom of my heart, thank you, and I hope you enjoyed the show.
Love Conquers All in Tom Jones
Fall 2012
By Kayla Sharpe
Tally Ho, Ladies and Gentlemen! PVI Players presented their outrageously comedic fall
production, Tom Jones, November 8 – 11, 2012.
Adapted from the classic novel by Henry Fielding, Tom Jones tells the tale of a likable
young gentleman whose misfortunes in life emanate from his foundling beginnings. This
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unfortunate predicament makes him unable to court the lovely Sophia and puts him at odds with
his childhood rival, the devious Blifil. When a rather nasty turn of events leaves Tom banished to
London and Sophia betrothed to Blifil, the town is turned upside down and the entire show
unravels into a farce of adventure, danger, mistaken identity and true love.
The cast presented the show with energy and polish. Action was prominent as the
maneuverable set allowed for crazy chases, daring duels and wild brawls. Elaborate costumes
emphasized the style and grandeur of the 1700s, and a smattering of detailed props and lighting
elements added dynamic elements. “This play was really unique because it was so fast-paced;
things just kept happening to push the story forward,” said Elinor Curry (class of 2014), who
played Sophia Western, the female lead.
Senior actresses Jordan Weisberg and Taylor Kiechlin both commented on the closeness
of the cast. Kiechlin said, “With such a big cast, everybody needed to be on task and focused in
order to create a good performance. Weisberg added, “Doing different shows, and playing
different characters has taught us so much, and we’ve become so close.” Freshman Amanda
Stiverson commented that her first show was “so fun, but with a strict side of professionalism.
Everyone is so nice and funny; it’s just a blast.” The dynamic cast of more 80 actors, technicians
and stage crew gave four performances from November 8-11 to large crowds.
The PVI Players prove that they’re the hardest working kids in show business as they
make plans to begin their spring musical, Once Upon A Mattress. “The setting is medieval, so
you can bet that our wonderful technical director will be building castles, moats and probably
hiring some live alligators,” said Mrs. Miller, Director of Theater Arts. This fairy-tale based
production will open on April 12, 2013.
“Hello, Dolly!”
(Spring 2012)
Sometimes the stars line up just right and magic happens. The stars – the PVI Players stars, that is –
thrilled audiences with their stunning performances of “Hello, Dolly!” All who attended agree they were
witness to something special. Of course, it wasn’t the celestial stars lining up correctly, but the dedicated
and tireless effort of the cast and crew who made the magic happen. Here are just a few excerpts from the
overwhelmingly positive Cappies Reviews:
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Sean Pugerude performed flawlessly, wowing the audience with her vocals and keeping them in
stitches with her comedic bits. One would think she was a professional!
Sean Pugerude is a masterful artist … as Dolly, she is comparable to the great Ethel Mermen and
Carol Channing with how she embodied the character and created a whole new life on the stage.
Pugerude is destined for greatness if she chooses to explore theater programs at colleges.
Mickey Sheridan was very believable as the grumpy curmudgeon Vandergelder. He had a voice
completely realistic to a middle-aged man and brought enough scorn to give his character humor.
Daniel Rozmajzl (Cornelius) and Connor McAlevy (Barnaby) stole the show the moment they hit
the stage. The chemistry between these two characters was almost tangible, and there was not a
moment where their comedic timing, inflection, or funny remarks didn't leave the audience in
stitches.
The graceful Casey Enochs shone vocally as milliner Irene Malloy, showcasing a unique and sugary
voice in combination with her character's signature romantic thirst for adventure.
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Patty Kelleher was hilarious in her portrayal of Minnie … (she) worked well with Enochs as her
bouncy, exaggerated coworker Minnie Fay, delivering comic relief to the often melodramatic scenes.
Ballet dancing and gymnastics, particularly from featured dancers Kayla Sharpe and Alex Siegal,
sparkled during "The Waiters' Gallop.”
One person who did a phenomenal job was Anita Tellez-Mansy, who played Ernestina; she knew
what she was doing. She got into character and the whole audience seemed to love her.
Joey Arzeno may have played a minor role, but he placed a major impact on the show. As the "Short
Boy,” Arzeno demonstrated big talent ... He was a triple threat with his hysterical physical comedy …
and genuine acting that created truly believable characters. Joey proved that big talent comes in small
packages.
Greg Hoppe beamed his happiness when onstage and made the most of each of his characters.
Jacob Rozmajzl and Elinor Curry had great chemistry and were especially funny as Ambrose
Kemper and his fiancée Ermengarde.
The Harmonia Gardens acrobatic waiters will give you some excellent service, no questions asked
with lead waiter and general look alike, Rudolph , Lou Garcia.
Andrew Hawkins was very impressive …
Special guest appearances included several adult males in It Takes a Woman and Hello, Dolly. Let's
be honest; nothing can make you smile more than seeing older men wearing suspenders singing and
dancing.
The make-up by Sean Pugerude, Elinor Curry, and Mary Covert communicated very well on a
visual level.
Lighting by Eric Malloy, Christina d'Alelio, Spencer Loessberg, and Scott Wehner was executed
well.
The orchestra was in tune and extremely pleasant to the ear …
The sound crew of "Hello, Dolly!" never missed a cue …
Outstanding was the most behind-the-scenes process of all: the stellar marketing and publicity,
which appealed to a clearly close-knit community through YouTube videos and online blogs
testifying to the show's magnetism.
This performance was incredible. It is hard to find a good show that the whole family can see and
still be entertained, but the production by Paul VI was definitely one of them.
Hopefully everyone kept their programs so that years from now they'll see these young actors and
actresses names up in lights and be able to say, "I saw them in a wonderful production of "Hello,
Dolly!" Just look at them now!"
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PVI Players Prove Heaven Can Wait
(Fall 2011)
By Kayla Sharpe
Holy Cats! PVI Players brought a whole new meaning to the phrase “out of body experience,”
when they presented their fall play, Heaven Can Wait. In this dynamic show, star boxer Joe Pendelton is
suddenly snatched from his body in the midst of a potentially fatal accident. With the help of his intended
savior, a novice angel known only as Messenger 7013, and the confidently poised Head Angel, Miss
Jordan, Joe is sent back to Earth as the recently murdered businessman Jonathan Farnsworth. However,
when his conniving wife and his back-stabbing secretary plan to finish him off, Joe will need every ounce
of divine intervention to achieve his plans for boxing glory.
Nearly 70 students participated as actors, light and sound technicians, stage crew, and managers
and were accommodated by two unique and talented casts. The production’s four shows were wellattended and enjoyed by all. The show’s Director, Mrs. Katherine Miller, remarked, “The sheer number of
students involved made this a challenge, but I was delighted by how well both casts pulled it off. They
came together as a team and helped each other out.”
Sophomore Stage Manager, Alexandra Wingate, expertly handled the cast and crew in the dark
recesses of backstage. “This production was the first show that I had total control over. It's been fun, but I
would say the most important thing a stage manager can have is a good pair of lungs, because I spent a lot
of the time yelling for people.”
Everybody’s favorite Canadian, Michael (Mickey) Sheridan, made his theater debut playing Joe
Pendelton, the show’s leading man. Apart from his middle school play, Sheridan stated that he “can’t
really think of anything quite like this … the ‘Back to the Future musical’ from last year’s One Acts
showed me how much fun theater was. Afterwards, I decided to participate in this year's production.”
Sheridan described the experience as “stressful” but an “amazing experience,” made all the better “with a
fair amount of line memorization and a ton of Mountain Dew.”
Sheridan’s counterpart Connor McAlevy echoed Mrs. Miller by saying, “I really learned how
important a role the entire cast plays in a production. It really is a team effort, and I couldn't have asked
for a better team!” Being his largest part since last year’s musical, Happy Days, McAlevy acknowledged
that he “had never had such a huge role before. So, it was a fantastic learning experience!”
The show’s leading ladies were none other than seniors Sean Pugerude and Shannon Rockett who
played the steadfast Miss Jordan. Pugerude’s past, yet memorable, roles starkly contrasted with this one.
Reminiscing, she said, “In the past, I’ve often played women that are warm and accepting or have strong
maternal instincts. But Miss Jordan was different because she starts off a little cold, distant and
condescending.” However, Sean expertly overcame these differences to play a part that eventually,
“became more fun and relatable.”
Rockett described PVI Players as her second family. “We always pull through and put on the
best show we can! As a cast we were all good friends offstage, which only made our performance even
stronger. When the shows actually came around, I enjoyed seeing the stark differences in the other cast's
portrayal of the characters. I can only hope that our upcoming performances will continue to be just as
spectacular as the last.”
PVI Players will present their spring musical Hello Dolly on April 20–22. This is an important
opportunity for the entire department as they compete for nominations for the CAPPIES Awards, the high
school equivalent of the Tony Awards. Mrs. Miller says, “I welcome anyone who would like to try out. I
always need singers and dancers!”
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“Happy Days” are here again!
(Spring 2011)
Anyone who had the great pleasure of enjoying one of the performances on April 15, 16 and 17 was
treated to another incredible production by the PVI Players. “Happy Days”, set in the late 1950’s, is
based on the Golden Globe winning TV series by the same name that ran from 1974 to 1984. As you can
see, the Cappies high school theater review group was “wowed” by it. Below are typical excerpts from
over two dozen reviewers:
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“The Paul VI Players mastered both the intimacy of small songs and the excitement of large ensemble
numbers while tangible chemistry sparked between characters of this lively community.”
“Jake Miller, a fine-tuned actor and talented vocalist, shaded Fonzie with more character than seen on
the TV show.” . . . Alexis Bechara’s exceptional performance as Pinky Tuscadero, Fonzie’s ‘old
squeeze’ and local celebrity, was a compelling combination of sultry and sensitive elements. . . .
Miller and Bechara’s heady voices blended beautifully in the duet ‘Dancing on the Moon.’”
“Casey Enochs was absolutely adorable as the energetic young Joanie Cunningham.” . . . “exuberant
and a nimble dancer.”
“The character that brought the house down laughing was Ralph Malph played by Connor McAlevy
. . . great comedic timing and physicality.”
“Daniel Rozmajzl’s delightfully sincere portrayal of Richie Cunningham . . . His calm and collected
movements across the stage were very fitting to his character.” “A pleasant surprise when he played
his accordion in Phister Park . . . it was an extra talent in which he added to his well performed job.”
“The Dialtones include Richie and his friends Ralph Malph (Connor McAlevy), Chachi (Alex Siegal)
and Warren ‘Potsie’ Weber (Dan Gilbert) . . . high energy and strong vocals.”
“As Potsie, Dan Gilbert’s confident demeanor and constant characterization made him an excellent
addition to the Dialtones.”
“Perhaps the most convincing actress was Sean Pugerude, as Marion Cunningham. As a semifeminist housewife, she lit up the stage whenever she entered. Her strong singing voice shone.”
“Mr. & Mrs. Cunningham, played by Matt Whitlock and Sean Pugerude, were the perfect 1950’s
couple. . . . Both had great facial expressions, powerful vocals, and showed great maturity. Two other
major assets were the Malachi Brothers, played by Tommy Hodge and Lou Garcia.”
“Hodge’s arrogant expression frequently melted to utter disgust whenever his idiotic brother, Jumpy,
well executed by the bouncing Lou Garcia, was present.”
“I would like to start off by saying the Greg Hoppe was a great asset to the cast and I wish that every
high school allowed students with special needs to be part of theater productions. It was obvious that
he had a great time in the show.”
“The amusing Arnold Delvecchio played by Kevin Manetti brought maturity to the role.”
“Lighting, by Megan Wehner, Eric Malloy, Christina d’Alelio and Dominic Sauer, separated time
and space . . . and allowed for versatile settings without a scene change. Props by Alice Rowley,
Alex Wingate, and Megan Turcol, were extensive and included period appropriate cameras, an
accordion and more plungers that you could count.”
“Hair and makeup done by Mary Covert, Casey Enochs, Patty Kelleher, and Sean Pugerude was timeline fitting, and evolved the cast into back in the days!”
Set designer and Master Builder Ken Kelleher deserves special mention for a versatile multi-use set
that filled the stage yet surprisingly rolled quickly, quietly and easily on an off stage.”
I was very impressed by such a great amount of talent on the stage of Paul VI Catholic High School.
The show was able to take me back to 1959 because everyone on that stage was in character the entire
time.”
“The Paul VI Players conveyed the vividness of classic characters believably, and transported the audience to a
simpler, more innocent time, where Arnold’s little diner was the center of life in an otherwise dull Wisconsin town.
PVI’s ‘Happy Days’ was bright, and enthusiastic.”
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Bad Seed (Acting Ensemble – February 2011)
Matthew Whitlock, Director (Class of 2011)
Little Rhoda Penmark lives with her parents on the first floor of an apartment building.
They lead a very simple life except that the father, Kenneth, is away. Life seems to go on as
normal until one of Rhoda’s schoolmates drowns. Soon it becomes clear that Rhoda may have
been involved in the child’s death, and it was no accident. Is it possible that a sweet child from a
good family could do something so evil? A debate of philosophy, psychology, and even religion
begins. Is a sociopathic nature something that can be inherited? A sociopath murders, but does
not feel remorse. Does this apply to Rhoda – is she a bad seed?
I absolutely loved directing this play. My cast was a joy to work with, they were
cooperative and receptive, and they were and are an amazing group of actors. This is by far the
most work I have ever put into a theatrical production. I had to read a lot of plays, pick the cast,
schedule rehearsals, and work with the actors. Directing is a whole different animal than acting.
Actors go up on stage and have everybody see the work that went into their part of the
production. As a director, I studied the script every night before rehearsal so I could relay my
visions and ideas. It was so rewarding to see how it turned out.
This play was very different from the “pie-to-the-face” humor from many of our previous
shows. Generally, in the mid-year Acting Ensemble production, we try to pick a drama rather
than a comedy. The play’s theme was very grim at times, but we were performing this as our
own project. That being said, the play was very entertaining and extremely captivating. Due to
popular demand, the play was held over for a second weekend and performed for sold out
audiences.
There are many people I would like to thank. First, Mrs. Miller handed the director hat
over to me and I am grateful for that. She helped me with a lot of the elements of directing that
require experience, but otherwise she really handed over the reins. Megan Wehner once again
graciously took the lead on setting up lights and she was assisted by Christina d’Alelio. Bryan
Carroll used audacity to set up the sound bites. Sean Pugerude, Patty Kelleher, and Casey Enochs
took over all the costuming responsibility which is, by no means, my area of expertise. Lastly, I
thank everyone who came to see our performance. We all appreciate that you come out and
support PVI theater even for our smaller productions.
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PVI Executes “Earnest” with Enthusiasm! (Fall
2010)
Stephanie Davis
Mistaken identities, invisible invalids, a domineering aunt, and a lost baby? Sounds like
the script of a daytime soap! In a way, it is, if Victorian England ever produced soap operas.
PVI Players opened their production of Oscar Wilde’s “The Importance of Being
Earnest” on November 19th, after two and a half months of hard work and extensive preparation.
The twin casts performed the weekend of the 19th, to great public acclaim.
Mrs. Miller, the show’s director, chose the show this past summer, and decided to form
two equal casts, instead of taking the usual main/understudy route. “quote”
The show, written by renowned playwright Oscar Wilde, follows two Victorian
gentlemen, Algernon (seniors Dan Gilbert and Jake Miller) and Jack (junior Sean May and
senior Thomas Hodge). Jack pretends to have a younger brother named Earnest so he can go to
town as often as he likes, and Algernon pretends to have a sick friend named Bunbury so that he
may go and visit the country whenever it suits his fancy.
Jack falls in love with Algernon’s cousin, Gwendolyn (sophomore Kristen Washington,
senior Alexa Bechara), but their union is barred by Algernon’s battle-axe of an aunt, the Lady
Bracknell (junior Sean Pugerude, senior Stephanie Davis), when she discovers that Jack is
adopted.
Algernon also finds romance in Jack’s 18-year-old ward, Cecily (senior Frances
Palaszczuk, junior Casey Enochs), whom he woos under the name of Earnest while her
governess, Miss Prism (juniors Michelle Lehner and Patty Kelleher), is in hot pursuit of the local
vicar, Dr. Chasuble (junior Lou Garcia and senior Matthew Whitlock).
Hilarity ensues when both girls, believing to be engaged to “Earnest,” meet (though there
is no gun battle, as advertised in the Players’ teaser). However, all involved end happily.
The Pit Band, under the direction of junior Daniel Rozmajzl, was the perfect complement
to the play and helped set the scene for this Victorian “non-musical.” Daniel also composed the
score.
The Players closed their show on the 21st, and began the “strike” of the grand set,
constructed by junior Patty Kelleher’s father, Ken Kelleher. Kelleher has designed and
constructed all of the PVI Theater sets for many years, and is truly a master stage-crafter. He
was assisted by head light tech Megan Wehner, head sound tech Bryan Carroll, stage manager
Annemarie Loessberg, and a host of “Dads with Drills.”
All cast members were involved in the strike, which was followed by a pot-luck cast
party. Both casts, as well as the servants (a collection of students from all grades who served as
stage crew), enjoyed their last night together as the Earnest family, and laughed and talked all
night. After two and a half months, everyone had realized the “vital importance of being
earnest.”
The spring musical, Happy Days, is already in the works for the spring. Based on the old
TV show, director Miller and choreographer Kathy d’Alelio (mother to junior Christina d’Alelio)
are already working on the production, and auditions will take place after Christmas break.
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The Music Man
(Spring 2010)
To sum the show up in one sentence . . . “you hadda be there!!!” When a con-man
traveling salesman, an over-worked librarian, and the hopes of the townspeople of River City,
Iowa, to have a marching band are mixed together, the possibilities are limitless. It is no wonder
that “Music Man”, adapted from a story written by Meredith Willson, is so popular in high
school theater programs: there are so many dimensions of entertainment involved. PVI’s three
performances demonstrated those dimensions superbly.
The show had a huge cast of 43 students from all four grades. The stage crew involved
another 29 students. The barbershop quartet consisted of four well-known faculty members (Mr.
O’Leary, Mr. Moore, Dr Rozmajzl and Mr. Vittes) who were perfectly cast for the role. The pit
band, conducted by Mr. Naj Qureshi, included 18 musicians, many of them PVI students. And
the River City Boy’s Band -- whose triumphal march with their “76 trombones” near the end of
the show triggered a crescendo of excitement -- consisted of 7 younger siblings of members of
the PVI family. And the talent among them all abounded throughout the show. Behind the
scenes, so to speak, were the set-builders (“dads with drills”), the art moms and daughters, and
the “moms who do everything else” -- all of whom contributed countless (but very enjoyable)
days and hours to this production. Organizing and integrating all of the individual parts of this
endeavor (and keeping them all on schedule!) were the producer/director Katherine Miller,
choreographer Kathy Silvia d’Alelio, musical director Taylor Williams, and master stage builder
Ken Kelleher.
The cast was awesome. It included many with minor roles who left major impressions.
What talent these students have (some of it previously hidden before this production)! The
acting, the singing and the dancing were all outstanding, energetic, and seemingly flawless. The
costumes were clever and beautiful. The set was nothing short of grandiose (appropriately so).
Here’s a confession, of sorts, from the writer of this review. I am a parent of one of the
cast members, and for a variety of reasons, I happened to see all three performances. I was
mesmerized from start to finish by each of them. As I now look back on the show months later, I
must admit that if it were to be performed three times more, I might well attend those, too. High
school theater – and perhaps high school itself – can’t get any better than this.
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Twelve
Acting Ensemble, Winter 2010)
Mrs. Miller offers her Acting Ensemble students the opportunity to direct either the
class’s production or a main stage show. I took advantage of this great privilege with last year’s
Twelve (short for Twelve Angry Men, out of respect for the five female actors). This spawned a
number of nicknames, most memorably Twelve Angry People of Indeterminate Gender, Religion,
and Creed.). Student directing is a lot of work, but also an excellent learning experience for any
student, even those not planning to study theatre in college. Directing allowed me to discover
another exciting creative outlet, but also taught me vital life skills: Time management was a
biggie, but I also learned a great deal about communication and compromise.
While directing was altogether a fun and rewarding experience, it certainly came with its
share of hurdles. Twelve Angry Men is a tough play to put on; the script we used gave few stage
directions, so blocking was a challenge right off the bat. We staged the show in the library to
give it an intimate courtroom feel (presided over by the “Judge” – Mr. Rich Donahue, PVI
Government teacher), and so that the audience could feel the jurors’ tension more strongly. We
also faced some issues with the switchblade knife, something that could not be written out of the
show. Mrs. Miller came across novelty “switch-combs” which were used in place of actual
weaponry.
Asking upperclassmen students at a rigorous Catholic high school to memorize lines
sometimes felt as futile as imploring a three-year-old to eat his vegetables. We were all running
on empty after eight-hour days and mounds of homework: Finding the time to study lines,
rehearse and conjure up period costumes was quite a feat. But we pulled it off, despite the record
snowfall which forced us to reschedule. All the long hours, combined with the cast and crew’s
dedication and talent, resulted in wonderful theatre. Twelve young actors turned a high school
library in the middle of winter into a stifling New York City jury room. They embodied
characters at least twice their age and truly grappled with the task at hand: Deciding the guilt or
innocence of an accused murderer. I was not only moved by the seamless action taking place on
stage, but also by the fact that I had a role in making it all possible. Being proud of your work as
an actor is one thing, but it doesn’t hold a candle to the amount of joy, gratitude (and not to
mention relief) you experience when seeing your directorial work unfold for an audience.
Directing Twelve was one of the turning points in my college decisions process: I found out I had
been accepted into DeSales University’s Act I program in the last weeks of rehearsals. Having
this experience has enriched my understanding and appreciation of theatre and strengthened my
desire to grow and excel as an artist. I am truly grateful to Mrs. Miller, who allowed me to have
such a fantastic opportunity, and I urge any Paul VI student up for a challenge to give directing a
shot.
-Meghan Shea, Class of 2010
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“Pink Panther Strikes Again”
(Fall 2009)
Packed and appreciative audiences for all four shows, superbly delivered performances, rightfully
proud cast and crew members, and a tremendous learning experience for all involved . . . it doesn’t get
much better than this! The reviews of the November 14th performance by the Cappies (the local high
school theater critics and awards program) were outstanding. The following are but a few excerpts:
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“Paul VI Catholic High School pulled it off splendidly . . . Paul VI’s production drew us into
an absurd world of extremes: extreme chaos, extreme love, extreme hatred, and extreme
laughter. Big characters and lively performances carried the lighthearted tale of gallantry and
foolishness all the way through the hysterical finale.”
“Anchored around the ‘pink panthers’, the show provided a plethora of laughter.”
It was quite a feat to be able to perform such a well known story, and PVI definitely has a
piece they should be proud of. Anyone who has seen the show would be quite willing for the
mysterious pink panthers to strike again!”
“Although their characters were funny to begin with, the success of their side-splitting
performance was due mostly to their acting choices, including hilarious facial expression and
exaggerated physical movement.”
“The show was definitely held together by the outstanding energy of the entire case. Whether
only two people were on stage, or during a huge fight scene with multiple people, the energy
never wavered.”
“The technical effects of the show were spot on . . . the sound technicians worked flawlessly
off the actors on stage.”
“Going all over the place for the search for Dr. Fassbender and Margot, the distinction of
where the characters were was made possible not only by the accents the actors/actresses put
on, but mostly by their costumes.”
“The sound effects, which played a big role in the show, were on cue and made a big impact.”
“Because this play took place all over the world, there needed to be a way to distinguish
between places. Even the smallest of props seemed to make the difference. The choice of
objects used was a wise one, and the doomsday device was simply astounding!”
“One particularly innovative aspect of the production was the Pink Panther ensemble. Not
only did this group of nine actresses provide comedic bits between each scene, but they also
aided in numerous scene changes in the show. This creative solution allowed both fluid and
entertaining transitions. Another aspect of the show which particularly stood out was the
‘Bandther Browne and the Swinging Pants’ band, which remained on stage the entire time
and supplied the iconic Pink Panther theme music.”
“(The actors) gave brilliant performances.”
“He was able to create a hilarious yet authentic character . . .”
“Strong cast, dynamic characters, and great physicality . . .”
“. . . a truly hysterical production.”
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