Senior Directed One Acts

Thomas Repass, February 23rd, 2024

Today we see four magnificent plays take to the BHS stage, with six extravagant student directors behind them. I’ve taken the liberty to divide my critique into sections, as I believe everyone will benefit from the separation. Let’s dive in, shall we?

First Up - 13 Ways to Screw Up a College Interview - Felix Hooper

Our first show of the night is introduced by a dashing senior in fancy attire. Felix Hooper stands before the audience in a distinguishing suit with a smile that shines charmingly under the light, almost as charmingly as his cast of wacky characters about to emerge from the curtains. This includes but is not limited to an aspiring reality TV star with a cohort of television mic men, a practicing vampire, a drum soloist, a dramatic monologue addict, and a stunningly insane singer. All will take to the stage and torment two desperate college interviewers throughout the majority of this show.

By far one of the best performances of the night however happens when Ethan Townsend takes to the stage as Ben, a menacing presence with a NEED to attend college. His projecting voice bellows throughout the auditorium diabolically, and by my second viewing I was still jumping in shock as he roared.

With a dualistic set design of alternating lights with each interview, the whole affair is visually interesting no matter where you sit; an entertaining format that was destined to be when the equally entertaining Felix took up the job, the entire play seemed to hum with his particular brand of magic. As for the cast, the majority of the characters he chose are double booked, allowing for hilarious differences in personality that make it all the more energetic and unexpected. “Crowd Pleaser” is a perfect way to describe this quirky mashup, and indeed it was a perfect way to start the night.

Second Up - The Staggering Heartbreak of Jasmine Merriweather - Madeleine Dye and Madison Mann

Madeleine Dye and Madison Mann introduce our next show, having co-directed what I believe to be the best play of the night. Both of them are dressed elegantly in jaw dropping finery, and both take their seats and let the magnificent madness unfold. What begins as a family affair quickly becomes the most romantic and psychotic high school play of the century. Don Zolidis’ excellent dialogue after all can only be matched by the Mad duo and their insane ability to bring out talent in everything they touch.

The play itself was brilliant, an encompassing of young love when you’re not mature enough to know what real love is. Perfect for high school audiences, the show follows Jasmine Merriweather (played perfectly by Skye Baker, the true star of the entire night) as she falls in love with a guy who’s frankly more in love with his own reflection. Through the play we see the ups and downs of romance, including an impromptu streamer dance party showing the efficacy of love, a squirrel-sloth metaphor, and an insane amount of expletives. It truly makes you want to take up mixed martial arts and end up in ISS for four days: four days dear reader, because you’re only in for killing a freshman.

Overall I found this to be my favorite play of the night. Skye Baker absolutely stole the show with her hilarious delivery and frankly ingenious improvisation. Scene changes were visually appealing as she did a variety of ludicrous dance moves, and the set itself was a perfect ambivalence between conscious want of action versus societal expectation of social repression. Ellen Riegger, playing Jasmine’s mom (quite skillfully I might add) was a true comical vessel of the deep undertones this play inhabits, and I can’t imagine anyone else under this role. Jasmine Merriweather is truly a modern hyperbolic example of hormonal hysteria and the extremes of teen romance. It is succinct, witty, and undeniably hilarious. For anyone reading this, I implore you to congratulate Madeleine Dye and Madison Mann on their perfect direction regarding this ineffably phenomenal play. I am proud to say I have watched every performance.

Third Up - Bad Breath (Original) - Enya Armstrong and Sylvia McNab

For our third play I find a peculiar tongue-tied pleasure in beginning to give an accurate critique, for dear reader, I am in the play. So instead of giving what most would see as a biased review, I will simply be stating the facts.

This play is an original, co-written by our senior directors Enya and Sylvia. In almost every rehearsal we were told the origin story, in which Enya painstakingly wrote it in a Panera. We were then told the epic saga of how Sylvia began to translate Enya’s messy handwritten pages, pages that were described as “the bastard child between font and cursive.” Our first time reading through the play I was shocked, and frankly, trapped in a confused sort of daze surrounding the immense silliness of the play. For indeed, reader, it is the silliest play of the whole night.

The show surrounds three main characters, Rob, Cole, and Matthew (played in order, by Jonas Porter, Logan Melton, and Nick Mills) as they struggle against an oncoming horde of unbrushed masses. When the world forgets how to brush their stinking teeth, who other than three bros can save the world? Over the course of the show you’ll meet the Fiddler (played iconically by Tommy Menegay), as well as a dastardly femme fatale reporter and even Joe Biden himself!

From my experience, I can tell you that our set was of enormous proportions due to Arthur Bond’s justifiably awesome determination to make an almost life-size tank. He succeeded immensely. Overall Enya and Sylvia were the best senior directors I’ve ever had, unafraid to pick out the flaws and make everyone work to be their best. Without them the show would have certainly been a complete flop, but with their leadership, kindness, and insane sense of humor, we found our way into the BHS spotlight. I was overjoyed to have been a part of their production, and grateful to have been under their guidance. Thank you both!

Fourth Up - Miss Beth-Hailey Ogle

Lightning crashes, a hooded figure steps up, and our modern Macbeth begins. For those who do not know theater tradition, ‘Macbeth’ is a word you never say on stage, a cursed word leading all the way back to 1606 when Shakespeare had to step in for Lady Macbeth when the actor died opening night. This is explained by the dazzling Hailey Ogle, who discards the cloak quickly to reveal a stunning white dress, leaving us in awe. It was a perfect beginning to the production of beauty and tragedy that was about to follow. 

Miss Beth could be described as a stereotypical sensation; an amalgamation of skirts blue and yellow blended in a sea of squealing galore and scrunchies of all colors. By the end of the show you’ll be wishing you had a spirit stick, and for good reason.

Over the course of the show, Charlotte Munsel (playing a convincing, award winning Beth) achieves her dreams towards becoming assistant and subsequently, head cheerleader of the Pantherettes through murder. Her ascent to ‘power’ is aided by a Ouija board, as well as her ‘best friend’ Samantha (played by an equally talented Laya Garza, who scares even the best of us with her hilariously good performance). 

The lighting is well done, the set is simplistically brilliant, and the way with which the scenes are presented make it pass in a wonderfully paced manner. Hailey’s influence can be found in the choreography, where every moment felt like a still life meticulously staged for maximum beatific effect. Levels, spatial awareness, and a solo scene of tableau’s make sure that each and every moment is as deft and vibrant as Hailey’s own artwork that lines the halls of BHS. In homage to that of the traditional cliffhanger-esque style of dramatic theater, the play ends without a clear conclusion, and only seems to make you thirst for more. Overall, one of our best performances of the whole night, and needless to say I watched every run.

Finale - Curtain Call

At the end of a night of comedy, tragedy, and undeniable entertainment, I find myself grateful to be a student of the artistic wing. All six student directors deserve a round of applause and a bevy of roses, as is the custom of theater. I wanted to say a special thanks to the people who made this all possible. Thank you to Daniel Filiatreau for filling in when Sam Canter fell ill after the first night. Thank you to the ‘techies’, including the Bond triplets, Audrey Kate, and all others. Thank you to Ziggy and Wheeler for working with our slightly outdated lighting system. Finally, thank you to Mrs. Gruver for allowing this to happen, and thank you to all audience members! Stay tuned for results from the Bronies!

(Photo credits: First and last images taken by Emily Gruver; subsequent pictures in between taken by Thomas Repass)