The Last Night of Ballyhoo
at Alexander W. Dreyfoos School of the Arts

Reviewed on March 19, 2010

Sarah Diamond
Boca Raton High School
Submitted for publication to

"Shabbat Shalom" and welcome to Ballyhoo, the finest party in Atlanta, where Jewish young adults come to mingle, seek love, and try their best to ignore the prejudice and social turmoil surrounding them. Alexander W. Dreyfoos School of the Arts' presentation of "The Last Night of Ballyhoo" was an intriguing portrait of a Southern Jewish family struggling with religion, relationships, and their own identities.

Alfred Uhry's play is set in the Christmas season of 1939, the year that saw Margaret Mitchell's legacy hit theaters and World War II begin to heat up. Although these events have their due influence, the story's scope is narrowed to focus on the circumstance of one family, the Freitag-Levy clan. Adolph Freitag is the reluctant patriarch supporting his sister-in-law, Reba; sister, Boo; and their respective daughters. Sunny, beautiful and brainy, stumbles into a relationship with Joe, one of her uncle's employees, but their differing attitudes about Judaism are cause for contention. Meanwhile, Lala's boy troubles stem from her insecurities, making it impossible to "fit in". Boo's concern for her daughter's prospects breeds bitterness and anger among everyone. "The Last Night of Ballyhoo" addresses issues of intolerance and tension within the Jewish culture, resulting in characters that must negotiate a place for themselves in society, but not abandon who they are.

Dreyfoos School's production was buoyed by a strong cast, dexterous in both the comedy and emotional drama the script required. With brief exception, the actors seemed comfortable and energetic on stage, eagerly diving into their characters' eccentricities and respective accents.

One of the standouts of the evening was Erica Freedman as Boo Levy, who gave a nuanced performance as a complex and essentially unhappy woman. From her comic highs as a pushy busybody to her lows as a disappointed mother, Freedman's characterization was not only strong, but sympathetic. Also notable were romantic leads Brianna Rouse as Sunny and David Peters as Joe. Their clever timing and subtle deliveries created a believable chemistry between the two hesitant lovers. Peters should also be commended for his authentic and well sustained New York accent.

Always on hand to break the tension, Colton Hearn delighted the audience as Adolph, the grumpy yet tender businessman. He never overplayed the comedy or distracted from his character's hidden depth. Equally charming was Maggie Owen who played dizzy, blonde Reba. Her uproariously clueless one-liners were delivered with great facial expressions and style.

The show's technical aspects were equally impressive. The lighting, which changed depending on the time of day, lent ambiance and believability to the show. The student designed sets were massive and grand, belying a high degree of difficulty. Also ambitious were the costumes, tailored to the style and personality of each character, while still remaining period appropriate.

"Ballyhoo" is a return to the style of play that relies on character interaction, as opposed to heavy plotting and cheap thrills. The result was both a well acted historical drama and a fascinating exploration into the psyches of some richly drawn characters.

Beth Benge
JP Taravella HS
Submitted for publication to

Bally-Who? Strutting down the spiral staircase, Lala caused an audible gasp from the audience as they reveled at the magnitude of her shockingly green, frilly, enormous gown. This climatic event clarified the title of Alexander W. Dreyfoos School of the Arts' phenomenal production of "The Last Night of Ballyhoo." "Ballyhoo" can mean an enthusiastic attempt to advance any cause. To Lala, Ballyhoo means the opportunity to win the affections of a nice Jewish boy, with the help of her "gorgeous" dress. Conversely, to her cousin Sunny, it is merely another indication of how their Southern, Jewish family will never truly fit in.

Winner of the 1997 Tony Award for Best Play, Alfred Uhry's dramedy, "The Last Night of Ballyhoo," is set in the winter of 1939 in Atlanta, Georgia where the Jewish Freitag-Levy family is eagerly anticipating Ballyhoo, the most important festivity in their Jewish community. Lala and Sunny, two polar opposite cousins, each prepare for the dance with the assistance of their effervescent family. Living in an age where anti-Semitism and prejudice are very much alive, the play chronicles one Jewish family's struggle to be accepted against all odds.

Throughout the entire show, the cast and crew exquisitely blended comical and dramatic acting, full-fledged character relationships, and superb technical components. The small cast demonstrated absolute comprehension of the intrinsic message of the story without ever losing sight of the hilarity in most situations.

Loud, oversensitive, and utterly outrageous, Haley Sikes's uproarious performance as the melodramatic Lala was a force to be reckoned with. Sikes's energetic embodiment of Lala was continuously amusing, especially in scenes with her similarly obnoxious love interest, Peachy Weil, played by J. Stephen Gardner. Gardner had a great grasp of the in-your-face, loathsome absurdity his ginger-haired character exemplified. Sunny, the intellectual cousin to Lala, and Joe Farkas, the Brooklyn native Jew who works for the Freitag business, were excellently performed by Brianna Rouse and David Peters. These two showcased wonderful chemistry, authentic accents, and well-rounded characters.

As the unconventional patriarch of the family, Colton Hearn (Adolph Freitag) expertly portrayed a mature businessman while providing witty one-liners and believable and diverse connections with all his family members. Erica Freedman (Boo Levy) and Maggie Owen (Reba Freitag) both shined in their unique portrayals of mothers. Freedman never ceased to amuse with her sarcastic wit and effortless delivery of lines, while Owen's Southern charm and ditzy yet sincere persona were always entertaining.

The lighting, sets, and props all beautifully fused together to create a genuine Southern home with near professional finesse. Expertly designed costumes by Josephine Murray were instrumental in highlighting each character's distinctive personality. Also, the innovative makeup and hairstyles were gorgeous and time period appropriate.

In "The Last Night of Ballyhoo", Boo Levy says, "Dreams don't last four hours," but Alexander W. Dreyfoos School of the Arts' extraordinary performance proves that dreams can last for two hours and 15 minutes.

Rachel Cohen
The Sagemont School
Submitted for publication to

One would think that the Jewish populace would band together against the strains of anti-Semitism during the rumblings of World War II; instead, American Jews sniff at the mention of the "other kind" of their religion based on where their ancestors emigrated from. Alexander W. Dreyfoos School of the Arts explored the absurd phenomenon with their production of The Last Night of Ballyhoo.

So what is Ballyhoo? Merriam Webster defines it as an excited commotion or "flamboyant, exaggerated, or sensational promotion or publicity." As Alfred Uhry, of the Driving Miss Daisy fame, writes it, Ballyhoo is the social event of the season for the elite Jews of Atlanta, Georgia and the surrounding South that draws only the crème de la crème of Jews (only the ones from Western Europe, especially Germany). Based off his own experiences, Uhry explores how growing up Jewish was when the world was changing so drastically in his play, which won a Pulitzer Prize and a Tony Award for Best Play in 1997.

Erica Freedman acted as the anchor of the Freitag family as Boo Levy, the oft-shouting matriarch. Her facial expressions were amazingly authentic and she interacted splendidly with the other members of the Freitags. Boo and Reba Freitag, played by Maggie Owen, were a great combination of frustration and ignorance. As Adolf Freitag, Colton Hearn entertained the heck out of the audience with his hilarious attempts to referee the fights while stuffing his face at every opportunity.

The chemistry between the younger generation of the characters was at times blazing, especially with Brianna Rouse's Sunny Freitag. She portrayed the right note of nerves and tension in her romance with Joe Farkas (David Peters, with the best accent of the night), plus with Lala Levy, her obnoxious cousin portrayed by Haley Sikes. The love match turned accidental triangle then two different love matches was the center plot of the story. The three of them plus Peachy Weil (J. Stephen Gardner) were fabulous.

The group was aided by the outstanding set which had practical lighting, chandeliers, a full stair case with split levels, and working windows. The costumes were era-appropriate, and the tearaway dress looked authentic. The stage crew was so quiet and effective, that people were seen whispering to each other when the Crescent Limited train coach literally moved past the stage, "How did they do that?!"

Even with the struggle of identity in a just-awakening town (Gone with the Wind was just premiering) in 1939, the cast still warmed hearts with the conclusion of the family nestled around a table for Shabbat, watching the one lit candle flicker for the first time.

Kevin Gish
Boca Raton High School
Submitted for publication to

Throughout history, various people have been forced to hide their religious faith in order to assimilate with less difficulty into their chosen societies. It is disconcerting for many, as they hope to become accepted, yet wish to retain their religious ideals. But what happens when prejudice begins to manifest in a rift between two factions of the same religion? Alexander Dreyfoos School of the Arts presents a magnificent example of this dilemma in their production of "The Last Night of Ballyhoo."

"The Last Night of Ballyhoo" concerns the Freitags, a wealthy Jewish family living in predominately Christian Georgia. They attempt to conceal their faith to the best of their ability, even putting up a Christmas tree in the window. The year is 1939, and the family is rather excited for the start of Ballyhoo, a social gathering put on by the Standard Club. Adolph Freitag, owner of a bedding company, hires a charismatic New York Jew with Eastern European descent by the name of Joe Farkas to work for him. Farkas falls in love with Frietag's niece, Sunny Freitag, and shows her the value of accepting one's own religion and culture.

"Ballyhoo" was a remarkable technical feat. The set construction team of Abby Botnick (designer), Adam Campitelli, and Gabriella Padgett (technical directors) worked to create the gorgeous set of the Freitag home. A magnificent staircase, incredibly detailed furniture and extraneous set pieces, and even a working chandelier and wall sconces brought a feeling of realism to the production. When combined with the dazzling costumes and elegant hair and makeup, one felt as though they were truly in the home of the Freitags.

The actors did not allow any of this unbelievable technical work to go to waste, and, with a few exceptions, performed marvelously. Each had a convincing and entertaining accent, which was never lost throughout the production. As the jolly Adolph Freitag, Colton Hearn was a clear crowd favorite. His character was perfected, from his character walk to his rollicking laughter. He gleaned much laughter from the audience with his clever line delivery and lovable Southern drawl. Equally hilarious was Maggie Owen, playing the dim-witted Reba Freitag. She brought a comfortable feeling to the stage, and, when coupled with her amazing comic timing, had the audience in hysterics. Portraying the young lovers Joe Farkas and Sunny Freitag, David Peters and Brianna Rouse were captivating: Peters with his excellent New York accent and powerful stage presence; Rouse's commitment to her character, her endearing mannerisms; and the apparent chemistry that coalesced as a result.

Rousing and heartwarming yet poignant and thought-provoking, Dreyfoos transported its audience to a turbulent and capricious period in history. It was clear that each member of the cast and crew gave his or her best effort to bring the audience to their feet in an ebullient standing ovation.

Ashley Jones
Dillard Center for the Arts
Submitted for publication to

Ever thought you could watch time pass on a stage? Well, Alexander W. Dreyfoos School of the Arts showed it's possible in their production of "The Last Night of Ballyhoo" by Alfred Uhry.

This comedy, winner of the 1997 Tony Award for best new play takes place in Atlanta, Georgia, in December of 1939. GONE WITH THE WIND is having its world premiere and Hitler is invading Poland, but Atlanta's elitist German Jews are otherwise concerned with who is going to Ballyhoo, the social event of the season. One family gets pulled apart and then mended together with plenty of comedy, romance and revelations. Events take several unexpected turns as the characters are forced to deal with who they really are.

A vast amount of talent walked the stage bringing this show to life. Erica Freedman as Boo Levy gave an exceptional and commanding performance as she captivated the audience with her motherly persona. As her brother, Adolph Freitag, Colton Hearn had impeccable comedic timing and notable character development. Haley Sikes as Lala Levy was insanely hilarious as the obnoxious, unpopular cousin.

Maggie Owen as Reba Freitag matched her humorous line delivery with her realistic and natural blocking. Sunny Freitag, played by Brianna Rouse understood her character and had an immense amount of enthusiasm as she spoke. Joe Farkas (David Peters) and Peachy Weil (J. Stephen Gardner) were complete opposites with Farkes' muscularity and Weil's "stand-up" comedy, but they ended up in the same family due to marriage.

The technical aspects were incredible, the beautifully constructed set, make-up, hair, and clothing fit the time period perfectly and the numerous costume changes were quick and efficient. In addition, the lighting designed by Manuel DaSilva and Valerie Zaffran was creative and effective. Also, their Atlanta country accents were not only accurate, but kept fluently through the entire show along with Joe Farkas' New York accent.

Alexander W. Dreyfoos School of the Arts presentation of "The Last Night of Ballyhoo" was both stimulating and comedic. With its brilliantly unique way of showing that one can accept who they are fully.