Schoolhouse Rock Live!
at Oakcrest School

Reviewed on March 1, 2014

Talia Brenner
Walt Whitman High School
Submitted for publication to Washington Post - Fairfax

If learning was always as enthralling as School House Rock Live! at Oakcrest School, students would never want to leave the classroom. Performers rocked, jammed, and jived their way into audiences' hearts and brains in this electrifying remake of a beloved series.

School House Rock originally aired from 1973 to 1985 as educational segments intermediately placed in children's programming. Eight years later, Theatrebam Chicago compiled some of the series' classic songs into a stage musical. Oakcrest's production of School House Rock Live! appealed to all audience members in a way that few shows can: young children were mesmerized with the bright characters and bubbling energy, while their parents enjoyed a nostalgic throwback. A new element, a hearty dose of audience involvement, boosted the school's already enjoyable community spirit.

Sandy (Ann Esmond) is a young teacher preparing for her first day of school when dozens of her alter-egos arrive to soothe her nerves and show her how to teach with groove. Each "Sandy" represents a different side of the woman's psyche, from "dreamy" (Sophia Buono), to "dramatic" (Gianna Ridout). All actresses maintained their individual characters with quirk and charm, forming a thoroughly impressive ensemble. Each "Sandy" effortlessly executed choreography in the teenybopper "A Victim of Gravity" and the two-stepping "Elbow Room," and then produced stunning harmonies in the ballad "The Great American Melting Pot."

Esmond's original Sandy, meanwhile, is a dynamic conglomeration of all these characters, and her journey from alarm to self-assurance is delightful to watch. Many supporting characters had featured sections in musical numbers; notable moments included Sophia Buono's buoyant yet beautifully sung "Three is a Magic Number," Marianne Khattar's smashingly belted "Sufferin' till Suffrage," the hilarious Brigid Kilner as an unenthusiastic baby, and an a-dork-able Mr. Morton.

Superb technical elements effectively transformed Oakcrest's chapel into an invitingly eccentric space. Sofia Neville and Camille Carter-Thompson's set, which depicted Sandy's apartment, included posters that represented the different "sides" of Sandy: a periodic table is "nerdy," while a Breakfast at Tiffany's poster is "elegant." Student-designed costumes were simple and vividly colorful, each outfit perfectly matching the wearer's "trait." Actresses used song-specific costume items, such as poodle skirts, roller skates, and bowler hats to add character to individual numbers. Alejandra Aguilar upheld a standard of excellence with her sound work, handling close to twenty wireless microphones in an acoustically difficult space.

Despite their large cast, Oakcrest students proved that they were also able to involve the community in their performance—much to the audience's delight. Madeleine Lucas, as "put-upon" Sandy, garnered many laughs when she brought an audience member onstage to play her pet hippopotamus in "Rufus Xavier Sarsaparilla."

Whether audience members remembered their American history and multiplication tables or were yet to learn them, Oakcrest students taught a new lesson: the value of fun in learning. Amidst verbs, nouns, adverbs, and everyone's favorite conjunctions, Oakcrest School students proved their function as top-notch entertainers.

Grace Duah
West Springfield HS
Submitted for publication to Washington Post - Fairfax

HOORAY! Shouted the audience and the cast during the song "Interjection" at Oakcrest School's performance of School House Rock Live! Classics like the "Preamble" and "Conjunction Junction" filled the theater with a delightful ambiance that lifted the room transformed everyone into children lost in the beauty of youthful discovery.

Branching over a variety of educational topics including math and grammar, School House Rock was a beloved televised miniseries that originally aired during the early 1970s. The musical itself delves into the mind of Sandy, a new elementary school teacher nervous for her first day at work. While watching television, School House Rock begins and before her eyes different aspects of her personality take form and help her plan her upcoming lesson by recreating the songs from the iconic show.

The combination of extra aesthetic moments and audience participation drove Oakcrest's production home. The actresses danced through the crowd and on stage, each having small quirky moments that helped to further the enjoyment of the show. The true kicker, however, was the audience participation. Throughout the play the Oakcrest girls involved the audience as much as possible without it feeling overdone and excessive. The audience lit up as the girls traveled through the aisles, focusing their attention on and engaging them in either song or dance.

Lead, Ann Esmond, was endearing as her character Sandy transitioned through various conflicting emotions until all that remained was excitement. Her expressions despite an almost repetitive nature were consistently engaged and flowed nicely in whatever situation she found herself.

Majority of the ensemble made clear strong character choices that helped sell not only their part, but the ensemble as a whole. Even when faced with technical difficulties the cast plowed on and kept their smiles bright and their movements peppy, keeping the audience connected to the show.

At the same time some actresses stood out above the rest. Sophia Buono, Brigid Kilner, and Madeleine Lucas all made extremely clear choices and never lost character or energy. Whenever Madeleine Lucas or Sophia Buono was on stage they radiated energy and excitement leaving the audience drawn to them. Anytime Brigid Kilner was on stage the audience ended up roaring with laughter. These girls, despite their small roles, brought something fresh and riveting to the performance.

The tech aspects were effective--especially the set, which did a quality job of displaying different aspects of Sandy through small posters and art. The lighting was always on cue and added a youthful vibe to the show. Costumes were largely effective and for the most part helped to clearly define the characters. Despite multiple sound difficulties, the sound person did an admirable job of working with over twenty wireless microphones a feat not usually attempted by high school.

We, the people of the United States in order to form a more perfect union establish...that Oakcrest School did a lovely job of putting a new life into this childhood classic!

Eliza Malakoff
TC Williams
Submitted for publication to ShowBizRadio.net

Seated on a church pew in Oakcrest School, a young boy with bright eyes and a large smile watched eagerly as girls ran through the audience, ducking and tackling to the playful "Ready or Not, Here I Come" that closed the first act of "School House Rock Live!" His sister, bouncing and flapping her hands excitedly, was not the only one mirroring his joy. Oakcrest's all-girl production entertained audience members of all ages with well-oiled musical numbers, a cohesive ensemble of vibrant characters, and lots of fun surprises.

Adapted to the stage in 1996, Schoolhouse Rock Live! is only slightly older than most of the actors, but the animated, educational TV hit series "Schoolhouse Rock" started in 1972. Since then, songs like "Conjunction Junction" and "Just a Bill" have become ingrained in American childhoods, including that of the musical's protagonist, Sandy, who turns on the TV to calm her nerves before her first day of teaching. Suddenly, the Schoolhouse Rock characters come to life, personifying "sides" of Sandy's personality, and attempting to reassure her.

With facial expressions that communicated well with the audience and an easy stage-presence, Ann Esmond as Sandy warmly guided the audience along the plotline that ties the musical together. Other standouts included Marianne Khatter, who delivered a hip-snapping, muscle-flexing homage to Rosie the Riveter in "Sufferin' Till Suffrage" in which she showcased her raspy voice and sassy stage presence. Madeleine Lucas sported energy and strong singing as she cartwheeled through "A Victim of Gravity," and "Rufus Xavier Sarsaparilla" – a number made successful by hilarious reenactments and a well-orchestrated gag in which Lucas good-naturedly dragged a pre-teen boy in a red sweatshirt up on stage. (The boy was returned to the audience smiling embarrassedly.)

The true strength of the production, however, came from the vibrant unity of the ensemble. Although the energy level wavered and the choreography was simple, the actors committed whole-heartedly to their characters and their dancing was crisp and synchronized. From beginning to end, actors like Sophia Buono were fully engaged in the imminent scene while still maintaining the child-like enthusiasm of their character.

Well-balanced sound enhanced the ensemble effect. Although the ensemble's children's-choir-like quality did not fit the style of every song, their harmonies were clear and solid. Furthermore, it was often difficult to distinguish the actors' words and the band was sometimes overpowering, but sound coordinator Alejandra Aguilar successfully kept track of, and balanced, over 20 wireless microphones – difficult, especially in an acoustically awkward space.

Even the set was designed to thematically unite the ensemble. The posters and quotes hanging in Sandy's apartment corresponded to the different sides of her personality as personified by the actors. The set served as a permanent backdrop, but actors could be found all over the theatre, sitting among the audience, crawling under church pews, or even rollerblading through the aisles.

Many innovative props helped the space come to life, and the audience to visualize the concepts of the songs. Jackets that spelled out "NOUNS," dozens of photos of movie stars and other "heros" with the number 0 pasted over their faces, interactive parts of words, giant signs, and many other props entered and exited the stage, leaving the audience expecting surprises.

That sense of expectation and surprise is how Oakcrest School's production of Schoolhouse Rock Live! entertained everyone, even those who learned to count by fives or identify a verb long ago. With lots of joy and a solid ensemble, Oakcrest's production brought out the child in everyone.

Mary Long
Langley High School
Submitted for publication to Patch.com - ARL/MC/Mont/DC

Growing up and heading off into the real world can be tough, but with the help of some childhood memories, it may not be all too bad. Oakcrest School's production of Schoolhouse Rock Live! taught that, with the right mix of entertainment and education, adulthood dreams may not be that scary after all.

Schoolhouse Rock Live! is based on the children's short-series of the same name that aired on American television between 1973 and 1985. The series taught school-age lessons on economics, science, basic mathematics, history, and grammar through song and animation, adding an entertaining twist to primary-level education. In 1993, the hits of the TV show were compiled into a family-friendly musical, "Schoolhouse Rock Live", which opened in Chicago as a Cabaret and began an eight-month run in the basement of a vegetarian restaurant. In response to critical acclaim, the family-friendly musical changed venues, eventually moving to New York and later back to Chicago.

The story centers on Sandy, a rather plainspoken and nervous teacher who is about to begin her first day at school. Wondering how she'll be able to win the students over, Sandy turns the television, where her favorite childhood series, "Schoolhouse Rock", is coincidentally on. Immediately after, Sandy is greeted by a whole host of her ulterior personalities, who, through song and dance, give her the confidence and the knowledge to win her students over.

Oakcrest School's production was dominated by its unabashed cheeriness and admirable adorability, and the enthusiasm of standout soloists made the show a success. At the same time, the cool nature of other characters raised the sophistication of a show typically geared towards younger audiences, bringing the production to be less of a purely academic endeavor and more of an entertaining one.

The leading trio of Sandy's alter egos—her "Dramatic Side," "Dreamy Side," and "Country Side,"—all held memorable roles as star soloists, stealing the audience's heart with undeniable charm and energetic talent. Sophia Buono, as the aforementioned "Dreamy Side," stuck with the happy-go-lucky persona so characteristic of the original Schoolhouse Rock skits, offering up nostalgia and charisma onstage. Similarly, Helen Collins, portraying Sandy's "Country Side," was always up-to-beat with the energy of those around her, and excelled at getting the audience engaged in the bouncy musical numbers. Completing the trifecta was Gianna Ridout as Sandy's "Dramatic Side," who aced her character with larger-than-life actions and smooth, solid vocals.

Marianne Khattar had a noteworthy solo in her fierce portrayal of Sandy's "Sassy Side," drawing many parallels to Rosie the Riveter, channeling the historical figure in both costume and personality. As the "Sarcastic Side" and the "Elbow Room" soloist, Sofia Lulli never strayed from her enthusiasm and led one of the production's most enjoyable numbers. Brigid Kilner, playing the "Cool Side", exhibited comedic amounts of suave and relatable nonchalance, garnering laughs with her couldn't-care-less characterization.

Technical aspects of the show should be lauded for the notable attention to detail—evident thought was put into set and costumes, each detailing particular pieces of Sandy's eclectic personality. While hearing proved to be an issue due to a loud pit orchestra and low volume from actors, the show made up for it with its uncompromised energy, unwavering musical harmonies, and upbeat interaction with the audience.

With age-appropriate enthusiasm and timeless educational lessons, Oakcrest School's production of Schoolhouse Rock Live! offered a delightfully nostalgic look back on the beloved, songful short-series of yesteryear.

Jemma Stratton
Centreville High School
Submitted for publication to The Catholic Herald

The moment the lights went up and the music began, the audience watching Oakcrest School's production of School House Rock Live! was washed over by the fond memories of colorful elementary school classrooms and the whirl of the VCR. During songs like "Conjunction Junction" to "I'm Just a Bill", everyone's childish side made an appearance. School House Rock Live! has been evoking nostalgia since 1993 when a Chicago theatre company put this adaptation of the Emmy Award winning show on stage for the first time. Its success was astounding, largely due to the audience participation and excitement, which was apparent in the interactive environment of Oakcrest's rendition.

The show opened with a distressed, first time teacher named Sandy (Ann Esmond) who cannot decide how she is supposed to teach her students grammar, science, math, and social studies. Almost immediately, she is greeted by all her different personalities who remind her, and the audience, of a beloved children's show. From that moment, the entire cast established themselves as a whole and gave strength and energy to group numbers. Most enthralling was their choreographed use of props that really emulated the original TV show. At times, there were musical numbers in which almost a dozen different posters and boxes were used in conjunction with the lyrics, really showing the amount of effort and rehearsal the cast must have gone through to perfect it.

Although the cast was enjoyable as a unit, there were some performers who really made their mark, like Sandy's "Sassy" Side played by Marianne Khuttar. With her song,"Sufferin' till Suffrage", she captured perfectly the image of Rosie the Riveter, not only in her costume but also with her fierce energy throughout the entire song. The audience was moved to clap along as she belted out the names of famous women which turned into roaring applause as she struck the iconic "We Can Do It" pose at the very end.

Probably the most famous School House Rock song is "I'm Just a Bill", which musically narrates the process in which a bill becomes a law. This song was performed by Brigid Kilner who played Sandy's "Cool" Side. She, and her fellow cast members, brought the song alive with incredible physicality and vigor. Kilner's facial expressions and body movements added a humorous quality to the classic song and instantly became an audience favorite. In her reappearance during Mister Morton, she incorporated that same hilarious physicality which made audience members laugh out loud as she truly became poor Mister Morton who always did what the predicate says.

Since School House Rock first premier on television in 1973 to its still running musical adaptation today, this show has been using music to teach kids (and reminding adults too!) about American history, multiplication, and that a noun is a person, place, or thing. Oakcrest captured the way that the original TV show made education fun and its incredibly interactive numbers were impossible to not bring a smile to your face. Oakcrest School vivified the same magic of School House Rock that so many know so well and united an entire audience in nostalgia for those past,more innocent days.

Jamie Joeyen-Waldorf
Langley High School
Submitted for publication to Connection

Rollerblading through the aisles, encouraging audience participation through lolly lolly adverbs and conjunction functions, Oakcrest School's production of Schoolhouse Rock Live! gave reason to "unpack your adjectives" and have a highly enjoyable, whimsical night of theatre.

Based on the Emmy award-winning children's animated television series, Schoolhouse Rock Live! premiered in 1993 at Chicago's Theatre BAM, featuring a book by Scott Ferguson, Kyle Hall, and George Keating and music and lyrics by Lynn Ahrens, Bob Dorough, Dave Frishberg, Kathy Mandry, George Newall, and Tom Yohe. An eclectic mix of upbeat rock songs and slower rhythms, the show centers on a new teacher named Sandy as she prepares for her first day of school, getting help from various Schoolhouse Rock characters in making her lesson plans. In Oakcrest's all-female version, each cast member represented a different emotional side of Sandy.

Versatile in movement, the show encompassed a variety of dance styles with clean, synchronized choreography executed with aplomb by all cast members. Vocally, the impressive ensemble maintained a slew of mellifluous harmonies in many songs such as "Mother Necessity" and "Do the Circulation."

As the leading Sandy, Ann Esmond displayed her character's touching transformation from a perturbed teacher to an inspired, enthusiastic educator. Esmond's intentional comedic touches of carefree dancing and campy interactions onstage were especially notable. Gianna Ridout gave a standout performance as the "dramatic" side of Sandy, her pleasant-toned voice featured as the soloist in "Great American Melting Pot" and "Interjections." Even when not the main focal point on stage, Ridout proved herself a multi-faceted performer in maintaining unwavering energy during group numbers with spot-on dance execution and a commitment to the theatrical persona of her role.

Other notable performers included Sophia Buono ("dreamy" side), Marianne Khattar ("sassy" side), Madeleine Lucas ("put-upon" side), and Brigid Kilner ("cool" side). Buono's consistent triple-threat skills invigorated others around her with perfect rhythmic movements and fine vocal support, while Khattar's fierce belting and passion rang through in the sassy "Sufferin' Till Suffrage." Lucas' cartwheels and delightful smile lit up the stage, particularly during an adorable audience interaction with her brother. Meanwhile, Kilner's entertaining sarcasm and matter-of-fact attitude brought a refreshing, more mature comedic level to the production.

Set design by Sofia Neville and Camille Carter-Thompson of a small apartment displayed different elements of Sandy's personality through an aesthetically pleasing amalgamation of posters, periodic tables, and calendars. Props included all the signs and cartoon reproductions used in musical numbers, which were easily read and seen from the audience. Given the limitations of the performance space, Carolyn Babendreier, Grace Carey, and Alejandra Aguilar executed the lighting and sound cues admirably. Though the costumes and makeup could have matched individual personalities more clearly, all pieces were appropriate to the show.

Encompassing surprises and unique themes in each musical number, Oakcrest's Schoolhouse Rock Live! authentically captured the nostalgic tunes of yesteryear while highlighting some hidden gems. The cast and crew made this family-friendly production accessible to all ages with a heartwarming story about the enjoyment of learning, deserving a resounding interjection: "Wow!"

Esraa Mahran
Stuart High School
Submitted for publication to Fairfax County Times

Remarkable singing, an aesthetic set, and overall, a captivating performance by the students of Oakcrest School. Oakcrest School performed the classic American musical SchoolHouse Rock Live!, and did a great job too. Although the original show was projected towards children, the feeling of nostalgia roamed through the adults in the audience members that night at Oakcrest.

This classic musical is based off of the original American television show, SchoolHouse Rock, a series created by George Newall and Tom Yohe. The Emmy Award-winning series first aired in 1973. The cartoon aired every Saturday and educated children about grammar, history, science, and math using crafty, melodious tunes. The play chronicles the experience of Sandy, a young adult, anxious about her first day teaching a class of kindergardeners. As Sandy attempts to relax, she imagines a number of characters, each character representing the many features of her personality. They encourage Sandy to use creativity and music when teaching her students.

The set, Sandy's room, was enticing and illustrated the average American girl in the 1970s. The set also represented the bubbly, sassy, and nerdy characteristics of Sandy herself. The props fabricated by Madeleine Lucas, Emilie Knudsen, Catherine Warchot, and Laura Cermak were simple, but added flair to each of the songs during the show.

The words in some of the numbers were not clear, possibly due to a mic problem. It is understandable however, because of the fact that more than twenty actresses are depending on microphones, and such a number is high for any sound technician to work with. Another technical aspect of the show, the lighting, was at times unfitting. Despite this, it still generated a sense of focus and a serene mood within the audience.

The talent among the students of Oakcrest School is authentic. Noteworthy performances included Gianna Ridout, who livened the "dramatic side" of Sandy's personality, as well as Marianne Khattar, who wonderfully sang "Sufferin' Till Suffrage." The audience also enjoyed watching the comical Brigid Kilner, who played both the "cool" side of Sandy and Mister Morton.

The cast as a whole was energetic, especially during the second act. The play was incredibly interactive, both among children and adults. At one point the actresses ran into the crowd and danced with members of the audience, including young children. Some of the crowd even went up on stage during the number "A Victim of Gravity."

Oakcrest School's production of SchoolHouse Rock Live! was interactive and enjoyable. Kids and adults were engaged with the actresses throughout the entirety of the play. All in all, it was a pleasant performance by the Oakcrest crew.