Stage Door
at Tri-School Theatre

Reviewed on February 6, 2015

Allison Cruz
Aliso Niguel High School
Submitted for publication to Orange County Register

Tri-School's "Stage Door" holds the key to success

The Footlights Club actresses may live in the "city that never sleeps," but that doesn't stop them from dreaming. Caught in a struggle between poverty versus art, stage versus screen, and romance versus ambition, these starving young artists are left hungry for success in the Big Apple.

Featuring a colorful cast of characters, wry humor, and screwball antics, Tri-School's heartwarming rendition of "Stage Door" radiates with comedic delight.

Caitlin Crawley strolls across the lobby as the hopeful young Terry, demonstrating a quiet confidence with her poised shoulders and grounded voice. Crawley's understated elegance augments her character's strong will as she expresses disdain for the triviality of film and exalts the noble pursuit of theatre.

Countering Terry's subdued nature, Hollywood actress Jean Maitland (Alexandra Worden) epitomizes the boisterous blonde bombshell. Worden accentuates her Marilyn-esque persona with breathy tones and sensual hip movements, yet her interpretation of this stock character is still refreshingly unique.

Also unique is Bernice (Hannah Butler) as she leaps, rolls, and karate-kicks onstage. Though her appearances are ephemeral, Butler perfectly times her comedic moments, especially when she resolves to rename herself "Zara." Little Mary (Claire Sirna) and Big Mary (Samantha Nevarez) steal the spotlight as well with their high-pitched, synchronized laughter.

Likewise, the ensemble of actresses exhibit outrageous energy when they vie for the attention of the charming producer David Kingsley (Dane Madrigal). Madrigal's businesslike demeanor turns gentle and loving as he unexpectedly falls for Terry. He slowly becomes more affectionate, inching closer as he builds up to their sweet and long-awaited kiss.

Adding an element of tragedy to the show, Kaye Hamilton (Erin Bracken) exemplifies the struggling actress. She slumps her shoulders and keeps her head low as she realizes she cannot even afford rent, hinting at her eventual decision to take her own life.

From scattered flowers, to a hanging ax, to a hilariously enlarged portrait of Jean, the props (designed by Jacquelyn Cutts) perfectly reflect the actresses' hectic lives. Kooky knick-knacks also provide the boardinghouse with an inviting atmosphere.

Roman Curiel's originally recorded car sounds help create the illusion of busy city streets. The lighting (designed by Meghan Patrick) astounds as well. In the final scene, a single golden spotlight shines on Terry, allowing her to finally take center stage.

In this superb production, Tri-School proves that hard work, both off-stage and on, is the key to success.

Allison Cruz
Aliso Niguel High School
Submitted for publication to Orange County Register

Tri-School's "Stage Door" holds the key to success

The Footlights Club actresses may live in the "city that never sleeps," but that doesn't stop them from dreaming. Caught in a struggle between poverty versus art, stage versus screen, and romance versus ambition, these starving young artists are left hungry for success in the Big Apple.

Featuring a colorful cast of characters, wry humor, and screwball antics, Tri-School's heartwarming rendition of "Stage Door" radiates with comedic delight.

Caitlin Crawley strolls across the lobby as the hopeful young Terry, demonstrating a quiet confidence with her poised shoulders and grounded voice. Crawley's understated elegance augments her character's strong will as she expresses disdain for the triviality of film and exalts the noble pursuit of theatre.

Countering Terry's subdued nature, Hollywood actress Jean Maitland (Alexandra Worden) epitomizes the boisterous blonde bombshell. Worden accentuates her Marilyn-esque persona with breathy tones and sensual hip movements, yet her interpretation of this stock character is still refreshingly unique.

Also unique is Bernice (Hannah Butler) as she leaps, rolls, and karate-kicks onstage. Though her appearances are ephemeral, Butler perfectly times her comedic moments, especially when she resolves to rename herself "Zara." Little Mary (Claire Sirna) and Big Mary (Samantha Nevarez) steal the spotlight as well with their high-pitched, synchronized laughter.

Likewise, the ensemble of actresses exhibit outrageous energy when they vie for the attention of the charming producer David Kingsley (Dane Madrigal). Madrigal's businesslike demeanor turns gentle and loving as he unexpectedly falls for Terry. He slowly becomes more affectionate, inching closer as he builds up to their sweet and long-awaited kiss.

Adding an element of tragedy to the show, Kaye Hamilton (Erin Bracken) exemplifies the struggling actress. She slumps her shoulders and keeps her head low as she realizes she cannot even afford rent, hinting at her eventual decision to take her own life.

From scattered flowers, to a hanging ax, to a hilariously enlarged portrait of Jean, the props (designed by Jacquelyn Cutts) perfectly reflect the actresses' hectic lives. Kooky knick-knacks also provide the boardinghouse with an inviting atmosphere.

Roman Curiel's originally recorded car sounds help create the illusion of busy city streets. The lighting (designed by Meghan Patrick) astounds as well. In the final scene, a single golden spotlight shines on Terry, allowing her to finally take center stage.

In this superb production, Tri-School proves that hard work, both off-stage and on, is the key to success.

Dessi Gomez
Santa Margarita Catholic High School
Submitted for publication to Orange County Register

Tri-School's ‘Stage Door' crosses a new threshold

Tri-School's performance of "Stage Door" provides a glimpse into the lives of hopeful actresses who struggle to cope with the challenges of show business in 1930s New York. Each girl faces her own troubles as she fights for any job that will provide her with enough money to get by. Although they are isolated in their throes, a special bond unites the girls as they overcome obstacles in their roads to fame. As certain girls start to lose interest or pursue other things, one actress stays true to her dream, and her unwavering commitment certainly pays off.

Caitlin Crawley fits naturally into the role of Terry Randall with her ability to create strong connections with other characters like Jean Maitland and her father, Dr. Randall. Crawley skillfully conveys the wide range of emotions that her character feels, especially the passion and determination, with her speech, facial expressions, and posture. Alexandra Worden creates the conspicuous Jean Maitland with her smooth voice, graceful movements, and serene gazes. Brandon Martinez displays the arrogance of Keith Burgess with large, sporadic hand gestures, a booming voice, and an overconfident saunter. Erin Bracken elicits pity for her tragic character, Kaye Hamilton, with a soft-spoken tone, hunched shoulders, and somber face. Joanna Juarez deftly plays Olga Brandt with an authentic Russian accent with which she snaps sternly at many. Mattie (Veronica Perry) and Frank (Vidal Gallardo) aid the flow of the show by successfully balancing their stage work with their background roles. The peppy pair of Little Mary (Claire Sirna) and Big Mary (Samantha Nevarez) add comic flare to the show with their spectacular spirit. The outgoing Bernice Niemeyer (Hannah Butler) compounds this humor by popping up at just the right yet wrong moments and attracting attention with dramatic movements.

The Sound, designed by Roman Curiel, cleverly crafts the details of city life with the occasional car engine and sirens in the Bedroom scene as the noises blare through the open window. The Lighting, designed by Meghan Patrick and headed by Eimi Thompson, artfully accents Jean's photograph and powerfully punctuates Terry in the last scene. The hodgepodge of portraits and paintings on the main room's walls reflects the constant chaos of the Footlights Club.

Tri-School's rendition of "Stage Door" stresses that, if one wants something so much that they will "starve for it", then the dream will be achieved.

Dessi Gomez
Santa Margarita Catholic High School
Submitted for publication to Orange County Register

Tri-School's ‘Stage Door' crosses a new threshold

Tri-School's performance of "Stage Door" provides a glimpse into the lives of hopeful actresses who struggle to cope with the challenges of show business in 1930s New York. Each girl faces her own troubles as she fights for any job that will provide her with enough money to get by. Although they are isolated in their throes, a special bond unites the girls as they overcome obstacles in their roads to fame. As certain girls start to lose interest or pursue other things, one actress stays true to her dream, and her unwavering commitment certainly pays off.

Caitlin Crawley fits naturally into the role of Terry Randall with her ability to create strong connections with other characters like Jean Maitland and her father, Dr. Randall. Crawley skillfully conveys the wide range of emotions that her character feels, especially the passion and determination, with her speech, facial expressions, and posture. Alexandra Worden creates the conspicuous Jean Maitland with her smooth voice, graceful movements, and serene gazes. Brandon Martinez displays the arrogance of Keith Burgess with large, sporadic hand gestures, a booming voice, and an overconfident saunter. Erin Bracken elicits pity for her tragic character, Kaye Hamilton, with a soft-spoken tone, hunched shoulders, and somber face. Joanna Juarez deftly plays Olga Brandt with an authentic Russian accent with which she snaps sternly at many. Mattie (Veronica Perry) and Frank (Vidal Gallardo) aid the flow of the show by successfully balancing their stage work with their background roles. The peppy pair of Little Mary (Claire Sirna) and Big Mary (Samantha Nevarez) add comic flare to the show with their spectacular spirit. The outgoing Bernice Niemeyer (Hannah Butler) compounds this humor by popping up at just the right yet wrong moments and attracting attention with dramatic movements.

The Sound, designed by Roman Curiel, cleverly crafts the details of city life with the occasional car engine and sirens in the Bedroom scene as the noises blare through the open window. The Lighting, designed by Meghan Patrick and headed by Eimi Thompson, artfully accents Jean's photograph and powerfully punctuates Terry in the last scene. The hodgepodge of portraits and paintings on the main room's walls reflects the constant chaos of the Footlights Club.

Tri-School's rendition of "Stage Door" stresses that, if one wants something so much that they will "starve for it", then the dream will be achieved.

Gabby Romero
Santa Margarita Catholic High School
Submitted for publication to OC Cappies Facebook

Tri-School Highlights the Actor's Struggle in Stage Door

Tri-School Theatre's passionate performance of the classic play "Stage Door" explores the ever-present struggle between taking the path to success or standing by one's convictions.

The show follows the lives of struggling actresses living in New York City in the 1930's as well as the mutual animosity between the stage and the screen during the time period.

Caitlin Crawley as Terry Randall exudes a quiet confidence, distinguishing her from the hectic desperation of the other actresses at the Footlights Club. Her distinct and expressive emotions allow her to make unforgettable connections with the other characters and clearly depict her inner conflict of starring in pictures or remaining on the stage. Jean Maitland, played by Alexandra Worden, expertly channels Marilyn Monroe through her sensual movements and breathy voice. Brandon Martinez as Keith Burgess skillfully displays his character's growing arrogance as he becomes more prosperous. Worden and Martinez's haughty and conceited attitudes contrast with the ensemble's down-to-earth enthusiasm, emphasizing the divide between theatre and film.

Hannah Butler as Bernice Niemeyer asserts herself on the stage with her sharp, raptor-like movements and ridiculous entrances. Her physical humor was supplemented with Big Mary and Little Mary's hilarious banter. The duo, played by Samantha Nevarez and Claire Sirna, have a relationship that enhances the show's comedic quality whenever they shuffle onstage or rehearse in their ridiculous voices.

The cast's vivacious and exuberant performance is aided by the show's technical elements. Prop designer Jacquelyn Cutts perfectly highlights the chaos of the Footlights Club through the mismatched paintings decorating the walls of the set. The lighting, designed by Meghan Patrick, impressively captures the New York City atmosphere in the show. By creating a flickering red light against the curtains, she accurately depicts the constantly moving cars in the city that never sleeps. Patrick also expertly identifies the focal point of the scenes, particularly through the light narrowing on Crawley during her monologue.

Filled with vibrant comedy and compelling acting, Tri-School Theatre's "Stage Door" is an enjoyable show that provides humorous commentary on the struggle of pursuing success or sticking with one's beliefs.

Gabby Romero
Santa Margarita Catholic High School
Submitted for publication to OC Cappies Facebook

Tri-School Highlights the Actor's Struggle in Stage Door

Tri-School Theatre's passionate performance of the classic play "Stage Door" explores the ever-present struggle between taking the path to success or standing by one's convictions.

The show follows the lives of struggling actresses living in New York City in the 1930's as well as the mutual animosity between the stage and the screen during the time period.

Caitlin Crawley as Terry Randall exudes a quiet confidence, distinguishing her from the hectic desperation of the other actresses at the Footlights Club. Her distinct and expressive emotions allow her to make unforgettable connections with the other characters and clearly depict her inner conflict of starring in pictures or remaining on the stage. Jean Maitland, played by Alexandra Worden, expertly channels Marilyn Monroe through her sensual movements and breathy voice. Brandon Martinez as Keith Burgess skillfully displays his character's growing arrogance as he becomes more prosperous. Worden and Martinez's haughty and conceited attitudes contrast with the ensemble's down-to-earth enthusiasm, emphasizing the divide between theatre and film.

Hannah Butler as Bernice Niemeyer asserts herself on the stage with her sharp, raptor-like movements and ridiculous entrances. Her physical humor was supplemented with Big Mary and Little Mary's hilarious banter. The duo, played by Samantha Nevarez and Claire Sirna, have a relationship that enhances the show's comedic quality whenever they shuffle onstage or rehearse in their ridiculous voices.

The cast's vivacious and exuberant performance is aided by the show's technical elements. Prop designer Jacquelyn Cutts perfectly highlights the chaos of the Footlights Club through the mismatched paintings decorating the walls of the set. The lighting, designed by Meghan Patrick, impressively captures the New York City atmosphere in the show. By creating a flickering red light against the curtains, she accurately depicts the constantly moving cars in the city that never sleeps. Patrick also expertly identifies the focal point of the scenes, particularly through the light narrowing on Crawley during her monologue.

Filled with vibrant comedy and compelling acting, Tri-School Theatre's "Stage Door" is an enjoyable show that provides humorous commentary on the struggle of pursuing success or sticking with one's beliefs.