The Women
at Justice High School

Reviewed on March 22, 2019

Kara Murri
McLean High School
Submitted for publication to Cappies News

Have you heard? Stephen Haines is having an affair, Edith Potter's husband flirts with all her friends, and Mr. Howard Fowler is not everything his wife wants him to be. Dominated by gossip, chitchat, and hearsay, Justice High School's honest, genuine production of "The Women," was simply a delight to watch, according to anyone who knows anything.

Written by Clare Boothe Luce, an author politician, and US Ambassador, the all-female play "The Women" was somewhat of a novelty for its time. The show first premiered in 1936, and has been revived and adapted into multiple movies and television shows since then. "The Women" is set New York City as jazz and Hollywood are on the rise, but the play also discusses the not-so-glamorous topics of the oppression of women and social stratification.

Our story centers around an upper-crust posse of women as they prattle on about everything involving men. But once a gossipy manicurist accidentally discloses Mr. Haines's affair to Mrs. Haines, their silver-platter lives are rocked by messy marriages, sudden scandals, and disastrous divorces. Each ends up Reno-vating their lives in Nevada, finding themselves transformed by idle gossip.

Whether perpetually pregnant, an underappreciated writer, a tattling chatterbox, or simply a good wife, every actress crafted her own distinct persona as a member of Mary's bridge table club. Together, they possessed especially compelling dynamics in group scenes. Equipped with individualized historical accents, Justice's cast handled lengthy dialogue-based scenes admirably, and maintained energy in comedic scenes, such as an unsuccessful exercise class and several catfights.

Natalie Baumeister brought an impressive level of emotional maturity to her performance as the wife-turned-divorcée Mary Haines. Upon learning of her husband's affair, her content disposition shifted to resentment, heartache, cynicism, and finally to confidence, all of which Baumeister performed with remarkable dexterity. It was a pleasure to watch her develop Mary's touching character arc.

Naomi Bertha had no reservations in her wildly entertaining performance as the back-talking, catty friend Sylvia. Her honeyed tone veiled biting insults, and when those didn't suffice, Bertha was committed to biting in real life, kicking and screaming during multiple catfights. Naomi Bertha was extremely engaging in multiple scenes, convincing the audience of her powerful comedic ability.

Polishing off the cliché role of a young, blonde, seductress was Tess Wadson, who made the character Crystal Allen stand out from the crowd. It was crystal clear that Wadson knew how to wield her sultry voice and charming mannerisms to capitalize on her signature charisma and allure.

Adding humor during tense moments were characters such as Nancy Blake (Leilani Curran), who landed sarcastic one-liners, Lucy (Tracy Albarracin), whose off-key ballad was simply charming, and the Countess Flora (Andrea Pedemonte), who remained a consistent source of comical pomp and over-the-top physicality.

The splendid technical work at Justice High School enhanced the actors' performances greatly. A capable crew of butlers orchestrated the versatile set and props during numerous scene changes, and their tomfoolery elicited many chuckles as they primed the stage for the next scene. Although sound crew encountered difficulties at times, the successful use of several microphones and various sound effects was commendable. A top-notch costume crew managed to match various characters' temperaments and deftly maneuvered multiple quick-changes, even featuring a semi-realistic "bathtub dress" that filled the tub to the brim with blue tulle.

Warning against the dangers of gossip and vanity, Justice High School's production of "The Women" was amusing and empowering, leaving the women (and men) of the audience with a sense of fulfillment.

Kristen Waagner
McLean High School
Submitted for publication to Cappies News 2

In a whirlwind of gossip, deception, and high-society intrigue, Justice High School's "The Women" is a heartfelt comedy, designed to celebrate femininity in the Depression era. Taking on pregnancies, divorces, affairs, and cat-fights, the talented cast of larger-than-life ladies proved that though men may have the power, it's the women who rule the world.

The first female Congresswoman to receive the Presidential Medal of Freedom, Clare Boothe Luce based "The Women" loosely around her experiences as a socialite in New York City. Featuring caricatures of urban wealth in an all-female cast, the 1936 play examines the toxic culture hiding just behind the seemingly charmed lives of the Manhattan upper crust. We begin as Mary Haines, a sensible mother of two, discovers that her husband of eight years has been having an affair. As Mary deals with her disintegrating marriage and backstabbing group of girlfriends, rumors spiral out of control, resulting in over-the-top antics that must be seen to be believed.

At the center of the action was Natalie Baumeister as Mary, whose genuine maturity and optimistic demeanor set her apart from the elitist society. Her well-developed relationship with her daughter, played by the delightfully sassy Sara Kaufman, and her burgeoning friendship with the above-it-all Miriam (Bella Lanoue-Chapman) showcased her meaningful connection with the other actors.

A vindictive foil to Mary's kindness, Naomi Bertha as Sylvia, delivered the most hilarious moments of the night. Talking at a breakneck pace, her subtle maneuvering and not-so-subtle insults were raucously entertaining as she chatted nonstop to an increasingly frustrated exercise instructor (Zoe Greer). From the radical feminist Nancy (Leilani Curran), to the perpetually pregnant realist Edith (Susie Herz), to the sultry and carefree Crystal (Tess Wadson), each woman played her various ages well and sported a dialect accurate to her class background. Particularly remarkable were Bertha's transatlantic elocution, en vogue among the upper class of the early twentieth century, and Wadson's husky drawl, reminiscent of Depression-era icon Mae West.

Creative set changes were executed by an ensemble of eager butlers, clad in bow-ties and tuxedos. Musically accompanied by pieces like Wagner's "Ride of the Valkyries" and, interestingly, "Hava Nagila", the group of butlers performed slapstick bits between scenes, including a cleaning battle (with feather dusters as the weapon of choice) and the investigation of a murder. A lighthearted addendum to dramatic moments of the play, the all-male group of butlers paid tribute to silent-era films, efficiently and inventively introducing each new scene.

The costumes of "The Women" introduced character traits and provided context for the societal background of the story. As a newly independent Mary is introduced in Act II, she wears a power pantsuit, symbolizing that she now, literally "wears the pants" in her life and relationships. Though there were some mishaps with microphone cues, the actors never broke character and continued the action well.

What does it mean to be a woman? For each of these cosmopolitan socialites, femininity has a different definition. Justice High School's production of "The Women" brings the comedy of the past into the present, providing a glimpse into an elite world that few know and even fewer understand.

Elizabeth Germain
West Springfield High School
Submitted for publication to FCPS Community News

"You know how girls are: babble, babble, babble, they never let up for a minute!" In the 1936 play, "The Women", by Clare Boothe Luce, performed recently at Justice High School, it's babble and gossip that drives the story. Mary Haines is a happy wife and the envy of her "friends," most especially Sylvia, who discovers that Mary's husband is having an affair with a woman named Crystal Allen, and ensures that Mary hears about it through a particularly chatty manicurist. This leaves Mary with a difficult choice: does she ignore her husband's infidelity or does she divorce him?

Although the topic of discussion in the show is frequently men, the cast of characters is all female and the devotion of each actress to her character is what brought the show together. This devotion to character was especially evident in Mary's friend group, which consisted of Sylvia (Naomi Bertha) the manipulative gossip, Edith (Susie Herz) the perpetually pregnant wife, Nancy (Leilani Curran) the cynical feminist, Peggy (Olivia DePasquale) the innocent newly-wed, Miriam (Bella Lanoue-Chapman) the blunt comedy star, and Countess Flora de Lage (Andrea Pedemonte) the eccentric older woman with an ever-growing list of ex-husbands.

Natalie Baumeister skillfully portrayed Mary. With exceptional maturity, she illustrated the genuine struggle of a good woman trying to do what is right while surrounded by a group of "friends" who aren't so friendly. She created believable relationships with every other woman in the show, whether they be friend, enemy, or 'frenemy'. The queen 'frenemy', Sylvia Fowler, was expertly portrayed by Naomi Bertha. Her crisp transatlantic accent, unremitting energy, snappy 1930's fast talk, and over-the-top dramatic flair brought this flippantly cruel socialite to life. Her physicality, particularly in her flailing about during an exercise class and in her cat-fights with the other woman, highlighted the show's comedy.

Andrea Pedemonte stood out as the Countess due to her high energy and hilarious physicality, especially when she dramatically tossed herself onto the bed, hysterically lamenting the loss of her most recent husband's affection. Tess Wadson embodied Crystal Allen with a smug sultry air and a comfortable stance that emphasized her lower-class background. Also of note was Sara Kaufman as Little Mary. Kaufman convincingly portrayed a child, and her connection with her mother was sweet and genuine. When she clashed with Crystal Allen in the bathroom, her feistiness made the scene memorable.

The costumes by Zoe Greer and Naila Ohmke accentuated the personalities of each character. Mary wore earth tones to highlight her down-to-earth nature and Sylvia was dressed in bold solid colors--from ruby red to kelly green--to highlight her love of drama. The Countess's flamboyant style elevated her eccentricity. A particularly outstanding costume piece was Crystal's "bathtub dress," a strapless gown that gave the appearance of a bath filled with water. Set changes were performed by an ensemble of butlers, the only males seen on stage, who engaged in silly Charlie-Chaplin-esque antics as they moved furniture and paintings to transition to the next scene.

The actresses' maturity in playing characters much older than themselves and their understanding of the comedy of a show written nearly a century ago made "The Women" a night to remember. Justice High School tackled a difficult show, never letting up for a minute in their portrayal of the selfish snobbery of the social elite and the danger of toxic friendships. The show was all babble indeed, but what entertaining babble it was.

Audrey Brown
Wakefield School
Submitted for publication to Patch.com

A group of elegant ladies crowded around a bridge table, chatting away about the town's latest news. It was the nineteen-thirties, and everyone but Mary Haines knew that her husband was cheating on her with a glamorous sales clerk. Bubbling with gossip and a lighthearted sense of friendship, the actresses in Justice High School's "The Women" charmed the audience and easily rejuvenated the play's somewhat dated sentiments for a modern-day audience.

The Women was authored in 1936 by Clare Booth Luce and aimed to comment on the daily struggles in women's social lives. Featuring an all-female cast, the play combines dialogues of women across a range of social classes and temperaments to tell the story of Mrs. Stephen Haines, who wants nothing more but to love her husband even after she learns that he has been cheating on her with the beautiful blonde, Crystal Allen. Showcasing a wide range of memorable characters, Justice High School created a fast-paced, entertaining experience that allowed the audience to connect the character's struggles with similar ones women face today.

Mary Haines herself, played by Natalie Baumeister, performed commendably, developing distinctive relationships with her friends and her daughter that advanced her character as a determined but likable woman whose wit earned her prestige in society. Special attention was given to her costumes, and it was noted that the earthy tones of her clothing reflected her composed disposition and shifted from skirts to pants after she freed herself from her marriage.

Another outstanding performance was given by Naomi Bertha as Sylvia Fowler. Depicting a high-energy, gossipy woman, Bertha played her role with such ease that the audience could have believed that she hardly had to act to portray her dramatic, manipulative character. She commanded the stage with each line of fast-paced dialogue and expert physicality. A particularly enjoyable scene was one showing her exercise class, when Sylvia continually frustrated the teacher by relaying all the latest news instead of focusing on her movements; her legs flopped out of time to the music while her words nearly tripled the pace of it.

Other notable characters were Tess Wadson as Crystal Allen, who both moved and spoke in a characteristically sultry way that distinguished her from the other women; Leilani Curran as Nancy Blake, who inspired the audience every time she stood onstage by delivering clever remarks about life and womanhood; and Andrea Pedemonte as Countess Flora de Lage, who brought a lighthearted energy that kept the audience laughing even as she wailed from grief and flopped onto an ottoman after finding out that her fourth husband had begun cheating on her.

The costumes on the whole were detailed and fitting for each character, and some women consistently wore bright colors that matched their personalities, while others' color schemes were more muted. The props, too, were extremely detailed and commendable: many characters ate real dishes of food on the stage, and when the Countess de Lage wiped her eyes from tears, a distinct smudge of mascara was seen on the napkin. Although there were some microphone mishaps, all of the students still articulated their lines clearly so that the story was brought forth.

The bridge game concluded with each lady a bit ruffled; what followed was a labyrinthine account of Mary Haines' marriage and of the struggles she and her friends faced along the way. Justice's actresses updated this timeless production with ease and a taste of drama.

Nabeeha Asim
Dominion High School
Submitted for publication to Falls Church News Press

Concealed feelings of love, loss, marriage, separation of used-to-be lovers, and friendships are all illustrated in the amazing production of "The Women", held by Justice High School.

The 1936 comedic play, originally written by Clare Boothe Luce, touches base on the feelings of women in the 1930s. Providing a compelling story of lust, love, and, inevitable gossip, that does not include any men, it follows the journey of how a rumor turns into reality, how reality changes within a split second, and how karma takes its toll in between. The play is about a woman named Mary Haines who belongs to a higher social class and, therefore, is portrayed to be oblivious to the chaos around her. She is married and vastly in love with her husband, who is a manipulative cheat. Through the journey of getting to know herself and her true friends, Mary finds that her voice, though at some moments is controlled by the people in her life, is truly her own.

Justice High School did a brilliant job of illustrating the different facades that women plaster on their true selves on a daily basis for their husbands and their families. Justice High did a great job to take the audience back in time and have the characters confide in them. From their scene changes to their hilarious snippets of ‘girl-fights', they were enticing to the eye and compelled roaring laughter on that stage. Each personality portrayed was radiant throughout the entire play and had the audience on their toes for the next wisecrack joke.

Natalie Baumeister, who played Mary Haines, did a brilliant job of capturing the emotions that were dealt with throughout the thickening plot. From expressions to ambiance as a whole, Baumeister was able to capture the feeling of a woman and the loss of her love to another woman. The comedic aspects seeping through the character of Sylvia Fowler, who was played by Naomi Bertha, triumphed the crowd and was spectacularly hilarious. A well assigned role that was more brilliantly portrayed through her diction and style of ‘fast-paced' talking, which replicated the late 30s stylistic habits. Bertha was especially phenomenal within her exercise scene in act one scene five, when she was caught between the ropes of her friendships and gossip.

With supporting actresses such as Countess Flora De Lage, played by Andrea Pedemonte, who was an unforgettable character that blew the room to bits and pieces, the play was simply complete and delightful. With her wit and charm, her brilliant acting was what brought the audience to life. Additionally, The Wolfpack stage crew helped the comedy stand on its own two feet with the uplifting scene changes.

The makeup and costumes were extremely well done and fit every single character's personality, wit and charm. The ballroom dresses lit up the room and the change of Mary's outfits before, during, and after her divorce created a beautiful depiction of time and the justice it serves on the mind. The creativity behind the revolving set scene was outstanding and saved a lot of time for the scene changes in general.

Overall, Justice High School created an ingenious atmosphere for a comedic play that rested upon the talk of men and no sign of them at all within their realities. They created room for growth in the mind and left the audience wanting more of that ever-so-lasting laughter.

Syd Kirk
McLean High School
Submitted for publication to Connection

According to "The Women," every woman worries about her beauty, growing old, and losing her man. Justice High School's comedic production was both a criticism and a celebration of females that highlighted how women acted and were treated in a very different society from today.

Written in 1936 by Clare Boothe Luce, "The Women" is a comedy about the struggles of socialite women in the 1930s. The original Broadway production opened at the Ethel Barrymore Theatre in 1936 and has since spawned many film adaptations, including a very popular version starring Norma Shearer and Joan Crawford. In a time where gossip and treachery run rampant, Mary Haines suddenly discovers her husband's infidelity. As Mary navigates her manipulative relationships with other women as well as the broken bond between her husband, she learns who her real friends are. The show follows a group of women who seem to be concerned about one thing: men.

With an all-female cast, the show was characterized by its strong leading ladies. Natalie Baumeister as Mary Haines was a standout of the night. Baumeister's mature presentation of her character balanced Mary's stoic moments with times of sincere hurt, portraying the emotional depth of women. Alongside Baumeister was Naomi Bertha as the fast-talking rumormonger Sylvia Fowler. With a snappy attitude, energetic disposition, and pompous personality, Bertha was a joy to watch on stage. Her over the top reactions and hysterical facial expressions made for a hilarious representation of privileged upper-class women.

All the ladies worked in tandem to develop meaningful relationships and display a psychoanalysis of the way women treat women. Crystal Allen, the sultry mistress, was played by Tess Wadson, who differentiated herself from the others by portraying an authentic class distinction. Her fiery tone and strong-willed personality kept the audience engaged throughout the show. The Bridge Club was full of fun, extravagant characters. The ever-pregnant Edith, newlywed Peggy, and cynical Nancy were played by Susie Herz, Olivia DePasquale, and Leilani Curran respectively. The three worked astonishingly well with one another, yet each actress stayed devoted to her quirk.

Two particularly notable technical elements were costumes and set decoration. Both departments were faced with the difficult task of transporting the audience to the 1930s, and both succeeded. Costumes presented beautiful period pieces as the numerous costume changes were handled with efficiency and expertise. Set decoration was simple but elegant as each scene contained subtle changes in artwork or various accessories.

Justice High School's production of "The Women" reminds us of how far women have come in a society in which they were totally dependent on their husbands. "A woman is compromised the day she is born," so she must stay determined and resolute despite anyone else's opinion.

Helen Ganley
McLean High School
Submitted for publication to Fairfax County Times

Until recent herstory, women were defined by the ring on their finger and the man that gave it to them. When those men decided to stray from the bonds of marriage, however, women were the ones left to pick up the pieces. Justice High School's production of "The Women" is a stark reminder of a time gone by and just what women had to do to preserve their status and dignity.

Premiering in 1936, Claire Boothe Luce's "The Women" is a comedy of manners that comments on the struggles of Park Avenue socialites and the gossip that both drives and impairs their relationships. Although men are frequently discussed throughout the show, they never appear, leaving a strictly all-female cast. The play follows Mary Haines, a wealthy woman who is unaware that her husband is having an affair with shopgirl Crystal Allen. When her friends discover this from a fast-talking manicurist, they arrange for Mary to hear the gossip. Mary must decide whether to confront her husband and if, at the end of it all, she can find a way to make their relationship work.

Serving as mother, daughter, wife, and friend, Natalie Baumeister's emotional dexterity propelled her relationships both on and offstage. Deftly transitioning between maternal maturity, when talking to her daughter, or tense frustration, when aggravated with her friends, Baumeister's elegance and grace throughout the show was commendable. As the notorious gossip, Naomi Bertha, playing Sylvia Fowler, was a welcome contrast to Baumeister's refinement. Whether she was smugly gossiping about her "friends" behind their backs or shrieking during a catfight, Bertha's chaotic energy and enthusiasm embraced the comedic aspect of the show.

Whether their relationships with their men or each other were in turmoil, Mary's group of friends never failed to meet for Bridge Club: Sylvia, the gossip; Edith (Susie Herz), the endlessly pregnant; Nancy (Leilani Curran), the feminist writer; and Peggy (Olivia DePasquale), the wide-eyed newlywed. Each woman embraced their personality and offered fitting advice and comfort to Mary on her journey to save her marriage. Andrea Pedemonte, playing The Countless Flora de Lage, employed exaggerated physicality and facial expressions, flopping over futons and mournfully describing her husband's adultery, inciting raucous laughter. During scene changes, The Butlers would take the stage, performing silent pantomimed scenes while simultaneously acting as the run crew, presenting an enjoyable adaption to the modern classic.

The tech crews had the difficult task of transporting the audience to the 1930s. The minimal set effectively transitioned between spaces by replacing small pieces of artwork or furniture. Period-appropriate costumes enhanced the party scenes, while a unique bathtub dress laid the foundation for a comical and enjoyable scene. Edible props provided realness to teatime and brunches, while glued down eyebrows were a hint at the era's fashion trends.

A comical panorama of the metropolitan world of another time, Justice High School's production of "The Women" serves now not as a reminder of what a woman's place in the world should be, but instead is a reminder of how far women's rights have progressed and the further equality that women still seek today.