The Three Musketeers
at Somerset Academy

Reviewed on February 6, 2019

Eva Daskos
The Sagemont School
Submitted for publication to Florida Theater On Stage

How do you protect your honor? Through dangerous duels, perilous adventures, or quests from the queen? However you prove your worth, Somerset Academy proved their honor in their fantastical rendition of "The Three Musketeers."

The story of "The Three Musketeers" is well known for good reason; this classic story shows that with friendship anything is possible. The chosen version of this play was written by Ken Ludwig and adapted from the historical fiction novel written by Alexander Dumas. Ludwig's interpretation of "The Three Musketeers" includes a strong female character and contemporary views on life in the 17th century to communicate the beloved story into today's viewpoint. The story follows how one countryside boy proves his honor in order to be a part of the Musketeers. During his quest, he encounters treachery, true love, and hilarious mishaps.

D'Artagnan spent his days running from his sister on his family's farm, but now he's off to the precarious streets of Paris, with his little sister Sabine trailing behind him. Victoria Vitale, playing D'Artagnan, had the difficult task of playing a male role, which she accomplished with high believability as she changed small details to make a male presence. Vitale always brought a sense of pure energy whenever on stage, making up for some of the low energy points in the performance. Although this production had no microphones for the actors, Vitale used diction and projection to make sure every word of D'Artagnan's story was heard.

D'Artagnan meets the Musketeers by accident and does not make a good first impression. The Musketeers are led by Athos, the most sensible in the group. Daniel Calderon, playing Athos, took advantage of his comedic character but still displayed his wide acting range as he guided us through his character's story. D'Artagnan's eager little sister Sabine, played by Elena Ruiz, delighted the audience with her witty comedic moments. In Sabine's fight scene with the evil Milady, played by Nina Alonso, both actresses exhibited a skillful stage combat routine that stood out amongst a very action-packed performance.

Somerset Academy only had two days to prepare this theater for their production. The added difficulty of performing in an unfamiliar space explains some technical errors that this production suffered. Lighting by Maria Sierra & Co. offered suitable lighting to the production. Sound by Nathalie Collado & Co. had difficulty at the beginning of the show with volume, but they quickly noticed and adjusted the volume to a more suitable level. The tech crews of "The Three Musketeers" are to be commended for making the most of their circumstances.

The action-packed story of "The Three Musketeers" teaches audiences that through friendship you too can combine forces to fight evil and fight for your friends. Somerset Academy's energetic performance of this well-known play is sure to be honored for ages and the teamwork they exhibited brings meaning to the phrase, "All for one, and one for all!"

Annie Sudler
Calvary Christian Academy
Submitted for publication to Florida Theater On Stage

Daring sword fights, gallant gentlemen, passionate lovers, sinister adversaries. These things all have something in common- they are all well-known commodities in both classic and contemporary literature. But all those tropes have to have a hearth, and it could be said that they got their start in Alexandre Dumas' novel "The Three Musketeers." Somerset Academy's production of "The Three Musketeers" entertained audiences with these wonderful literary elements that were so interestingly portrayed on the stage.

Written in 1844 by French author Alexandre Dumas ("The Count of Monte Cristo," "The Nutcracker"), the novel was adapted into a play by Ken Ludwig. Set in 1625, the show follows a young man named D'Artagnan who leaves his home along with his little sister, Sabine, to become a Musketeer. Though that doesn't initially work out for him, he sets out with three of the Musketeers, Athos, Porthos, and Aramis, to defeat the evil Cardinal and henchmen. He duels, saves lives, and even falls in love on his way to eventually becoming a Musketeer.

D'Artagnan (Victoria Vitale) is a multi-faceted character that Vitale portrayed with grace and wit. Dripping with masculine charm, she played the traditionally male role easily. The titular Musketeers, Athos, Porthos, and Aramis (Daniel Calderon, Nicolas Baquero, and Gregory Holt, respectively) also had commendable performances. They each had a distinct character arc and were committed to their roles. Sabine (Elena Ruiz) and Milady (Nina Alonso) were also great characters, with comedic moments and physical scenes that were very well done. Though no character was fully exempt from sound issues due to occasional poor projection, they covered for it. Even if lines were missed by the audience or props were forgotten offstage, the physical acting and tone of the rest of the scene helped the flow of the show continue.

The technical elements of the show were also admirable ventures. The set, props, and costumes, though not completely period-accurate, were still aesthetically pleasing and functional. The sound and lights were also student-done, and despite some technical difficulties, they pushed through and ended up looking and sounding quite nice.

"The Three Musketeers" is a timeless tale that has been depicted in countless adaptations, spinoffs, and spoofs. This can make it hard to do an unbiased production of the original, but Somerset Academy's students did an applaudable job at it. The friendship of D'Artagnan and the Musketeers, as well as the chemistry between actors, truly embodied the spirit of the story- all for one, and one for all!

Vanessa Morris
Deerfield Beach High School
Submitted for publication to Florida Theater On Stage

"The Three Musketeers" follows the life of D'Artagnan, the son of a once great Musketeer. He is following in his father's place as he is trying to become a Musketeer himself. D'Artagnan and his sister go out on their own into the world and find adventures left and right. D'Artagnan ends up finding the Three Musketeers and he proves himself throughout the play through valiant acts of bravery. Somerset Academy managed to pull off such a difficult script with creative solutions and skill, incorporating a once chauvinist idealized storyline to have a much more feminist and female-progressive plot.

D'Artgnan was played by Victoria Vitale. She had done such a great job at acting her role, I almost forgot D'Artagnan was being genderbent at all. Her projection and energy were always on point and her chemistry with everyone she had interacted with was perfect. She portrayed the eager musketeer fantastically all throughout and there was not a beat missed. D'Artagnan's sister, Sabine, who was played by Elena Ruiz had such great energy and made a scene twice as comical. Her diction and comedic timing was applaudable and really aided in a scene's fluidity.

There is one actress that truly left me in awe. Nina Alonso played Milady Sofie, but it felt like she WAS Milady Sofie. Her acting was truly commendable and the way she had such a sinister aura had made the scenes she was in shift as soon as her presence was made. She commanded the stage and had done so successfully without upstaging anyone. Her chemistry with other characters was magnificent. Her diction and low octave voice gave for an even better experience. Her performance was definitely one of the highlights of the show.

Choreography is often overlooked, but Somerset Academy made it hard to ignore. The outstanding fight and fencing scenes were amazingly choreographed and there were many flinch-worthy falls that really enriched a scene. The chemistry helped the choreography, but it was so well rehearsed the flow of a fight had often made it simply seem like a fight and not a fight being acted out.

Somerset Academy had traveled to a different school to perform the play and had very little time to rehearse in the new environment. The way they adapted and were able to execute such a difficult play was amazing. Their props were creative and their set was ingenious. Due to the new setting, the difficulty in maneuvering the sound and light set is a given. Unfortunately no one can escape the tribulations of technical difficulties, but with some resilience, Somerset Academy was able to make the show amazing.

I was very impressed with the professionalism showed onstage in regards to the entire casts' ability to have near perfect diction and projection. It is difficult to maintain steady audio levels with a mic pack, and even more difficult without. They were able to do it without a hitch. The cast's chemistry was on point as was their choreography and stage presence. Somerset Academy had done a marvelous job at swerving around obstacles and performing a great play.

Amanda Kopelman
NSU University School
Submitted for publication to Florida Theater On Stage

Based on Alexandre Dumas's "The Three Musketeers," published in 1844, Ken Ludwig, a two-time Olivier Award-winning playwright, established a contemporary twist on the classic tale in play-form. At nine-years-old, Louis XIII is appointed as King of France in response to the assassination of his father, King Henry IV in 1610. Due to Louis's age, his mother, Marie de' Medici, is required to oversee his position as King. Just a few years before the beginning of Ludwig's play, King Louis XIII appoints Richelieu as Cardinal of France; in this aspect, the two work closely with one another; however, because the Cardinal is an intermediate between Marie and Louis at the time, uncertainty of accurate communication allowed for the mastermind craft that is "The Three Musketeers."

Somerset Academy's selection of Ludwig's "The Three Musketeers" opened in December of 2006 at England's Bristol Old Vic; the adaptation engages modern audiences with the classic swashbuckler through the combination of historical accuracy and contemporary concepts.

Period-appropriate music signals the opening of Act I of Somerset Academy's, "The Three Musketeers." Bright lighting signals the cheerful start of the play, leaving D'Artagnan, played by Victoria Vitale, and his parents onstage in preparation for his journey to the King of France. Vitale's vibrant personality and innocent-yet adventurous facial expressions allow for the most accurate portrayal of the story. As D'Artagnan's sister, Sabine, played by Elena Ruiz, skips onstage, a clear distinction is made between the sibling's personalities; the young actors, Vitale and Ruiz, made this very apparent not only by their fantastic acting abilities but by the costumes they were wearing. For the most part, period-appropriate costumes were worn by the cast, but the attention to detail made by the costuming department allowed for this play to shine, most prominently highlighted by the actor's period-appropriate swords and their belts. The actors, in conjunction with the sound and stage management team, did a near-professional job of perfectly timing their actions with sound effects, making it seem as if the sword battles were playing out live on stage.

With the introduction of the Three Musketeers, Athos (Daniel Calderon), Porthos (Nicolas Baquero), and Aramis (Gregory Holt), Somerset's play was confirmed to live up to the hilarious, yet mysterious nature of Ludwig's rendition. Aside from the heavy shadows that covered the majority of the Musketeers faces, Calderon, Baquero, and Holt's distinct personalities compensated for this technical difficulty, forcing out laughter from audience members, all while the cast remained in character and acted professionally. After each long scene change, the action on stage was energy-packed, allowing for the buildup of the play's suspense.

With great personalities from Cardinal Richelieu (Kenneth Ninomiya) and Milady (Nina Alonso), suspenseful moments were carried out to their fullest potential with incredible facial expressions; however, some makeup techniques easily confused male characters with female characters accounting for some confusion. Regardless, Alonso did an impeccable job of becoming the villain the audience loved to hate.

The most valuable moments in a play encapsulate emotion, not only from the actors but from the audience, as well; Somerset Academy's "The Three Musketeers" exceeded the expectations of this statement. With the help of not one, but all departments, a great performance was put on; "One for all, and all for one," was truly the secret behind the success of this production.

Melanie Weber
Marjory Stoneman Douglas High School
Submitted for publication to Florida Theater On Stage

"All for one and one for all, united we stand, divided we fall." Chronicling the adventures and exploits of four swashbuckling heroes, Somerset Academy's production of "The Three Musketeers" epitomizes the importance of friendship and allegiance.

Written in 1844 by Alexandre Dumas, the historical adventure novel-turned-play first opened on Broadway in 1928 and subsequently ran for 318 performances. The classic story revolves around a young, ambitious boy by the name of D'Artagnan as he travels from the small town of Gascony all the way to Paris in pursuit of his dream of one day becoming a King's guard. Along the way, he unexpectedly befriends three of the King's most admirable guards, the Three Musketeers. With teasers and cliffhangers at every corner, the serialized escapade leaves audience members at the edge of their seats as D'Artagnan becomes entangled in both royal affairs and elaborate clerical schemes.

Leading the show as D'Artagnan, Victoria Vitale embodied her honorable character and created a believable male protagonist, despite the difference in gender. Even in more physically demanding scenes that consisted of wonderfully executed sword fights, Vitale's confident physicality and luminous energy never faltered. By displaying impressive connections with all of her on-stage counterparts, including Elena Ruiz as Sabine and Jade Russian as Constance, Vitale's interactions with others mirrored her own character's growth as the show progressed.

Commanding the stage as D'Artagnan's delightful comrades, Athos (Daniel Calderon), Porthos (Nicolas Baquero) and Aramis (Gregory Holt) displayed great comedic timing and possessed credible chemistry that truly highlighted their camaraderie. Whether it was Baquero's hilarious intoxication or Holt's awkward, flirtatious interactions with love-struck Sabine, the comedic trio had memorable presences in all their scenes. Another noteworthy performance was that of Nina Alonso as Milady. From stealing the Queen's diamonds to standing face to face with her former husband, Alonso's captivating believability was prominent from her most evil moments to her most vulnerable.

Although at the beginning of the production there were a couple of postponed cues or instances in which the background music overpowered the dialogue, the crew quickly and efficiently corrected their mistakes. Overall the technical aspects of the show played an integral part in conveying the atmosphere of 17th century Paris. The set, designed by Aracely Reyes-Rodriguez, Victoria Vitale and Kayley Ulett was simple, yet effective in establishing the numerous locations in which the story took place, while the costumes added vibrancy and aided in discerning social class.

With bold performances from the cast and wonderful execution from the crew, Somerset Academy's production brought the audience on an entertaining, inspiring adventure and left the everyone wondering, what will D'Artagnan and the three musketeers do next?