Emotional Baggage
at Thomas A. Edison High School

Reviewed on May 7, 2021

Justin Pokrant
Westfield High School
Submitted for publication to Cappies News

Perhaps mankind is interconnected by a mysterious force, an unspoken language that binds us all. Imagine a train station: bustling herds scramble from shuttle to shuttle, their frenzied squabbles echo through the cavernous abyss. While the phenomenon may be dismissed as nothing more than an endless network of dreary tunnels, Thomas A. Edison High School's abstract performance of Emotional Baggage searches for a deeper meaning.

Illustrated entirely through non-verbal storytelling, Emotional Baggage, a one-act play written by Lindsay Price, tells the story of seven strangers from various walks of life who meet in a train station; rather than traditional luggage, they each carry their own "emotional baggage." From a hopeless janitor confined to her dead-end job to an ex-Hollywood star longing for her return to the spotlight, the audience is introduced to a variety of pertinent plights through the integration of pantomime and various technical elements.

Intrigued by the idea of performing a show without spoken dialogue, the cast and crew opted to film an in-person performance which followed COVID-19 guidelines. To overcome the limitations of the pandemic, the actors utilized transparent masks that helped the audience see their facial expressions. While the plot was somewhat discontinuous, the cast's dynamic spirit and commitment to conveying their characters' narratives helped to shed light on the complicated story.

As soon as she stepped onstage, Isabelle Anderson (playing Living in the Past) commanded the spotlight (literally). Paired with the precise timing of lighting cues and sound effects, Anderson exhibited over-the-top energy to match her character's unrestrained flamboyance. Later in the show, Porter Bertman (in Overbearing Mother) embodied his character's hesitant nature as he explored life beyond his overbearing mother. To tie each story together, Jada Paul's range of physical expressions demonstrated the freedom of letting go in her role as Well Rounded: letting go of the past, letting go of expectations, and letting go of false realities. For much of the performance, Paul's empathic presence brought life to the stage.

The students from Thomas Edison implemented many technical elements throughout the show. By utilizing an on-stage PowerPoint, stage manager/technical director Aiden Yancy took an innovative approach to clarify the intricacies of the plot; the slideshow doubled as both a set piece and a way to establish characterizations. While certain elements were slightly domineering at times, Cesar Canales used his compositional abilities to fill the void of oral storytelling. The simplistic set design ensured that no attention was diverted away from the story itself, and by assigning each character their own comfort item, props helped distinguish each persona. In one defining moment, a ukulele case unified the characters; supported by the use of a spotlight, sound, and the cast's synchronization, the audience observed how one prop fused seven worlds into one. Although the recording was unable to fully encapsulate the essence of the show, the pair's technical choices reflected and reinforced the abstract nature of the performance.

As a child clings to its security blanket, we too find ourselves gravitating towards familiarity. For the seven life-lost misfits at the train station, realities converged and suddenly there was a light at the end of the tunnel. Thomas A. Edison High School's unconventional performance of Emotional Baggage reminds us that regardless of where we have been and where we are going, we all carry emotional baggage.

Ella Fosse
Lake Braddock Secondary School
Submitted for publication to Cappies News 2

Think of all the theatre greats: Shakespeare, Chekov, Ibsen. If there's one thing those playwrights relied on to create the literary masterpieces loved and extensively studied today, it was the element of dialogue. When that is taken away, what is left? The answer lies in Lindsay Price's "Emotional Baggage", an exuberant play recently produced by Thomas Edison High School, which is composed solely of physical motion.

This one-act was originally published in 2013 by Lindsay Price. As it is a play that challenges actors to portray a story without dialogue, it is very popular among theatre classes and professional companies alike as a way to stretch the abilities of the players. In this COVID-19 cautious era, it was nice to see Edison produce this on a physical stage with the trademark clear masks so often seen in theatre these days.

It would be remiss to begin this critique without first praising the ensemble of this show. Due to the lack of spoken word, the entire ensemble had to work together flawlessly in order to move the show along and pull the audience's focus to one plot point or another. They did this through a series of exaggerated pantomime and exciting stage tableaus which, along with the lighting, drew focus excellently. With each ensemble member working hand in hand, it was easy to see that hours of dedication were put into this performance in order to make it cohesive, working even like clockwork.

Although each role was generally equal in stage time, there were a couple of standout actors who really leaned into the physical aspect of the play and provided an exciting, insightful performance. One such actress was Isabelle Anderson, who played a character with the struggle of "Living in the Past". She perfectly encapsulated the false confidence and thinly veiled fear of someone desperately holding onto their halcyon days, quite literally trying to run back into the spotlight with a desperation characteristic of someone who doesn't want the party to be over just yet. Another notable actress was Corina Briscoe, who portrayed a character who struggled with "Can�ft Get Over 1st Love". From the moment she stepped on stage, it was clear that she was lovestruck through and through, making the audience feel for her as the object of her love walked away, leaving her broken and desolate. Her performance was truly relatable and might have even stung a little bit for watchers familiar with the emotion.

Edison took full advantage of the theatre's resources in this production- after performances being forced to take place behind Zoom screens with little space for technical prowess, who could blame them for going all out? One of the most emphasized aspects of tech in "Emotional Baggage" was the lighting, designed by stage manager Aiden Yancy. Yancy's design utilized the spotlights extensively in a variety of colors which adhered to the theme of the scene. For instance, during Briscoe's lovestruck moments, the spots on her were a lovely pink. The spots were truly one of the biggest stars of the show, whether they were swinging around to evade Anderson's character or pulling focus to the center of the stage to a lonely ukulele case. Another integral piece of tech was the enthusiastic music that underscored the entire performance, composed and produced by Cesar Canales. It was sometimes mixed with train ambience to reflect the setting of the play, which was a nice touch.

Thomas Edison's production of Lindsay Price's "Emotional Baggage" was an insightful look into the struggles that we deal with all the time, seen or unseen.

Elizabeth Cheek
Justice High School
Submitted for publication to FCPS Community News

How do you handle your emotional baggage? Does it linger, forever clinging to you like a ball and chain, or do you simply let it go and move on?

Whether it be guilt, remorse, paranoia, or some other form of unresolved turmoil, these insecurities are commonly found and can manifest in devastating ways. In Thomas A. Edison High School's production of a one-act play entitled Emotional Baggage, strangers carry with them their metaphorical burdens as they go through a typical day. Written by Lindsay Price, Emotional Baggage followed seven individuals as they entered a train station, each bearing luggage as some sort of festering psychological barrier that they were unable to abandon. As the play had no spoken dialogue, characters conveyed their conflicted emotions through gestures and facial expressions as they each dealt with their trauma and grief in their own way. That is, until a woman arrived, seemingly untroubled by her luggage: a ukulele case. The other characters watched in awe, apprehensive yet curious, as her deviant flamboyance suggested that there was more to life than dragging the weight of the past with you wherever you go.

The ensemble cast delivered a splendid rendition of the production, with impressive physicality that excelled in inaudible portrayals of one's innermost obstacles. Notably, Isabelle Anderson's interpretation of a hallucinatory actress with glamorous Hollywood flair effectively captured her character's inability to live presently, constantly reminiscing about memories of a past life. Anderson explicitly conveyed the woman's desperation with her attempts to be in the spotlight, quite literally, as one would show only to fade and reappear on the other side of the stage, which she absently pursued. Additionally, Corina Briscoe's performance as a girl hung up over her first love, holding a scrapbook as her baggage, brought about nostalgic innocence with a moving, howsoever brief, dance in a dreamlike state featuring a virtual display of her former lover, played by Max Heltzer. The work of Jada Paul as the well-rounded, ukulele case-carrying woman was also admirable, as her relaxed yet vivid expressions created contrast to the forlorn figures that surrounded her at the station. Her mannerisms and debonair attitude exhibited an infectious positivity that resonated among the others.

The memorable technical elements in this performance derived from Aiden Yancy and Cesar Canales. Yancy, who served as stage manager and oversaw the technical direction, used dynamic lighting techniques representative of the individual personalities and appropriate moods throughout, from bright illuminations to subtle radiance to fixated spotlights that signified the shift in attention to a new character. The PowerPoint slides that Yancy created depicted personalized advertisements for characters' entrances and greatly added to the context of the production and provided helpful exposition for the story. Moreover, the music and sound design by Canales assisted in the exemplary rendering of tonal shifts and the emotion evident in the show.

The cast and crew of Thomas A. Edison High School's Emotional Baggage crafted an insightful glimpse into the hidden grievances that people struggle to relinquish. Its impact arguably goes beyond a few strangers at a train station, for who knows? Most likely, the person across the street, in the house next door, perhaps even sitting right beside you, is carrying more baggage than you'd expect.

Dagny Scannell
Bishop Ireton High School
Submitted for publication to Patch.com

How can we learn to free ourselves from the things that weigh us down? Everyone has one thing that they always carry with them, and it's usually something more than just a phone or wallet. Each day, we fixate on the stress of our jobs, on our perceived physical shortcomings, on our complicated relationships, or other various anxieties. And the longer we hold onto these sentiments, the harder it is to let go of them. Thomas A. Edison High School's moving production, Emotional Baggage, showed how people from all walks of life can learn how to change their mindsets for the better.

Emotional Baggage, written by Lindsay Price, managed to convey meaningful themes without a single line of dialogue. The silent production was set in a train station and followed a group of strangers with their own unique "emotional baggage" - cleverly symbolized by props such as purses, suitcases, and backpacks. One character, referred to simply as "Well Rounded," entered the station after all the others, and the show followed her attempts to prove that no one should be afraid of balancing their lives and of letting go of the weight they carry every day.

All of the actors did an outstanding job authentically playing their roles and working together as a cohesive ensemble. Because of the lack of spoken dialogue, each actor's distinct physicality was also strikingly well-developed and clear. Isabelle Anderson, playing a former Hollywood movie star obsessed with her former glory (Living in the Past), was especially committed to her role, adding a dramatic flair to each of her actions onstage. Porter Bertman (in Overbearing Mother) also gave a particularly energetic performance and perfectly embodied his character as a young child with an overbearing mother. Jada Paul, who played "Well Rounded," did a fantastic job conveying the plot to audience members, and she had a noticeably strong presence on stage.

In addition to the students' strong acting performances, Emotional Baggage was filled with superb technical elements. The comedic use of spotlights, a PowerPoint that displayed magazine ads correlating to each character, and upbeat music playing throughout the show all creatively enhanced the quality of the production. Stage manager Aiden Yancy and Sound Designer Cesar Canales worked together to bring this show to life, and their dedication contributed to the production's overall success.

Students at Edison High School were able to tell an entire story without saying a single word. This innovative production gave students a chance to showcase their skills, and they should all be immensely proud of their impressive performance.

Ellie Vlattas
Westfield High School
Submitted for publication to Alexandria Times

How would it feel to finally unpack the emotional baggage? To let go of the emotions you have been holding on to for so long, and ultimately accept the truth? Thomas Edison High School's whimsical production of Emotional Baggage reveals the challenges of letting go of the gloomy past.

Emotional Baggage, written by Lindsay Price, has no spoken dialogue, which forced the actors to portray the character's stories through physicality and facial expression. This play begins with several strangers arriving at a train station where they each begin to unveil their own hidden truth, from handling past issues to insecurities that the characters still feel. Suddenly, the strangers realize that they must face their own baggage--and each other.

Throughout the performance, the cast was masked and socially distanced on the stage to follow Covid-19 protocols. While some actors performed on the stage, other actors filmed and integrated videos into PowerPoints which were featured on a projection in the background. The cast used clear masks which allowed the audience to see their elaborate facial expressions. This hybrid performance epitomized the determination of both the cast and crew.

Jada Paul starred as the cheerful and optimistic, well-rounded student (Well Rounded). Paul's simple physicality brought positivity that rubbed off on several characters as her contagious positivity began conflicts throughout the show. Her connection with each of the other ensemble members enhanced her own individual character. Paul's charismatic character starkly contrasted Isabelle Anderson's portrayal of the former Hollywood actress (Living in the Past) who was stuck living in her successful past. Anderson's dramatic energy along with the confusion she faced made her emotional baggage clear and concise, which made her story easy to follow.

Corina Briscoe performed as the love-struck teenager who couldn't get over her first love. Briscoe excelled in her body language by using detailed movements and choreography to convey her romantic feelings. Briscoe worked with Max Heltzer, a virtual actor, and they were able to tell their story even though they could not see each other. Heltzer utilized intricate facial expressions that sparkled through his video and matched Briscoe's choreography perfectly. Briscoe and Heltzer's similar choreography solidified the bond in their relationship which connected their complementary stories.

The original music was the highlight of the technical aspects. Cesar Canales composed the original soundtrack for this production; the upbeat music added to the story and helped create the scenery. The musical aspects, alongside the lighting design (operated by Aiden Yancy), generated emotion for the ensemble to match and follow along. Yancy's lighting choices illuminated the critical moments throughout the show. Throughout the production, a PowerPoint (created by Aiden Yancy) was featured in the background to craft the scene of a train station. This PowerPoint also helped to introduce the characters during the show which provided clarity on the character's motives.

Through the show's conflicts and resolutions, Thomas Edison High School's captivating production of Emotional Baggage was filled with outstanding technical aspects and energetic performances.

Morgan Milman
Annandale High School
Submitted for publication to Connection

The production of Emotional Baggage was striking and intriguing. A play written by Lindsay Price, Thomas A. Edison High School took a play without dialogue and poured extensive communication into it. At a train station, various characters passed through, each carrying their own "baggage", portraying personal and societal expectations and issues. They meet a curious new character, without any baggage, and begin to see how positivity can impact their problems. Through uses of musical composition, set, staging, and actor's talent, Edison truly created a unique and individual show.

Desiring an in-person production, Edison's theatre department overcame the challenge of finding a show that was Covid-friendly and found Emotional Baggage. They had played with the idea of a silent play for some time and found that now was the perfect time to do one. The cast for this show was Edison's "Friends and Family" cast, different from their cast for VHSL.

The organized chaos of the opening sequence was well planned and timed, with characters living in their own worlds showing themselves and what their "emotional baggage" was when they entered. The use of body language and various methods of expression in the show really demonstrated the thorough thought and intention put into the piece. Actors' body language was wonderfully magnified to portray the emotions and feelings of themselves. While they couldn't show it fully through their faces, the use of clear masks was creative and allowed for an easier view of the actor's faces. Each character was starkly contrasted to the others, all of them using props that were their concrete items which held value to each character. The Well Rounded Character played by Jada Paul brought in a certain positivity that made other characters curious and almost fearful of seeing someone who was put together and didn't have any baggage. Once Jada exited the stage for the first time and left her instrument case, representing her positivity, the other characters were intrigued and hesitant to approach it. When she returned, the blocking and interactions between characters displayed that the Well Rounded person's positivity could rub off on others. The ensemble in the production held an excellent strength together and fit well with each other.

The technical aspects of the show were simplistic yet impactful. The changes in lighting accentuated each person's emotions and auras. For example, when the Living in the Past character, played by Isabelle Anderson entered, the use of spotlights and pink light showcased her "old days" of being a star, and her deep desire to go back to that time. The stage lights also brightened when Well Rounded appeared and dimmed when she was not onstage. When each character entered, a slide presentation showed an ad-like slide for whatever their insecurity, or baggage, was. This close attention to detail aided in understanding this show without speech.

This one-of-a-kind play beautifully portrayed the personal issues of today and showed that everyone has their baggage and was open to individual interpretation. Each viewing produced a different plot and perspective. This was not a show to miss. Edison High School's "Emotional Baggage" was detail oriented, engaging, and original.

Lauren Katz
Lake Braddock Secondary School
Submitted for publication to Fairfax County Times

A silent stage is set. It is about to be filled with ten actors all on wildly different emotional journeys in life while crossing paths in a train station. The show displayed the trials and hardships that life holds, and the turmoil people go through because of those struggles, all without the utterance of a single word.

Emotional Baggage, written by Lindsay Price, is a show performed completely through pantomime. The play depicts 10 strangers as they make their way through a train station, while carrying with them their own emotional baggage. The show was written without a single word of dialogue and relies solely on the actor's physicality and technicians to express the intricate emotional themes of the show.


Thomas A. Edison High School's production managed to communicate these themes clearly through their technical aspects and their fluid acting. Each actor worked closely with one another as an ensemble to create a perceivable experience of the silent emotions that everyday people go through. The individual work by each actor, in addition to the visionary works by the lighting and sound designers, made for a unique show experience that was as profound as it was memorable.

One of the technicians that stood out was Aiden Yancy, who designed the lighting, created the PowerPoint slides displayed during the show, and stage-managed the show. The choice of using different colors of lighting to represent the different characters' endeavors created clear lines between the characters. At one point the character "Living in the Past" was stuck in her former life, a time where she had garnered fame, and Yancy expressed her attachment to her old life through the use of a literal spotlight that kept moving away from her. This made actress Isabelle Anderson stand out clearly, as well as lighting her extravagant gestures. Yancy also used PowerPoint projections of ads tailored to each individual's struggles as they entered the stage. Although a small touch, the projections made an enormous difference in characterization and identification of what each character was going through.

Another actor who stood out was Siona Shishak who played "Getting Over Heart Attack", a woman with health issues. Shishak took her role seriously, making sure all her movements reflected her character's ill health. Shishak worked well with the other actors as well, especially with the one character who seemed not to have any emotional baggage, "Well Rounded" played by Jada Paul. The pair reacted to each other's every movement and made sure their every move had part of their character's emotion fused to it. The two actors, along with the rest of the ensemble, worked together seamlessly to create a satisfying bit of order amidst a play that naturally welcomed disorder.

Finally, one design aspect that was integral to this production's flow was the music. Produced and composed by Cesar Canales, the sound was a necessary part of each of the show's scenes. Many scene switches were initiated by a switch in song, from an upbeat synth piece to a somber and foreboding song, and effectively led the show from start to finish.