Mr. Burns, A Post-Electric Play
at Hayfield Secondary School

Reviewed on February 12, 2022

Nora Malone
Alexandria City High School
Submitted for publication to Cappies News

Oh, I'll watch this play all right, I'll watch this play forever….. Hayfield Secondary School's performance of Mr. Burns, a Post-Electric Play is sure to make any theater aficionado say, "I need to see that again."

Mr. Burns, a Post-Electric Play premiered in May of 2012, in Washington DC. This comically dark production was written by Anne Washburn with a score by Michael Friedman.

The story spanned over 75 years and three acts, following the growth of the characters in a post-apocalyptic radioactive world as they intertwined the Simpsons episode "Cape Feare" into their lives through memory, performance, and musical pageantry.

The first two acts focused on a group of survivors who turned into a theater troupe that performed Simpson episodes, from theme song to commercials. Amongst the characters throughout the first two acts Matt, played by Zachary Woodcock, and Gibson, played by Wiley Danger Prior, truly brought the audience into the story with them. Woodcock's strong physicality as he acted out each Simpson character made him stand out in the dim light and simple set of the first act, designed by Gregory Alspaugh, Krys Allen, and Lindsay Poteet. Woodcock's dedication to the outward performance of his character, along with the struggles he had, created a complex and enthralling persona that you just wanted to know more about. Later in the play, Prior was able to expertly represent a character playing another character. He took Gibson and made him act in the Simpson performances. But rather than Prior acting like himself playing a character in a commercial he acted like Gibson playing a character in a commercial, showing a true understanding of the character.

The rest of the survivors didn't disappoint either. The second act's timing, 7 years after the first, was represented clearly through the relationship of the characters. It was easy to see how things had changed and the survivors had gotten closer as time went on. Their interactions showed a long friendship, ripe with struggle, and an understanding of each character's problems with the world they lived in.

The third act, set 75 years later, was introduced in an eerily captivating way. A member of the tech crew held a sign that said, "75 years later" on an almost empty stage but for four pillars with a head of each of the Simpsons family. The lighting was faintly blue, perhaps representing the growth of the radioactivity over the years that had passed. The act began with a large Greek Chorus style group, with togas and bright yellow masks, expertly designed by the costume and makeup crew of Lia LeViner, Emelia Cardon, Emily Wartel, and Emma Febbraro. The group chanted and sang as they filled the space. After them, four other yellow masked people arrived, though these were different, each had a unique mask representing a member of the Simpsons family. The highlight of the act was halfway through, when the character Mr. Burns, played by Carter Elliff, entered. Represented by a yellow mask with a long yellow nose Elliff immediately captivated the audience with his comical phrasing and fantastic physical presence.

Each aspect of this play whisked the audience away into this unique world that left you unable to look away, waiting for what was next.

Justin Pokrant
Westfield High School
Submitted for publication to Cappies News 2

What do you get when you cross the fall of human civilization with countless pop culture references??? If you said, "The greatest, most chaotic mashup of all time," you would be on the right track; however, the true answer lies within Hayfield Secondary School's "thunkingly" captivating production of Mr. Burns, A Post-Electric Play.

Written by Anne Washburn and premiering in 2012, the dark comedy told the story of how catastrophe sparked the post-apocalyptic plight of six survivors, each of its three acts highlighted a unique layer of the plot: community in act one, storytelling in act two, and absolute anarchy in act three. An attempt to reconstruct an iconic episode of The Simpsons (complete with advertisements and all) encouraged the misfits to establish a Theatre Troupe, and together they tried to learn to coexist and embrace their new reality. What could possibly go wrong? Hint: Literally everything.

Demonstrating exceptional versatility, the cast and crew's commitment to telling a cohesive story made sense of the show's nonsensical facade. The result: a masterfully crafted performance that reflected profound passion and ingenuity, exemplified in the crew's attention to detail and the actors' collective ability to balance comedy and complexity throughout entire acts.

Encapsulating a range of intensity while maintaining fluidity, individuality, and endurance, the Theatre Troupe ensemble commanded the spotlight (or more fittingly, the firelight). In one of their commercials (brimming with "BATH NOISES"... literally), the actors effortlessly executed the intricacies of the scene; from Gibson's (Wiley Danger Prior) integration of physical and verbal storytelling techniques to Quincy's (Emma Febbraro) application of various inflections to create an illusion of depth, authenticity was evident in every interaction. Welcoming the audience into their dysfunctional family by the end of act two, the Theatre Troupe sets the stage for a happily ever after… NOT!

Enter: Act 3–which illustrated that a lot can happen in 75 years. From the emergence of a masked Greek chorus cult to what can aptly be described as a crossover edition of The Simpsons and Star Wars, the fever dream foreshadows "the end of everything." Amidst the show's chaotic culmination, Bart (Ror Allenbaugh) showcased tremendous vocal technique in various musical numbers, Itchy and Scratchy (JD Holland and Zoe Toomer) charmed the audience with their comedic presence during a daring lightsaber duel, and Mr. Burns (Carter Elliff) lightened the intense plot with his unwavering sarcastic humor.

Immersing the audience in the post-apocalyptic universe without diverting attention from the plot, the crew implemented various technical elements in a minimalistic yet comprehensive approach. From an array of whimsical props–including countless individually-crafted masks to an arsenal of lightsabers– (managed by Emma Moulin, Amari Mealy, Sam Rutledge, and Makenna G. Gillen) to the atmospheric lighting design (employed by Gregory Alspaugh and Lillian Satterlee), every detail reflected the eccentric nature of the production. Additionally, utilizing an unconventional space was only fitting to further reinforce the absurdity of the script; the converted black box theatre (designed and constructed by Krys Allen, Lindsay Poteet, Norah Nijbroek, and the Dramahawks Set Crew) cultivated an ominous aura, physical proximity, and emotional intimacy with the cast.

By its captivating yet convoluted conclusion, Hayfield Secondary School's dynamic production of Mr. Burns, A Post-Electric Play demonstrated that we are all connected by The Simpsons… Or perhaps that there was beauty within the chaos; in the words of Bart, "Now that I've lost everything, all I have is everything."

Catherine Kane
Falls Church High School
Submitted for publication to FCPS Community News

With a seemingly infinite number of streaming services and a constant deluge of shows "you just have to watch," the TV landscape can feel like a post-apocalyptic world of subscriptions, cable cutting, and trying to get your family members' Netflix passwords. But in a real apocalypse, what shows would be worth remembering? If much of humanity was wiped out, would we reminisce about shouting matches on Judge Judy or reenact pranks from The Office?

Hayfield High School's Mr. Burns, A Post Electric Play explored this very idea with a show that had been a stalwart of the American small screen for decades, The Simpsons. After an unspecified, highly catastrophic, and possibly nuclear event, nearly all of civilization was wiped out, leaving roaming packs of survivors to fend for themselves in an apocalyptic world. Mr. Burns followed a surviving group turned theater troupe that specialized in performing live action Simpsons episodes to audiences of other survivors. The troupe was able to perform because a few of the members had the usually pretentious, usually insufferable, but helpful-in-an-apocalypse skill of being able to recite Simpsons episodes verbatim.

Wiley Danger Prior, playing Gibson, one of the leaders of the troupe, had enthusiasm that spilled and flowed from scene to scene. He achieved the highest of highs with his character, leading him up to the emotional heights of Simpsons reenacting and the joys of being able to remember a line years after he saw the episode. Prior also brought the vulnerability of Gibson crashing and burning from fights with his stage mates and the delusions of an apocalyptic world. In the show's eponymous role of Mr. Burns, Carter Elliff embodied the sinister and comically evil madman. Nothing was too far for Mr. Burns and Elliff played up the nearly cringeworthy cruelty of the loony Springfield resident.

Hayfield performed the show in a black box theater, a fantastic choice that intensified the drama of the play and amplified the bizarreness of it. Lighting by Gregory Alspaugh was nearly always distorted, creating a hazy effect that never quite gave the audience a clear look at the character's faces. The haziness of it created a mystifying quality to the show and allowed the actors' dialogue, movement, and physical interactions to be emphasized.

The third and final act of the show was a surreal montage of Greek choruses, the Simpsons family being executed, and a fantastical parody of Ricky Martin's "Livin La Vida Loca," a vocal rendition of the 20th Century Fox intro was even thrown in (Fox produced The Simpsons until it was bought by Disney in 2017). Throughout the third act, a parade of intellectual property was marched across the stage in the form of lightsaber battles, Britney Spears' "Toxic", and an eclectic mix of rap parodies performed by Homer Simpson and Mr. Burns.

However, copyright law doesn't exist after the apocalypse and Hayfield HS' Mr. Burns was having too much fun to care anyway.

Yahney-Marie Sangare
Alexandria City High School
Submitted for publication to Patch.com

When the legacy of humanity is left up to a troupe of theatrical Simpson's enthusiasts, what will ensue? Hayfield Secondary School's daring production of Mr. Burns, a Post-Electric Play readily embraces the spirit of its source material. Written by Anne Washburn with music by Michael Friedman, the play was first produced at the Woolly Mammoth Theatre Company in 2012. It takes place in a post-apocalyptic world, where survivors of an unspecified nuclear catastrophe gather around a fire, reenacting an episode of The Simpsons and discussing the harrowing conditions of the world around them. Years later, what remains of their work develops into a ritualistic practice to which words cannot do justice. At times frightening but always compelling, the intimacy of the black box and the consistent commitment of the actors make the wild, unpredictable twists of the script into a rollercoaster that'll leave you dizzyingly amused.

The darkness of the opening thrust the audience into an unsure situation. Shivering with palpable cold, forest ambiance (designed by sound captains Elianna Ortiz and Nick Pilone) made the bright flashes of fire on the actors' faces all the more real (light designed by Gregory Alspaugh). Matt (Zachary Woodcock) delivered an engaging monologue that made the mundane action of sitting around a fireplace dynamic. We are introduced to the unique personalities and characterization of all the characters; Maria (Katie Ross) gave a hauntingly grounding story of a man she met searching for duct tape, and the arrival of Gibson (Wiley Danger Prior) heightened the tensions of their world and conditions.

Seven years later (communicated cartoonishly by a sign), the fireplace became a rehearsal room. Well-timed physical comedy, especially from Prior, played into tight ensemble coordination. The set (captained by Krys Allen and Lindsay Poteet) included clever windows and multifaceted prop and piece usage (props captained by Emma Moulin and Amari Mealy). A consistent hair and costume design (hair and makeup captained by Emily Wartel and Emma Febbraro, costumes captained by Lia LeViner with assistant Emelia Cardon) kept characters identifiable and stretched the play's absurdity. Hilarious "commercial break" interludes and seamless transitions by both actors and tech (stage-managed by Emma Moulin, Amari Mealy, and Makenna G. Gillen) made drastic tonal shifts read as natural; there was never a moment of empty space.

To avoid spoilers for an unpredictable third act, the most appropriate term to describe it may be "fever dream." Nothing could adequately prepare a first-time viewer for what came after intermission. Joyously terrifying and theatrical performances that would otherwise come out of nowhere were retroactively justified by the strong grounding of the first two acts. Carter Elliff's dramatized performance of a depraved Mr. Burns was priceless and capturing, and creative mask designs were poignantly appropriate for the cult-like aura of the ending. The immediate connection between audience and ensemble in the small black box theater commanded focus and entrapment into the alluring craziness of the show's final act. Even with near-full-face coverings, makeup and expression were admirably identifiable. The Simpsons ensemble, especially Homer (Gary Valdivieso) had a perceptible heart. Excellent vocal performances, especially by Bart (Ror Allenbaugh) and Marge (Maddie Curriera), were unanticipated but touching.

An insane show by nature, excellent cohesion between tech, cast, and audience made the frightening whimsy of Mr. Burns an entertaining endeavor. Grounded and exaggerated performances in unison made a lingeringly philosophical, perplexing play into an admirable production and mystifyingly fun experience.

Matthew Foltz
Oakton High School
Submitted for publication to Alexandria Times

The Simpsons is one of the longest running cartoon series ever produced, and apparently even in a post-apocalyptic world the iconic animated family still lives on, although with progressively less laughter, and more horror-filled ancient drama. Hayfield Secondary School created a one-of-a-kind theatrical experience with their production of Mr. Burns, A Post-electric Play.

Written by Anne Washburn, the three-act play is a black comedy held together thematically rather than by a resolved plot. In Act I, a group of survivors huddled around a campfire retelling the events of The Simpsons episodes attempting to distract from the apocalypse they're all enduring. Act II picked up seven years later with the same group, now a theater troupe, trying to recreate life from before the mysterious nuclear events; producing episodes from The Simpsons, even commercials to entertain and reintroduce society to their new world. Finally, a whopping 75 years later, Act III picked up where various remnants of the theater troupe's scripts and journals had been amalgamated into a surrealist morality play featuring Bart Simpson up against the evil Mr. Burns, all while a sizable, roped choir sang in harmonious (and horrifying) song.

In the first two acts the theater troupe ensemble consistently delivered a deeply personal and exciting performance, while maintaining the craziness of the show. Always on top of their cues and leaving no dead space onstage, as stories were told around a dimly lit fire every single actor felt engaged and resonated with the harrowing tales of each other. One standout of the group was Wiley Danger Prior as Gibson. Prior's physicality and ability to show such quick shifts of emotion was captivating, nailing not only the humor of quoting The Simpsons but also the rage of betrayal in an environment where trust was sparse. Not to mention Zachary Woodcock's genuine and hilarious portrayal of Matt. The stage presence Woodcock possessed was undeniable, commanding laughter despite being both off-stage and exclusively saying, "splish, splash," or "bathtub noises." Although these moments of comedy were sprinkled throughout, the cast still managed to bring out the desolation and despair felt in the wake of losing everything.

The haunting third act was spearheaded by Ror Allenbaugh's emotion-driven performance as Bart. From behind a bright yellow mask Allenbaugh punched every note and line with eyes turned directly to the audience, bringing a new level of eeriness to the play's message on the transformation of art.

Immersing an audience within a story as complex and creatively ambitious as this was no simple task, however the brilliant set design lead by Krys Allen and Lindsay Poteet brought fictional dystopia to stage. Utilizing a black box theater and its almost claustrophobic nature to keep engagement consistent, but distinct from act to act, as gradually the set evolved from a few boxes in the woods into a church-like setting of modge-podged marble pillars adorned with the busts of The Simpsons family. The costuming of Act III, captained by Lia LeViner, gave some clarity and direction to the otherwise abstract drama. Evoking the style of a Greek chorus through the usage of masks and bedsheet togas cemented the story as myth, at a time where interpretation was confined to limited resources and knowledge.

Spanning 82 years, across three acts, a lightsaber duel, and a devastating apocalypse that eventually turned the Simpsons into deity-esque figures all made Mr. Burns, a post electric play, a rollercoaster of uncertainties like no other. Despite this, Hayfield has brought realism to fiction, distraction to focus, and genuine terror into an unforgettable and thoroughly meaningful play on the human existence.

Amanda Jacobson
Oakton High School
Submitted for publication to Connection

Bizarrely funny, deeply bleak, and dripping in Simpsons references, Mr. Burns, a Post-Electric Play is unlike any other. Hayfield Drama's production of this outrageous dark comedy was remarkably wonderful.

Mr. Burns, a Post-Electric Play first premiered in Washington D.C. in 2012 and then made its way to Off-Broadway where it received a Drama League Award nomination. The play has been continuously interpreted and produced around the country since.

Mr. Burns began a few months after a disastrous, apocalyptic, nuclear event. Undercut with fear and uncertainty, the first act observed the group of survivors recounting an iconic Simpson's episode in order to bring some light to their dismal circumstances. Seven years later in Act 2, the troupe strived to recreate Simpsons episodes for entertainment which ultimately culminated in the 75 year later third act in which society had become all consumed by the Simpsons. The theme of radioactivity subtly filled each act's main conflicts and the characters continuously devolved as the radioactive leftovers of their past set in and progressively changed their society.

The only thing that rivaled the fiery and fervid storyline was the outstanding acting performances from the cast. The survivor theatre troupe carried the emotional weight of the first two acts on their backs with ease. Each actor portrayed the stark, dramatic tone shifts with professional mastery and, thanks to the superlative cast, the absolutely unhinged third act was able to be grounded by the deep and impassioned first act.

Leading the pack was Zachary Woodcock's character Matt who served as the Simpsons storyteller for the troupe. Woodcock was thoroughly engaging as he navigated enacting the convoluted TV plot and was able to transition from the ongoing, exuberant charade to the jarring reality he was living in with magnificent dexterity.

From bouncing around in storytelling excitement to portraying the lows of a character struggling to maintain a sense of control, Wiley Danger Prior brought vibrant colors to his character Gibson. Prior naturally navigated the emotional journey and ushered in a unique spark to the production.

The third-act ensemble took the unhinged cult-esque material with utter seriousness creating an overwhelmingly eerie atmosphere which perfectly encompassed the intentions of the play. Together they granted a glimpse into an unworldly dystopian future with complete mastery.

Fabricating the atmosphere of each act was the superb lighting design by Gregory Alspaugh and Lillian Satterlee. The unique lighting of each act transformed the black box setting above and beyond. The first act was solely lit by an exceptionally realistic "campfire" which glowed beneath the actors and contributed to the desolate ambiance. The second act was lit entirely by glowing windows on either side of the stage which furthered the complex storytelling beyond just the dialogue and set. The stark contrast of the third act was distinctly represented by a blue, luminescent glow creating the atmosphere of the cult like society. Every act was separated definitively by the lighting design yet flowed together through one cohesive theme.

Both sweet and scary, dead serious yet outrageously funny, wonderful and uniquely theatrical, Hayfield's Production Mr. Burns, a Post-Electric Play was a truly pleasurable examination of society and art.

Natalie Laclede
Thomas A. Edison High School
Submitted for publication to Fairfax County Times

In a world where the apocalypse is just setting in, you would think that a group of survivors would have something better to talk about than The Simpsons.

Nonetheless, that is exactly what happened at Hayfield Secondary School's production of Mr. Burns, A Post-Electric Play by Anne Washburn and Michael Friedman. These few people, trying to keep spirits high, decided to retell the favorite animated sitcom's most notable episodes around a fire just a few weeks after the beginning of a radioactive nuclear apocalypse. Seven years later, these same people were acting out these episodes to make just a little money, and then Hayfield took us even farther into the future to see what the series had become to a struggling human civilization.

Although it may seem like a comedy at first glance, these students acted out some incredibly timed and emotional scenes throughout the production. There was remarkable chemistry between the survivors during each of the acts and they all had a comfortable and immersive stage presence. Gibson, a survivor with a talent to mimic each of the Simpson family's voices (played by Wiley Danger Prior), had amazing skill acting out each scene and line with incomparable emotion. Matt, played by Zachary Woodcock, also made his presence known with his gift of storytelling.

An immersive experience was put on by the talented students involved in the show. The play was held, not in a theater or on a stage, but in what is known as a black box, or a dark room and simple performance space with some lighting and curtains that would be found in a theater. This allowed for minimal lighting and sound but was adapted in a way that still made the audience feel as if they were in and a part of the story. Lighting captain Gregory Alspaugh did a wonderful job creating an atmosphere that resonated throughout the room. The use of space was creative as well, with interactions even happening from off stage and behind curtains.

With the limitations of the walls of the black box, the set was simple but able to be understood. Furniture and larger props were moved by running crew and actors alike and let the space be as fluid and creative as it was called to be. Actors emerged from all directions, even despite the walls, carrying large and interesting props that got the audience's attention immediately.

Everyone involved in the production seemed to know the absurdity of the show they were working to create, and each of them knew what it took in order to create the story in a way that was natural. Everything was performed with surprising seriousness and a heavy dose of irony that pulled the three acts together.

Even if one was not familiar with The Simpsons or any of its characters, the show had something for everyone. Who doesn't love lightsabers, voice impressions, a Greek chorus, and Britney Spears songs?

The Simpsons are just a normal family after all…

Melanie Landis
Thomas A. Edison High School
Submitted for publication to Lorton Valley Star

A show based in a post-apocalyptic world based around retelling The Simpsons and spiraling into a cult-like musical dramatization of the episodes may sound like a fever dream, but Mr. Burns, a Post-Electric Play, turned that dream into a reality. Written by Anne Washburn, the play premiered in May of 2012 at the Woolly Mammoth Theatre Company in Washington, D.C., and in 2014 was nominated for a Drama League Award for Outstanding Production of a Broadway or Off-Broadway Play.

Based in a post-apocalyptic world, the first two acts of the show followed the survivors as they retold the story of the iconic Simpsons episode, "Cape Feare." Starting just after the apocalypse, the group sat around the fire and recalled as many lines as they could remember from the episode, with breaks in the synopsis to discuss the disastrous state of the world. Act II took place seven years after the apocalypse, with our primary survivors having started a theatre troupe to perform episodes from The Simpsons that they as a society remembered. The troupe relied on other citizens to provide the lines they remembered from episodes to put together the dialogue. Finally, Act III continued the story 75 years after the apocalypse with vibrant characters and a full Greek-style chorus. The future citizens retold The Simpsons as if it was a common myth and they turned it into a dramatic musical piece.

The actors at Hayfield Secondary School did an excellent job tackling this wacky and jarring show. Act I, primarily mellow and somber, was an immersive experience, with the only source of light being a dim campfire with ambient noises of a forest echoing in the black box theater. As the actors sat hushed in a semi-circle around the fire, an eerie atmosphere settled in. Matt, played by Zachary Woodcock, began the retelling of "Cape Feare" with gusto, adding vocal inflection and physicality to engage the audience further. He continued this performance throughout the play, bringing with him his spirit and comedy as seven years passed in the play's world. Following a title card reading "7 Years Later," the theatre troupe began its hard work in the post-apocalyptic world. The troupe would not be complete without Gibson, played by Wiley Danger Prior. He brought an expansive range of physicality with him, including leaping onto couches and whipping a bright red wig on and off. The story would not be complete without a nod to the illustrious actors featured in the third act, such as Bart, played by Ror Allenbaugh, and Mr. Burns, played by Carter Elliff. These two appeared not only to understand the absurdity of the play but embraced it as they sang their hearts out and battled to the death onstage.

The technical aspects of this show cannot go unnoticed. The lighting of the first two acts, designed by Gregory Alspaugh, created an incredibly immersive and intriguing environment. Sitting around the campfire with the actors and watching the sunset through the two large windows featured on stage made this post-apocalyptic world feel much more realistic. Entering the black box theater after intermission would not have the same effect if not for the busts of the Simpson Family placed on stage, created by Norah Nijbroek. These terrifying yet amazing structures further drove home the mythological connections to The Simpsons in the future.

It was impossible to tell what would happen next in the insane show, Mr. Burns, a Post-Electric Play. However, with a cast as dynamic and hard-working as the Hayfield Dramahawks, it is no surprise that the show was equal parts dramatic, comedic, and unhinged.