They’re soarin’! Flyin’! There’s not a star in heaven that they can’t reach! Because they’ve got their heads in the game! That’s right! Cockpit in Court Jr. is bringing you millennial Grease AKA— Disney’s High School Musical. Serving as the high-school show of the early 00’s, this Disney show gives agency to characters who are too often pigeonholed into a particular stereotype. Two things can be true and when you live your best life? It turns out you can be more than just one thing— like a science nerd AND an amazing singer. Or a basketball star AND an amazing singer. Directed by Liz Boyer Hunnicutt, with an assist from Directing Intern Emma Hammett, with Musical Direction by Ryan Slattery, and Choreography by Rachel Miller, this production of High School Musical will rev you up and have you roaring to break free by the end of the show!
We get a simple, effective, and functional set by way of Scenic Design Master Sammy Jungwirth, who gives us riser platforms, simple chairs and tables that move in and out, and some lockers— note the screaming electric pink locker for Sharpay, which is stenciled in air-spray white with both the character’s name and a big rowdy star at the top— all of which create a framework for SLSHowTech’s projection designs. The projection design company takes you right into the hallways, gymnasium, classrooms, and of course, the theatre of East High School, often times with swooping zoom motions that make you feel as if you’re racing around the high school halls just like the students in the show. Add to the show’s aesthetic build the work of Lighting Designer Tyrell Stanley and you’ve got the perfect set for this show. (A shoutout to Properties Master James Hunnicutt— somebody had to find all those basketballs! And Zeke’s cake— woo boy!) Costume Designer Robyn Alvarez authenticates that high-school-couture sensation with all the right ‘Wildcats’ togs. Red is the signature school color and it’s everywhere— from the cheerleader outfits to the basketball team jerseys. Alvarez does a particularly good job of setting Sharpay apart from the rest of the student body with all the sparkly, sequin-studded costume pieces and when it comes to ‘aging up’ Ms. Darbus, the melodramatic drama teacher, the clothing, overly exaggerated makeup & glasses, and wig that Alvarez uses gives serious ‘seasoned, eccentric thespian’ vibes.
For being one of the ‘lesser’ musicals in the Disney canon (yes, that’s fighting talk, I am well aware, but I feel like for the average musical theatre goer…particularly of my vintage if you say ‘Disney musical’ our immediate go to is The Lion King or Beauty & The Beast), High School Musical has some surprisingly complex harmonies and musical numbers, all of which are extremely well-handled in the capable hands of Musical Director Ryan Slattery. There are particularly tricky blends whenever the romantic leads get themselves together in a duet and Slattery gets these two talented performers sounding divine. And the surging vocal energy that often fills the big company numbers— like “Stick to the Status Quo” and “Wildcat Cheer”— is really incredible. It’s an impressive feat to corral so many young talented performers, get them to sing and articulate and really put that level of energy consistently into every big number. Director Liz Boyer Hunnicutt and her Directing Intern Emma Hammett have really set forth all the charms and traps of a high school experience. You’ve got the cliques in their groups, the blocking is smart and consistent in a way that keeps the show’s pace flowing, and the way the characters interact with one another just feels really genuine.
All hail the show’s choreographer, Rachel Miller, whose exuberant dance routines fully energize each and every big song— and my goodness the amount of work, rehearsal, effort, and overall passion that Miller has imbued into “High School Musical Megamix” (the big explosive, nonstop, infinity loop of every song from the show performed just before the final bows) is breathtaking. Seriously— it takes your breath to watch these kids racing through these dance numbers for what feels like an eternity and yet they’re all smiles, all hype, and totally sending those fun, happy, enthusiastic vibes straight out to the audience. Miller really knows her stuff when it comes to infusing cheerleading routines into some of the dance numbers— and of course we get some jazz squares, as well as some more iconic ‘high school’ style steps, like sliding-box-windows and a lot of claps and stomps. The basketball bounce routine for the initial “Get’cha Head in the Game” is really slick and very fun to watch. Shoutout to directing intern Emma Hammett, who doubles up as the show’s dance captain, really getting all the frenetic energy needed to keep these kids moving and grooving all throughout these endless dance routines.
You’ve got The Cheerleaders (Avery Hamburg, Ifeoma Iwudyke, Gracie Roberts) who really pump up the beat and have some insanely crisp ‘cheer-style’ moves— particularly Ifeoma Iwudyke, watch the way her arms snap to position whenever the cheerleaders are on the move— and they live up to their namesakes, cheering on those Wildcats! And then there’s The Brainiacs (Meredith Einhorn, Molly Foggo, Maggie Rubin) who are an integral part of that really shocking and totally guilt-tripping number, “Counting On You.” The Thespians (Jack Atkins, Juliana Beltran, Elinor Bower, Allyson Gray, Rylan Hamburg, Lilah Peinado) are their own eccentric bunch, following in the footsteps of the loopy drama-teacher, Ms. Darbus. “Bop To The Top/What I’ve…” features this quirky bunch and gives their voices a chance to shine. (Not unlike that moment that opens up A Chorus Line, you actually almost expect this bunch to start stomping and singing “God, I hope I get it!”) And then of course, there’s The Jocks (Mason Foard, Molly Foggo, Allyson Gray, Julia Morgereth, Maggie Rubin) who can be seen really making their move with the basketball during “Get’cha Head in the Game.”
All of these performers, separated out into their various ‘cliques’ (and as you can see, some double and triple up, spanning multiple groups, which is a clever nod to the show’s ultimate message— that you can be whoever you want to be, and that can include being more than just one thing!) comprise the ensemble and what a talented, involved bunch they are. Let’s not forget Daniela Alvarez and Colton Roberts, as the two ‘too cool for school skater dudes’ with Roberts getting a bouncy little solo feature during “Stick to the Status Quo.”
While the cast is comprised entirely of students (or recently graduated students) the show itself does feature two ‘adult’ characters— the quirky, eccentric, odd, and off-kilter Ms. Darbus (Katreese Wellons) and the bombastic, hard-as-nails, rigid Coach Bolton (Brennen Peroutka), who just happens to be the father to the leading character, Troy Bolton. Both Peroutka and Wellons do a fantastic job of presenting themselves as adults, though the beautiful irony is that their childish behaviors are often more immature than some of the high school students! Peroutka is great at laying down the law. Sports or die. And Wellons is theatrically over-the-top, which is a perfect fit for the zany character; her vocal affectation and overall delivery is just hilarious and rather enjoyable.
If Mason Foard’s career as a young talented actor doesn’t work out, this kid has definitely got a backup career as an auctioneer because the way he patter-rattles through his ‘radio announcements’ is so fast and similar to that of a master auctioneer it’s astonishing. Foard understands comic timing and delivers the role of Jack Scott, aka ‘The Velvet Fog’ and voice of the school radio announcements, with great comedic force. When he’s reading out some of these ridiculous announcements he gets the giggles and it’s a perfectly hysterical moment and really engages the audience in all the shenanigans that are happening on stage.
Hidden vocal gem Veronica Donato plays the quietly introverted Kelsi Nielsen, the one responsible for writing the winter musical, Juliet & Romeo, which is exactly as it sounds— a flip take on Shakespeare’s R&J with a happy ending. Donato is quirky and adorably awkward, clearly just wanting to be the behind-the-scenes story-master, rather than having to interact with the loud and explosive characters like Sharpay. Donato has a sweet and wondrous voice that one almost wouldn’t expect to hear with the character; it’s such a delightful surprise. And all of her interactions are incredibly earnest and endearing.
There are side-kicks in every bunch and of course the cliques are no exception. The nerds have Martha (Julia Morgereth) and the jocks have Zeke (Jordan Dixon) both of whom really get a chance to share their vocal prowess during “Stick to the Status Quo.” Morgereth’s character is obsessed with hip-hop and dance music while Dixon’s basketball jock confesses his love and dreams of baking. Dixon has some powerhouse vocals that really shine and his quirky personality, particularly when trying to present Sharpay with a cake he baked to express to her his affections, is simply smashing.
Next up the tier on the side-kick food-chain, Taylor (Ryann Reich) of team nerd and Chad (Jackson Foard) of team jock. Both have lively personalities that really settle well into the skins of their characters, particularly when it comes to their intrapersonal interactions later in the show. Foard is the epitome of that clunky ‘dumb jock’ stereotype and really lends his voice to numbers like “We’re All In This Together” and his antics and shenanigans to the detention scene where Ms. Darbus asks them all to act like animals. Foard and the Troy character engage in being a two-person shark and then start monkeying around; it’s hilarious. Reich, as the voice of scientific reason and logic is sharp, witty, to-the-point and has strong, potent vocals that can be heard in “Cellular Fusion” opposite Foard, as well as other numbers like “Counting On You.”
While not particularly a villain, and more of the antagonistic sidekick, Ryan Evans (Max Ozbolt) is the hapless, albeit talented, second-star living in his sister’s ostrich shadow. Ozbolt is channeling every second-fiddle-complaint in musical theatre history and smiling while he does it. Proficient in jazz squares, hamming up a moment with just the right level of camp, and ultimately finding his own path to truth, Ozbolt is a perfect fit for the Ryan character. You can hear his voice accompanying Sharpay in numbers like “What I’ve Been Looking For”, the weirdly up-tempo rendition, and later during “Bop To the Top.” Ozbolt has comic timing down pat and is also wildly convivial when it comes to those facial reactions to all of Sharpay’s diva-ness.
Speaking of diva, wearing the crown of the Queen B— capital ‘B’ for bully and well— you know that word, the one that rhymes with witch? Sharpay Evans (Bella Comotto) is a triple threat— obnoxious, annoying, and absolutely over-the-top. While the character may be all of those hideodeous character traits, Bella Comotto is the true triple threat because she can sing with stellar sound, dance with daring moves, and act the hell out of that role, channeling every high school bully, plastic popular girl, and a little bit of Kristen Chenowith while she’s at it. Her melodramatic theatrics are so over the top, bursting through the chimerical ceiling of “too hammy” and soaring to indescribable heights of hilarious, you feel personally roasted by her character choices. There is so much sass and ferocity busting out of Comotto’s delivery you just might get seriously scorched, or at least singed with one of her vicious one-liners or quippy snaps. Her facial expressions are so lively and animated that you can’t not enjoy watching her go on her raging tears when she feels threatened. “Bop To the Top” as well as “What I’ve Been Looking For” are just a few examples of her stellar singing voice and you’d be hard-pressed to find a more engaging performer in this production.
Gabriella (Jaiden Shaw) and Troy (Shameer Mirza) are the epitome of the modern-day Danny Zuko and Sandy Dee. Right from the meet-cute moments where swear the kids around them are about to burst into some updated rendition of “Summer Nights” through to their blissful, Disneyfied ending, the pair are the perfect match both in personality, vocal talent, and overall stage presence. They are often featured in duets together, traversing these complex harmonies, particularly during the ‘be apart/sing together’ duet (where they share the stage but are supposed to be singing to the vast empty voids of their feelings because they’re in two physically different locations in the school) “When There Was Me and You.” And the chemistry that the pair cultivates is innocent, sweet, and completely believable.
Jaiden Shaw delivers a nuanced performance when it comes to tackling Gabriella. She’s quiet but not too quiet, holds her own against Sharpay but doesn’t standout too much and really finds her comfort zone in scenes and songs that she shares with Mirza’s Troy. She has a glorious voice that really services this numbers with a professional quality. Forever possessed of this desperate innocence to just be who her character truly is, Shaw is a delight in this role and really makes the character relatable and realistic. Shameer Mirza, as Troy, is a complete surprise— but I guess that’s the point. You take a guy who looks like a basketball jock and you let him belt his face off and you’re just blown away. (Especially with that nod to Elphaba’s riff-and-blast at the very end of “Breaking Free.”) There’s just something about the way Mirza presents the character; he’s loveable and relatable and understandable right from the start. And like Shaw, he’s lively and present on stage. You never get this sense that he’s awkward in his own skin (the way his character is, which makes for a vastly complex, layered, and nuanced performance, which is met and matched in a similar fashion from Shaw’s Gabriella.) His voice is stellar and really soars, particularly during “I Can’t Take My Eyes Off of You” (which is not the Four Seasons song that some of us more mature generational folks are thinking of.) It is, however, the duet that kickstarts the second act with Shaw’s Gabriella and the pair of them just melt together in both this number and their meet-cute duet, “Start of Something New.”
So Get’cha head in the game— and Get’cha self some tickets! You won’t to miss High School Musical at Cockpit in Court Jr. this summer. It’s truly stellar, so high-energy, and really the uplifting beat that so many of us need in our lives right now.
Running Time 2 hours and 15 minutes with one intermission
High School Musical plays through July 17, 2022 with Cockpit in Court Jr. in the Lecture Hall of the Administration Building at the Community College of Baltimore County Essex Campus— 7201 Rossville Boulevard in Baltimore, MD. For tickets call the box office at (443) 840-2426 or purchase them online.
