Rock the house and make a scene and crank the amps to 17! There’s no way you can stop— Scottfield Theatre Company’s School of Rock!!! Directed and Choreographed by Becky Titelman with Musical Direction by LaShelle Bray, this unconventional Andrew Lloyd Webber musical is a little extra— it’s bringing you some very talented youngsters and they’re playing their rock-n-roll instruments LIVE on stage all night long! Filled with energy and enthusiasm these kids (and their supportive, backing adults) will have you rocking and screaming, clapping and shouting until your voice gives out with their tremendous production on the opera house stage for these final two weekends of Summer 2024.
With a functional set, built by Ben Marsh and painted by Becky Titelman, Stage Manager Kalea Bray ensures smooth scenic changes. (With the exception of the four live-keyed up kid musicians on stage, there is no orchestra pit to cover lengthy scene changes with vamps, so expedient, slick changes of scenery from one moment to the next are critical to keeping the audience’s attention.) Director Becky Titelman enlists the cast members as scene-horses, having them slipping into the tail-ends and tops of scenes to set the stage, a practice that you see on national tours from time to time and as the actors are suited up in scene-appropriate costumes, you don’t mind at all. Old school desks and chairs kit out the classroom at Horace Green preparatory school as do the ‘mint-chocolate bar’ walls (with chocolate wooden wainscotting on the lower half of two spinning flats and mint-green paint on the upper half.) There might be a time or two where there was a gum-up in the scene-shift department, but for the most part, the show moves quickly, with clean scene changes, and good pacing between musical numbers.
If there’s a major complaint to be had with the production it’s the frequent sound issues. Sound Designer Hannah Thomas hasn’t quite figured out the challenges of crafting functional, consistent sound in the Opera House space. (It is unclear if Thomas was also the sound board op for opening night as no such credit is given in the program.) But the amps never quite make it to ‘17’, which is a shame because those kids— particularly the three on keys, guitar and bass (because let’s be honest, there are zero problems hearing those kick-ass drums)— are heart-pumping their all into those rock-n-roll moments and sometimes the amps and the microphones overall aren’t carrying them with the intense rock-and-roll volume that you’d hope for. There are other times throughout the performance where feedback between the amps and mic are generated, though those moments are usually handled pretty quickly so as not to kill the overall momentum of the show with a wave of ear-splitting, cacophonous noise. Hopefully as the run continues (eight performances only!), Thomas and the tech team will figure out the sound balancing issues and correct them.
Lights are off the chain for this production; Lighting Designer William Price understood the assignment! You want to feel like you’re attending a perpetual rock concert? Price has got you covered! There’s a lot of sweeping color blasts, blinking rainbow blooms, and even some twirling gobos that really set the mood and overall energetic tone for the show right from that opening number with the initial appearance of ‘No Vacancy’, Dewey’s former band. Price takes a heavy hand to using specials, particularly during “Stick It To The Man” and “You’re in the Band” and “School of Rock (Competition)”, which is exactly the sort of delicious, illuminating chaos you want for a rock show where the energy of the performers, especially the kids, is amped up beyond 11 and the music is supporting those general vibes from start to finish.
While the show isn’t your big, splashy Broadway-style dancing show, Director-Choreographer Becky Titelman doesn’t let the kids go without the opportunity to get their dance on. You get Titelman’s best show of choreography during “Stick It To The Man” (and it’s many reiterations and reincarnations, as this particular show is wont to do with that song and a couple of its others.) The way Titelman has those kids throwing their full bodies, loaded with the rage and fury of that song into the choreographic routine she’s utilizing creates for a powerful visual, chock-a-block with enraged pathos, all perfectly aligning to the overall vibe of that song. And those kids— so insanely invested in those movements— fist-punching, crisscross hopping, headbanging, and just flinging their bodies around in time with the beat, it’s pretty epic!
Vocally, Musical Director LaShelle Bray couldn’t have asked for a better bunch of kids. She brings them together in full volume and fully blended sounds, particularly for when the energy has to simmer down a few decibels in number like “If Only You Would Listen.” Bray also gets great sounds from the adults, particularly when she brings the adult ensemble together into the tail-end of “Horace Green Alma Mater” and during “Faculty Quadrille.” Bray has a keen understanding of how this unusual Andrew Lloyd Webber score works and it is readily put on display every time those kids (and the adults) take to the stage.
The adult ensemble— Chris Barsam, Alana Guardipee, Courtney Katzenberger, Jimmy Lien, Ken Malecki, Rita Mallouh, Zack Patton, Gabe Schaffer, Sean Silence, Meg Smith, Chris Williams— fill out the roles of both teachers at Horace Green, members of No Vacancy, and parents of the ‘kids in the band.’ And you get some standouts from within this older ensemble, like Chris Williams as Tomika’s overly flamboyant, helicopter father or Meg Smith as Mrs. Sheinkopf, the little assistant teacher type to Principal Rosalie Mullins. Sean Silence also takes up the role of Ned Schneebly, Dewey’s best friend, who although isn’t featured often (that’s just the way Julian Fellowes structured the libretto), you get the sense that Silence’s Ned is a complete wet-blanket pushover. Which makes the dynamic between Ned and his bitchy-boss-babe girlfriend, Patty (Rita Mallouh) quite hilarious. Mallouh has true gritty rocker vocals, which really burst out during “Mount Rock (Reprise)” making you wish that Julian Fellowes and Andrew Lloyd Webber had given the Patty Di Marco character more to do because Mallouh really understands the rock-n-roll tenacity when it comes to growl-pushing out that number.
Lucky Marino, taking up the role of Dewey Finn, made wholly iconic by Jack Black, delivers somewhat of an uneven performance, if only from a vocal standpoint. His physical vocals are just too clean at times— having more of a musical theatre sound to them rather than that edgy, harsh rock-n-roll sound. While stylistically, nearly all of Dewey’s musical numbers are meant to be that grungy, rocker-vibe songs— and you do get some of that coming from Marino, particularly when he’s emcee-rolling through the “You’re in the Band (Curtain Call)” moment, there’s just something a little too polished about the way he sings some of the numbers. Which makes for an insane juxtaposition because when he’s acting the character of Dewey Finn, he’s unhinged, physically invested, and reading a little like he’s got years of ‘sex, drugs, and rock-n-roll’ under his belt. This too translates into the way he physically carries himself on the stage and how he interacts with the kids. And as far as portraying an off-kilter, totally-invested mentor, he’s got that bit down-pat. Marino does find moments of that gritty rocker edge when he’s singing, “Stick It To The Man (Reprise, Act I)” comes to mind, and when he does, it brings the character together in a truly outrageous fashion.
As the pinched, polished, and too-perfectly poised Ms. Rosalie Mullins, Principal of Horace Green, Liz Marion situates herself with ease in the role. Never cracking, right up until the libretto demands she have that moment of self-discovery and letting her hair down, Marion gives a charming-borderline-obnoxious portrayal of the school principal, which reads to perfection in the context of the uptight preparatory school setting. Dulcet tones from Marion’s well-conditioned voice slip seamlessly through “Here at Horace Green” and you get a slow-burning smolder during the torch-song number, “Where Did the Rock Go?” near the top of Act II. Watching Marion interact with the children, particularly when she’s trying not to bite Freddie’s head off for double-clanging those cymbals during “Queen of the Night”, while still showing she means business is a real treat to watch. And there is a delightfully awkward chemistry that Marion percolates with Lucky Marino’s Dewey Finn, showcasing her slow-growing character arch over the course of the tale.
You wanna talk talent? Scottfield has mined and sourced 13 extraordinary kids (kitted out in rogue burgundy uniforms by Costume Designer Liz Marion) for their production of School of Rock— Cameryn Deibler, Charlotte Evans, Brady Fiol, Olivia Huth, Brady Katzenberger, Sophia Libertini, Carter Lien, Ellie Paquin, Timmy Phelan, Macee Skelton, Sydney Specht, Colton Roberts, Mara Weeks— and when they come together to rock their way through numbers like “Stick It To The Man” and “School of Rock” and “You’re in the Band” it is off-the-charts amazing. The energy that these kids are putting out into the ether is sensational and the way they bounce, stomp, sing, and ROCK, even in those moments when they’re doubting themselves you get this frenetic energy burbling just beneath the surface waiting to burst out and it’s extraordinary. And the character work that these young performers are putting into developing these student characters is impressive as well.
You’ve got Carter Lien, playing Mason who does ‘tech’ but then has this extraordinarily touching moment with Ms. Mullins just before the rock-block of songs at the battle of the bands and it just warms your heart. You’ve got Timmy Phelan, playing James who does ‘band security’ and once he puts those sunglasses on, you get this feeling that you better not mess with him! Sophia Libertini and Sydney Specht, as Shonelle and Marcy, respectively providing epic vocals as back-up singers. And when Dewey starts giving them those groovy-backing sounds to work with, they nail them every time. Roadies? Charlotte Evans and Olivia Huth, as Sophie and Madison? They got you covered! And watching them taking notes with their vivacious facial expressions when Dewey is trying to explain his concept for his ‘epic song’ is hysterical.
Awkward, introverted, and totally shy, Macee Skelton’s Tomika finds a moment to break out of her shell (not unlike the way Rosalie Mullins learns to let her hair down) with that solo feature of “Amazing Grace” during the performance. Skelton has good, strong, soulful vocals and a great handle on her character’s internalized notions, which just melt away under the heat of rock-n-roll, especially once she starts pumping it during “Stick It To The Man” (take your pick which version because all of the kids are so epically invested in that number no matter what time of the show it’s happening!) You get a sample of her musical theatre skills during “If Only You Would Listen”, a heart-breaking quartet (backed by the remaining nine student) that features Skelton, Brady Katzenberger, Colton Roberts, and Brady Fiol as well. Watch Skelton’s facial expressions, especially when she’s trying to talk to the adults, or rather ‘not-talk’ as the case tends to be for the character.
Stealing the show with her swotty-brat attitude, Ellie Paquin as Summer Hathaway is just amazing. Little Miss Teacher’s Pet, Know-It-All, Hermione, etc. Paquin fills out that role sublimely, particularly when it comes to taking up her character’s role of ‘band manager.’ Watching her desperately try to win that gold star for the chart once Dewey takes over the class is hilarious; Paquin is super engaging. And then you get a real chance to hear her shine as she leads the kids to glory at the top of Act II during “Time To Play.” Paquin has powerhouse vocals that really blaze that song to life.
And if Ellie Paquin is stealing the show, Brady Fiol is running away with it on the sequined coat-tails of his shimmering green jacket. With more personality than any young ten-year-old should rightly be able to fit on any one stage, Fiol is all attitude, all sass, and all-around exceptional in the role of Billy, who does the costumes and makeup for ‘the band.’ (The number of times my notes say “SO MUCH SASS” in reference to that kid on stage is insane!) Fiol is selling it— sashaying and strutting and totally living in the vibes of the character, which are fierce, fabulous, and beautifully funny; that kid understands comic timing! And he’s got a gorgeous voice to boot, which you can hear during the quartet that will melt and break your heart simultaneously, “If Only You Would Listen.”
Now as for the band— you’ve Zack Mooneyham (Brady Katzenberger) on electric guitar, Lawarence (Mara Weeks) on keys, Katie (Cameryn Deibler) on bass, and Freddy Hamilton (Colton Roberts) on drums— these kids are extraordinary and they are rocking their heart out live on those instruments. Like all of the kids in the production, they’ve developed these incredible larger than life characters that really pop right off the stage and bring you the most epically entertaining rock-musical-starring-kids that you could ever hope to see at a community theatre level. They’ll shake you so damn hard, they’ll wake you up, and make you hear— hands down, no contest! When Deibler starts to rock out on the bass in “You’re in the Band” you get the sense that Dewey has just handed her a license to thrill and that she’s just completely unleashed this whole new side of her life she had no idea she could explore.
Katzenberger’s character growth is exponentially impressive, as is Weeks’ when it comes to playing nerdy Lawrence who starts off life with the notion of “…but I only play classical!” And when you hear Roberts wailing away on those drums, the floor of the opera house is thumping beneath your feet as he does. It’s wild. All four of these live musicians are really revving up the energy, which becomes deliciously contagious for the other young performers on stage. And they’ve all got brilliant moments where they express their internalized feelings too— particularly with Roberts and Katzenberger, though Roberts often comes with more of a snarky-bite-back style humor and comedic timing to his expressions. Both Roberts and Katzenberger have clear, smooth vocals that lend themselves to “If Only You Would Listen.” Each of the four live instrumentalists have multiple opportunities to showcase their skills with featured instrumental solos and this quartet of talent is SLAYING it when it comes to those solo moments, particularly Weeks and her hard-sweeps up and down the keyboards and the rumble-pats that Roberts delivers on that drum kit. Deibler, who joins Weeks, Roberts, Katzenberger, and Macee Skelton & Ellie Paquin (Tomika and Summer) for that “If Only You Would Listen (Reprise)” as they’re trying to save Dewey from himself just before the battle of the bands, comes together with glorious sounding sweetness, really convincing both Dewey and the audience in earnest that this crazy off-the-chains ‘teacher’ guy has touched and changed their lives for the better.
These four— really— these 13 kids (and their very supportive adult ensemble cast) are what make the show worth attending. They are rocking their hearts out, shouting the house down, and really getting all of those feelings out there through music. You wanna stick it to the man? You wanna rock? Then you get your tickets to see School of Rock starring Cameryn Deibler, Charlotte Evans, Brady Fiol, Olivia Huth, Brady Katzenberger, Sophia Libertini, Carter Lien, Ellie Paquin, Timmy Phelan, Macee Skelton, Sydney Specht, Colton Roberts, Mara Weeks (and their adult ensemble) and you won’t regret it!
Running Time: Approximately 2 hours and 10 minutes with one intermission
School of Rock plays August 16th through August 25th 2024 with Scottfield Theatre Company currently in residence at the Cultural Center at The Havre de Grace Opera House— 121 N. Union Street in historic downtown Havre de Grace, MD. For tickets call the box office at 667-225-8433 or purchase them online
To read the interview featuring the nine “kids in the band” click here.
To read the interview featuring the four instrumental ‘kids in the band’ click here.
