VOLUME 11, ISSUE 6 “HOME OF THE PHANTOMS” March 2015

“Hairspray:”PAHS can’t stop the beat!

Written by: Amanda blues from the time period. During this time, audience want to get up and dance too. “The the fight for civil rights was at its peak and musical has wonderfully catching tunes. You Hozyash discrimination and segregation was on every walk out and you’re still humming them all,” block. President Lyndon B. Johnson pushed Mrs. Tavani said. the Civil Rights Act through Congress, which The musical’s original Broadway produc- was supposed to prohibit discrimination in In the last week of March tion opened on August 15, 2002, won eight public places. Women and minorities finally Tony Awards out of thirteen nominations, you may see some of your peers walking began to grasp the through the halls repeating their lines, hum- respect in society ming tunes, or wearing dolled-up suits and that they had been old-fashioned dresses. This isn’t for any his- hoping for. Alt- tory project, but for the spring musical: hough these laws “Hairspray.” All theatre shows here at PAHS were enforced, African Ameri- cans’ problems were not com- pletely solved. In the show, Tra- cy Turnblad, a plump teenager growing up in Baltimore, Mary- land dreams of performing on The Corny Col- lins Show, a local TV dance pro- gram. When she wins the role, she meets people of all races, and Tracy and friends join Motormouth Maybelle encourages them at her record shop. to be on the show with her, but some people don’t agree with racial inclusion. and ran over 2,500 performances. The PAHS The cast of this particular show isn’t just performance of the play will take place at spectacular because of its wide range of ages, 7PM on Thursday March 26th, Friday the ethnicities, and races; this musical gives 27th, and Saturday the 28th. Tickets can be many opportunities for the students to show ordered from the high school webpage or off their talents. There are several speaking purchased at the door. Don’t miss out on this parts and the entire ensemble plays an im- extraordinary musical! portant role. Not only that, but there are great songs that will make the The cast performs the iconic “You Can’t Stop The are miraculous, but this par- Beat.” ticular one is unlike any other. The musical’s produc- er, Mrs. Tavani, stated: “What I like best is it’s a very high energy play.” Students of all ages, ethnici- ties, and races have come together to put on this inter- racial musical that will astound the audience. The musical is based on a book by Mark O’Donnell and Thomas Meehan and the 1988 John Waters film “Hairspray.” Taking place in Baltimore in the 1960s, the songs in- clude dance music and “downtown” rhythm and Madison DiAddezio as Tracy Turnblad

third production she has been acknowledging Written by: Devin Gervasi involved in at PAHS. She has been where you came seen as Paulette in “Legally from and where Blonde,” and Trix the Aviatrix in you can go with Senior Madison DiAddezio plays “The Drowsy Chaperone.” the lessons you have learned. It is Tracy Turnblad, the lead role of this Tracy is a very positive and relat- so powerful. I also year’s spring musical. Tracy Turn- able character, and the audience love ‘You Can’t blad is a very high-energy character and sees everyone as will definitely fall in love with her. Stop the Beat.’” equal. Tracy works her way to landing a role on The Corny Tracy has a very school-girlish Maddy insisted, Collins Show, and uses her fame to promote integration on style, and Maddy will wear cushion- “My favorite part the show. Tracy has always had a dream of being on TV, ing to make her look bigger. To- of the show is and believes everyone should have an equal opportunity to wards the end of when The Corny follow their dreams. the show, Tracy Collins Show be- begins to wear Maddy had a dream too, comes officially vibrant patterns, and it was to have a lead integrated and breaking the tradi- role in the musical in her everyone is able to tional 50s style. The last year of high school. So, dance together and show is set in the that is exactly what she got. just have fun, be- early 60s so people She said, “I like that I can cause that’s what have not explored really take the stage for one life is really about.” last time. Yes, it is difficult the outgoing 60s memorizing the lines and fashion, but Tracy is Tracy Turn- the dances because I only because she is ready Tracy Turnblad and Link Larkin share a blad sees people for the future of not in color, but have a ten minute break moment on The Corny Collins show. during the entire show. It pop culture. as equal. Every- one should be takes a lot of energy, but I Because Maddy is able to do what could not ask for a better the lead, she is a they love to do, because they love to do it. Maddy thinks it role.” Maddy has a love for part of almost every scene and she gets to is crucial that the audience sees in Tracy what she hopes to singing and dancing, and experience every song. She said, “‘I Know see in herself: “It is important to accept people without ever since her freshman Where I’ve Been’ is one of my favorite judgment.” Everyone should come see the musical to sup- year she knew she had to songs, which is sung by Motormouth be on the stage. This is the Maybelle (Safiyyah Jones). It is all about port Maddy, and everyone else in this year’s cast!

Chris Fitting as Link Larkin

Written by: Owen Goryl said what attracted him to the role was that “he is the male lead, but Link has great songs and he really is a likeable character, and I hope to portray him that way.” Senior Chris Fitting is prepared Previously, Chris was involved in “Guys and Dolls,” for one more big role at PAHS. In “Legally Blonde,” and “The Drowsy Chaperone.” Chris is the spring musical, “Hairspray,” Fitting has the role of male lead and teen heartthrob Link Larkin. Link is a young danc- also involved in community theater outside of school. er on the Corny Collins Show and the love interest of In a dance heavy show, Chris has had to work very hard Tracy Turnblad. Link grows through the show, becoming on his dancing, and on the music side of the show Link has open to the diversity around him and changing as a person. a high vocal range that Chris found difficult to perfect. In Chris the show, Link sings “It Takes Two,” a song Fitting said, “I Teen heartthrob Link Larkin sings “It Takes really had to work hard Two.” for. Link is the hot guy of the show and I had to really get into that role to get the most out of it.” Link sports a blue button down shirt and a sweater vest, with some sleek khaki pants. Chris’ everyday rehearsal consists of a lot of dancing and really nailing all of the little details. He said, “The learn all of the dances.” production staff has been a “I like that I have the chance to play an iconic role like big help to me, and the this, and watching Zac Efron as Link in the 2007 movie director Ron Quirk has really pushes me and I want to try my best to be better been huge on really nailing than he was,” Chris added. He has worked very hard day in the character of Link. Dr. and day out and expects the show to be very successful. Carp has really helped me Chris has really enjoyed being in the musical and said, “It’s learn all the music and Mrs. a challenging show, harder than ones in the past. We’ve Hodgkiss has been very worked so hard for this and it’s going to turn out great.” important in helping me

THE PURPLE PRESS VOLUME 11 ; ISSUE 6 PAGE 2 Jake Gould as Edna Turnblad Josh Bush as Wilbur Turnblad

Written by: talk, and practice walking around in high Written by: Benjamin Wilbur is married to Edna Turnblad, a Brett Arney heels.” Armstrong “drag role,” played by Jake Gould. In one scene you can expect the couple to sing a Edna Turnblad is a plus-sized mother of It’s no doubt that romantic duet together, so look forward to main character Tracy Turnblad. She runs a Junior Jake “Hairspray” will that! laundry business out of her home and does Gould tackled a probably make you not really go out much because she is not As for the dancing aspect, it has been a little whole new chal- laugh, and part of self-confident, but eventually becomes bit of a challenge for Josh to get a hold of, lenge in this year’s that is due to the Tracy’s agent. She is very sarcastic and puts but he has greatly improved. Just like Wil- Spring Musical, “Hairspray.” Jake is playing comedy-centered role of Wilbur Turnblad, down her daughter Tracy a lot. bur, one of Josh’s ways to get into character the role of Edna Turnblad. Yes, you heard played by junior Josh me, he is playing the role of a woman! To play the role of Edna Turnblad, Jake will Bush. As Tracy’s fa- be wearing a fat suit, a wig, and tons of ther and Edna’s hus- Jake always wanted to play the role of a makeup. A typical rehearsal is four hours band, he is incredibly long. They spend most supportive towards of the time going over both of them, en- the music and the rest couraging Tracy’s of the time on danc- dreams to be on the ing, blocking, and Corny Collins Show acting. “The thing I and not caring if enjoy most about Edna feels ashamed being in the musical is of her weight. all the friends I have Josh explained, “I made and the new started out with spe- people that I have met cific interests [of because there are a lot playing] Wilbur or of people that I would Edna [since] I knew never have talked to if the show beforehand. this never happened,” I’ve seen the movie, said Jake. so I kinda knew what Jake is becoming an I was getting into. accomplished per- Those were two char- former. In his sopho- acters I liked.” more year Jake was in Wilbur is always “The Drowsy Chaper- optimistic, able to one” and he was fea- make anyone laugh tured in the musical, despite the situation, “Legally Blonde.” He and is the proud is very excited about owner of the Har-De- being in “Hairspray” Har Hut joke shop. because he feels it has “Wilbur is one of really fun music. He those people that also feels that people is to think positively. Wilbur is a hilarious just, no matter what, the glass is always half will like the show be- character and Josh is positive you’ll love him full. No matter what’s going wrong, he will woman and is up to the challenge. He said, cause it tells a good story, it has a very up- as much as he loves his “wife.” always be able to crack a joke. He can always “It’s kind of weird and took some getting beat tone, and will keep the audience ready make you smile. He is just one of those peo- used to. It’s just different mannerisms and to dance and sing along! ple who’s just constantly positive no matter everything. I had to re-learn how to walk, what’s going on,” said Josh. Jordan Mudd as Corny Collins

Tussle, who is “very much against the things he believes According to Jordan, “The show just has lots of positive, in,” and “doesn’t believe in integration or that Tracy, the inspiring messages, and Corny Collins is a very affable and Written by: Matt main character, should be allowed on the show.” dynamic character who can really In the first act, Jordan sings a solo LoPolito bring everything in “The Nicest Kids in Town,” a the musical repre- vibrant introduction to the world sents to life. The of the Corny Collins Show, and a cast has been In the PAHS pro- sure audience pleaser. Towards the terrific, and duction of end, Jordan also sings in the “big, there’s so much “Hairspray,” junior Jordan Mudd plays jazzy” song, “It’s Hairspray.” Corny Collins, the vibrant and progressive talent and energy host of the Corny Collins Show. The “People are going to love this that it’s something show, shot in Baltimore every afternoon musical,” said Jordan. “It’s a ton of very special to be at 4 PM, features the nicest, most popular, fun and also very well-known a part of. I could- whitest kids in the area, and Corny wants which I think is going to draw a lot n’t be more excit- this to change. Corny is “a very dynamic of people in, especially high school ed for opening performer,” who’s been in show business students.” The brilliant, upbeat night, and I hope for a long time and “supports integration musical won 8 Tony Awards out of to see everyone and body positivity,” said Jordan. its 13 nominations and ran for over there!” Jordan said that Corny is in constant 2,500 performances, and the PAHS Corny Collins starts the Miss Teenage conflict with his producer, Velma Von rendition is sure to be received well. Hairspray by singing “It’s Hairspray.”

THE PURPLE PRESS VOLUME 11 ; ISSUE 6 PAGE 3 Julia Richter as Amber Von Tussle

Written by: Alaina minorities.” To prepare for her powerful antagonistic role, house.” “It is a great number where the women are on stage Julia devoted herself to the busy rehearsal schedule and together while chaos is occurring during the scene,” Julia DeLeone practiced lines and num- stated. As Amber, Julia dons the obnoxious- Among the charismatic personali- bers in her downtime. “I ly ruffled, flared, and bright colored dress- ties portrayed in “Hairspray” is the learn most effectively es that reflect Amber’s haughty persona. arrogant, conniving mother and when the cast is together Over the course of the musical, Julia cre- daughter duo, the Von Tussles. In going over scenes,” ex- ated countless memories and friendships order for producer, Velma Von Tussle plained Julia, “because with her cast mates. Her best friend, Alison (Alison Kachnoskie) to maintain her and her daughter’s local the lines come over natu- Kachnoskie, plays the role of her mother, fame and prevent integration on The Corny Collins Show, rally to me that way.” Velma Von Tussle. “I enjoyed the most Velma continuously manipulates the production. She ulti- Along with developing performing alongside my best friend,” Julia mately influences her daughter, Amber, to follow her cynical her character, Julia per- said. “It can be rare for that to happen.” footsteps and antagonize the new girl in town, Tracy Turn- forms several dance num- Although Julia portrays Amber’s vain traits blad (Maddy DiAddezio). Portraying the stuck up and resi- bers during the produc- in the musical, she mainly wants the audi- dent princess of The Corny Collins Show, Amber Von Tussle, tion. “Dance numbers ence to walk away “remembering the cru- is sophomore Julia Richter. include any moves you’d cial message of acceptance of all types.” Some may expect playing the role of a villain as uninviting: imagine in the sixties,” With the demanding performances of however, Julia explained that “It is simply the best kind of Julia stated, “and believe Alison’s and Julia’s roles as “Hairspray’s” character to play because you get to explore different per- it or not, dancing while evil dynamic duo, there is no excuse not to sonalities that aren’t really you.” Throughout the production, singing at the same time see this swingin’ sixties-based hit musical Julia delivers a performance with devious mannerisms, nearly is pretty difficult.” Julia’s that is filled with humor, enjoyable music, convincing the audience that her personality is equivalent to flirty main number as flashy dance numbers, and above all, an Amber’s. Rest assured, Julia’s personality is the complete Amber is “Cooties.” How- enduring message applicable to all. opposite. “I can’t really relate to Amber,” Julia stated, “since ever, Julia’s personal she is just a terrible person who is judgmental toward all favorite is “The Big Doll- India Knight as Little Inez

Written by: Jenna Powell day.” India also and she was in the ensemble in the musical “The Drowsy has sass, which Chaperone.” Earlier this year, she was understudy for the This year’s musical “Hairspray” has is what Little female lead role, Estella, in the fall play “Great Expecta- brought a lot excitement and opened Inez needs. India tions.” She got to play Estella one night of the fall play. up opportunities for more students also loves danc- India’s favorite line of the musical is her solo in “Run and than usual. Sophomore India Knight ing, on and off Tell That” when she says “hand over the halo honey,” and got cast as Little Inez. India described camera. Amber (Julia Richter) says “Over my cool dead body.” Her Little Inez as “cute on the outside, but “Hairspray” favorite number is “Big Dollhouse” because she enjoys she has this will inside of her that can be bold when she isn’t India’s first wants to.” In the musical, Little Inez loves dancing and being in “jail” and gets to do tapping. production in wants to be a part of The Corny Collins Show. Unfortu- India has really enjoyed being in “Hairspray.” Nowadays, the high school. nately, she is turned away because she is African American. life is a lot better for African Americans, but she appreci- In ninth grade, Tracy Turnblad becomes Little Inez’s inspiration to follow ates that she can experience what life was like for African she was an Americans back in the 60s. This year’s musical “Hairspray” what she loves. American tour- will be an event you can’t miss. You will get to hear India Little Inez is a minor role in “Hairspray,” but she is im- ist in the fall play portant overall. India feels good about being cast as Little “The Mouse Knight’s lovely voice as Little Inez. Inez. She said, “Little Inez is basically me just back in the That Roared” Bruce Butler as Seaweed J. Stubbs

Written by: Ze’Aira Boggess Seaweed’s fearless personality matches Bruce’s talent. Bruce enjoys playing this role because Seaweed adds a fla-

vorful twist to his moves when he’s dancing. When he sings Musicals are full of lovable charac- he adds all kinds of intoxicating riffs and “high notes” that ters with a wide spectrum of person- will have you cheering for more. His overflow of charm and alities and talents that never cease to confidence would make any girl swoon, which is the case for capture our hearts . “Hairspray” Penny who has fallen head over heels. The two are victims of consists of multiple lead roles that love at first sight and ignore the fact that their display of add an exciting twist to the story. One in particular is the affection toward each other is taboo. According to Bruce, role of Seaweed J Stubbs, played by junior Bruce Butler. “Seaweed doesn't care, Penny doesn’t care and we decide Seaweed is a handsome African American teenage boy who that’s what we’re going to do.” The two are inseparable longs to dance. In the sixties, racism was everywhere, but throughout the play. Seaweed doesn't let that keep him from dancing, going “Hairspray” is a play that is different and everybody will against the status quo, and falling in love with the Caucasian have their favorite elements about it. For Bruce, his favorite Penny Pingleton (Becca Rush). is the music and singing, especially performing in the num- Both Seaweed and Bruce are unforgettable characters in bers “Run and Tell That,” “Big Blonde and Beautiful,” “I Know their own way, which comes in handy when Bruce needs to Where I’ve Been,” and the infectiously catchy “You Can’t get into character. He said, “I just gotta think of who he is Stop the Beat.” and how he would be in a situation and how he’s not afraid Bruce stated, “The music in the show is amazing.” He add- of anything. I can’t show any signs of hesitation or fear, and ed, “In other musicals, the plot is the reason for the songs, be confident about every move I do and everything I say.” but in this one the songs set the tone with the acting.”

THE PURPLE PRESS VOLUME 10 ; ISSUE 6 PAGE 4 Rebecca Rush as Penny Pingleton, and Safiyyah Jones as Motormouth Maybelle Lindsey Smith as Prudy Pingleton

Written by: “not as much as Maybelle is.” The best quality about Maybelle, however, ac- Written by: Andrea acter is just really funny and I like playing Chris White cording to Safiyyah, is that “she speaks funny characters.” Lindsey and Prudy are Stock in rhymes.” nothing alike. Prudy is very mean and has a “Hairspray” Many kids have a nasally voice, which is the complete opposite Safiyyah has spent a lot of time getting has come to Phoe- parent who does not of Lindsey. However, it wasn’t too tough of a into character to prepare for her role. nixville, and in a always see their part because Lindsey said, “Mean characters Whether it’s “watching a lot of gospel, or big way too. Not point of view (and come naturally to me.” Tyler Perry movies,” or “talking to her only is this an incredible play filled with vice versa). For Prudy and Penny Pingleton, grandparents about what they had to go The toughest part about playing Prudy is song, dance, and touching scenes, but it’s the disagreement is a constant struggle. through, since they have lived through the keeping a stern face towards her “daughter” filled with an incredible cast. One of the cast Penny (Rebecca Rush) is a very fun and Civil Rights era,” she does whatever she can who is one of her best friends in real life. members, senior Safiyyah Jones, plays a very quirky character. She is best friends with to personify her role. This is important for Lindsey explained, “In one song we freeze Tracy Turnblad (Maddie DiAddezio) and acts Safiyyah, since this is her first musical with for a good minute and I’m looking at her a lead role. with a stern face and every time she looks at Important character in the play named Mo- me, I start giggling and then she starts gig- tormouth Maybelle. Throughout the play, Motormouth gling. It’s a good time, but not!” Delivering Maybelle has to face many obstacles in her Safiyyah stated, “Motormouth Maybelle is the lines in the way they are supposed to path. The main problem is prejudice, espe- the owner of the record shop in the play.” come across, funny and amusing, is the hard- cially from another character, Velma Von She is also what Safiyyah describes as “a big est part about playing Penny. Tussle, (Alison Kachnoskie), who is very activist for Civil Rights.” Safiyyah explained disconnected from Maybelle. Safiyyah said, Both Becca and Lindsey agree that the that she is “pretty outgoing” as well, but “[Maybelle] has to find a bal- musical overall is fun and up-beat. There are ance between work, family a lot of songs and dances people can sing life, and trying to find equality and dance along to in their seats. Lindsey between her and the other said, “I think the musical overall is good. A characters in the play.” lot of people realize they like musicals, even if they didn’t think they would.” Safiyyah sings two songs in the play called “Big, Blonde, and Beautiful,” and “Know Where I’ve Been.” She de- scribed “Big, Blonde, and Beautiful” as a song about “being yourself and loving who you are,” and “Know Where stupid and silly all the time. Her mother, I’ve Been” is about “taking all Prudy (Lindsey Smith), is the complete the struggles and tribulations opposite. She is a very racist, crazy, hair- that people go through and always-in-a-tight-bun type of woman. just letting them all go.” Sa- Penny follows and listens to her mom, fiyyah described the music as but later falls in love with Seaweed “very moving,” and said it will (Bruce Butler), which changes who she is. inspire a lot of people. For Becca, her role resembles her per- “Hairspray” is sure to be a sonality very much. She has her stupid hit, and the cast will make a moments and the things Penny says are performance that everyone things Becca would say. Becca said, will remember, as they do “[Playing Penny] is a lot of fun. It’s one of every year. the bigger roles I’ve played. Penny’s char-

Alison Kachnoskie as Velma Von Tussle

Written by: Jess Anthony people I’m nothing like times in practice, it became almost second na- because it’s so fun to ture, but learning all the choreography and explore different per- songs for her part was a challenge. Allison stat- Every good story has a villain. sonalities, and try things ed, “The most difficult part of the production is They may not be the kind that I would normally never singing and dancing in heels. I hope that I can go tries to take over the world pop- do. Plus, it never hurts out on stage, put everything aside, and give the ulation, but they still exist. that my best friend, Julia performance of my life, making my senior show “Hairspray” takes place in 1962 Richter, [plays] the part one to remember.” and the villains are portrayed as a racist, egotistical moth- of Amber, her daugh- “Hairspray” has meant more to Allison than er-daughter duo, the Von Tussles. Alison Kachnoskie plays ter.” just a fun musical to perform. It has taught her Velma Von Tussle, mother of Amber (Julia Richter). She Preparing for a role some valuable life lessons that she hopes the has raised her daughter to only accept those who are like Velma Von Tussle is audience will understand too. She said, “perfect.” She feels prejudice towards people who are not always a walk in the “Besides the amazing plot line, the underlying black, overweight, and considered “ugly”. She vicariously park. Capturing a char- message of accepting everyone regardless of lives through her daughter, and will do anything for her acter's personality and looks, race, or weight is what I would really like success, including manipulating the popular dance show of portraying it to the the audience to remember. Despite my charac- their time, The Corny Collins Show, which Amber happens audience is hard work, ter’s horrible attitude, she was even able to to be the star of. especially when the come into reality and realize how wrong she This year Phoenixville Area High School decided to take character is nothing like was. Even the worst of people can see the light. on “Hairspray” as their annual spring musical. When hear- you. Allison, however, Velma has given me an opportunity to step in ing the word about the exciting production, Alison Ka- takes this with ease. the shoes of those who act like her, and I hope chnoskie knew that there was no other part for her aside She has learned to channel her nerves, and use them as an that everyone like her will see the light the way she did.” from Velma Von Tussle. She said, “I really love playing advantage on stage. The cast recited their lines so many

THE PURPLE PRESS VOLUME 10 ; ISSUE 6 PAGE 5 Ron Quirk: Director and chief

Written by: Vincent Gervasi Saturdays they had an additional dance rehearsal. The bad Been” is a powerful song. He stated, “The words talk about weather really impacted the rehearsal schedule, but the the struggles of black people. It’s a strong, powerful an- kids were able to make up the time and make this show them that moves me every time I hear it.” Ron Quirk is the director of the happen. The big musical numbers are also the most chal- musical “Hairspray” at PAHS. Mr. According to Mr. Quirk, “The best part about directing lenging. Because there’s a large amount of people, he has to Quirk came to Phoenixville four the show is watching it all come together- from the audi- find something for everyone to do. But Mr. Quirk isn’t years ago. He previously worked alone; he has other staff members behind him who with Dr. Carp at The also work with the cast. The producer of the Barley Sheaf Players, a small theater in Lion- show is Mrs. Tavani, a German teacher here at ville PA, and directed the Annual Teen Show PAHS. Dr. Carp is the music director, and she is for over 15 years. Dr. Carp then asked if he the choir director here at PAHS. Mrs. Hodgkiss is was interested in coming to Phoenixville for a the choreographer. She creates all the dances al- new job as director of the musical. He applied most from scratch and has to work with all the and has been here ever since. kids to make all the dances work. Debbie Young “Hairspray” needs a very diverse cast, and does the costumes. She is responsible for coming that was difficult at first. For musical auditions up with costumes for over 60 student actors. “I in December, Mr. Quirk said, “Only a couple have no idea how she does it all on such a limited of black kids showed up for the audition.” So, budget,” said Mr. Quirk. Mr. McAdams is the direc- he had to add another night for auditions. tor of the orchestra, as well as the band director Posters and signs were posted all over the here at PAHS. He has spent the past few months school and announcements were made to working with the orchestra and getting them ready spread the word. Mr. Quirk said that the for the show. “We’re lucky to have a live orches- second audition date was a success, as they tra, and I can’t wait until we put the cast and the were able to get a more diverse cast to come orchestra together,” Mr. Quirk added. out. Mr. Quirk feels that people will enjoy Mr. Quirk gives tips to students during a rehearsal. Rehearsals started in the beginning of Janu- “Hairspray” at PAHS because it is a “fun show.” He ary and they had 3-4 rehearsals a week. Each said when he saw the show on Broadway he fell in tion process up to opening night.” He loves the feeling of rehearsal night required a different set of people so Mr. love with it right away, and “Underlying all of the fun is applause and laughter from the audience in a successful Quirk could work more on individual things. Tuesday very important message of accepting people that are differ- musical. Mr. Quirk’s favorite parts of the show are the big nights was for dance rehearsals, Wednesday nights were ent from you.” He feels that this is something that we still musical numbers. He loves to see all the kids up there split between music and dance, Thursday nights were set working together as one. The song “I Know Where I’ve need to learn as people. aside for the main characters for individual critiques. On

Dr. Carp: Filling “Hairspray” with song

ward,” Dr. Carp explained. “Many cause the dancing is of them also hide an underlying either complicated

Written by: Bridget Walt message – for instance, ‘Good or requires so much Morning Baltimore’ is a song that energy that it’s hard “Hairspray” the musical is a fun, up- Tracey sings about how happy she to keep up the beat show that will have the audience is to get up in the morning and vocal energy as singing and laughing. Dr. Carp is the say hello to her neighborhood.” well. Some are hard choir teacher at PAHS and also the The upbeat music describing because they’re so music director for “Hairspray.” Her role is to put together all Tracy’s shabby hometown shows emotional (or so of the music and songs, conduct rehearsals, and make sure the viewers that she is happy funny). They all that everything is running smoothly. where she is and is able to make have their challeng- the best of any situation with a lot es!” Dr. Carp ex- The audience will surely be out of their chairs singing and of optimism. plained. The stu- dancing to the musical. “Many of the songs in the show are dents got through humorous and are really there just to move the story for- “Two of the most impactful these difficulties by songs are sung attending the many my Mo- rehearsals. It is tormouth perplexing how the Maybelle Dr. Carp discusses techniques with students. students are able to played by learn so much while Safiyyah Jones. The first is funny but talks balancing school. Dr. Carp said, “If you were to come by about how it doesn’t matter if you’re during a rehearsal you would see so much activity – students ‘bigger’ as long as you’re happy,” Dr. Carp singing in the choir room, dancing on the stage, running said. On the other hand, some songs have small groups on their own or laying on the floor trying to a more serious tone to them in order to catch up on homework if they’re not needed. Everyone’s highlight important messages: “The sec- busy!” ond is really the anthem of the show – ‘I Know Where I’ve Been’, which describes All of the hard work put in by Dr. Carp, the students, and the past history of African Americans and other important staff members is definitely rewarding in the how they’re not going to stay there any- end. “We all love this show because it has such a serious more.” message and an important history lesson but it’s couched in the funniest songs, lyrics and characters. It has rousing an- Dancing while singing can be stressful thems and hilarious novelty numbers and the ending is really and difficult at times for the students. high energy. We really encourage everyone to come!” Dr. “Some [songs] are hard because the har- Carp said. Dr. Carp helping senior Taylor Reed with a song. monies are difficult. Some are hard be-

THE PURPLE PRESS VOLUME 11 ; ISSUE 6 PAGE 6 The choreography behind “Hairspray”

Written by: Austin Starczewski more fast paced, stylized numbers. But The dancers rehearse their moves on stage. everyone is involved in movement in at “Hairspray” is musical that is heavily least a couple of numbers in the show.” based on dancing. The show revolves Since the dancing is such a huge part of this produc- around a girl named Tracy Turnblad tion, Mrs. Hodgkiss put a lot of time and effort into (Maddy DiAddezio) , who is compet- creating the moves. She said, “First I familiarize myself ing on the Corny Collins Dance Show. with the music, the characters, and the plot to deter- Since dancing plays such a major role mine what style of dance is appropriate for each num- in the show, the choreography is extremely important. This ber and then plan on exactly who will be in each one. production is choreographed by Diane Hodgkiss,. She fully With a large cast there is a lot of planning with the appreciates the complexity of the dance numbers and has Director and Musical Director to try to get everyone been choreographing the shows at PAHS since 2009. involved in the areas they are best suited. For the Mrs. Hodgkiss has choreographed many shows in her life, actual choreography I draw on my own experience but admits “Hairspray” is one of the tougher ones. She said, (yes, I was alive in the 60’s) as well as from watching “It was very time consuming! The difficulty is really in deal- clips of the Broadway show and the movie to get inspi- ing with large groups of students with varying levels of expe- ration, and then create my own,” she said. rience with dance and musical theater.” However, despite However, aside from one number, which I won’t give away, The students have put a great amount of time into the the fact that many of the kids are inexperienced, many of the none of the dances require any experience in a particular production to make sure they have all the dances down. dances do not require lots of experience. She added, discipline of dance. The biggest challenge is to dance in the While watching the show, look out for some of the bigger, “Experience levels vary greatly from none, to involvement in style appropriate for the characters and the time period. I more difficult dance numbers, like “The Madison” and “You other musical productions, or several years of dance lessons. try to feature the kids I feel move the best in some of the Can’t Stop the Beat.” Bringing 60’s style costumes to “Hairspray”

Written by: Jack Robinson well as flame colors to represent the righteous anger present that help me make sure the clothing looks like the 60’s.” The and to invoke passion. Costume creator Debbie Young said, costumes are from thrift shops, Goodwill, and other theaters

“I look for fabric that is similar. I have lots of vintage patterns she has good relationships with. One of the most crucial elements to Each character has a unique clothing style that is based on a play is the costumes. They give each his/her personality. To create the costumes the actors are character their own feel and style that asked what their character might wear. “We talk about eve- helps their appearance and personality rything that the character would have, including shoes, belts, stand out. The spring musical scarves or ties, and jewelry,” said Mrs. Young. Sometimes “Hairspray” takes place in the early 1960s, meaning each these outfits are created by the lines used by the characters, character has a real “oldies” look that screams color. The such as when Wilbur mentions his parents are in the circus costumes start out as 1950s clothing with the main character and in one scene is wearing a circus T-shirt. Other costumes Tracy sporting a 1960s outfit and serving the role as a pio- are more unique than others, such as Jake Gould’s character neer for the time. Characters like Amber von Tussle and her Edna Turnblad. Edna Turnblad is a drag role serving as a mother Velma stay with a 1950s look, since both characters comedic character, so for Jake a special “fat suit” was creat- are not well-accustomed to change. ed out of foam rubber and beanbag pellets. The 1960s outfits are colorful and were created by drawing Saffiyah Jones (center) tries on a costume The costumes of “Hairspray” are bright and colorful, inspiration from fashion magazines. Most of the costumes under the supervision of Mrs. Young. reflecting every character’s personality. So come see all use bright happy colors for the hopeful nature of the play, as these wonderful designs! Setting up the stage

Written by: Nick Vaile Some of the pieces had to be repainted to fit the 1960’s Baltimore look. Last year Mr. Howson and oth-

ers built lightweight walls that get suspended from the If you go to the play “Hairspray,” fly bars over head and can be lowered and raised for you will notice how beautiful the set different scenes. They were designed so that they can design is. Mr. Howson (senior Alyssa Howson’s father) lead the stage con- struction. He has a lot of experience building the set for plays. He said, “This will be my 6th play I have done set building for. My first was helping with ‘Romeo and Juliet.’ Since then I have been the lead for all the plays and musicals from ‘Legally Blonde’ through ‘Great Expecta- tions.’” He has many volunteers to help him build the stage Michele McCaleb and Rebecca Rush paint for this musical. Mark Smith, his son Chad (junior), Mr. How- props for the set. son’s son Tyler (freshman). Also helping were fathers Gerry Ball, Kevin Lavigne and Andrew Gustine. be used over and over again for years. Some of the materials they used for the set pieces were The building of the set started in mid-March after the from various lumber yards, but they also reuse sets from Phoenixville Area Middle School spring show ended. Mr. previous plays. This year they are using some materials from Mr. Howson nails together set pieces while Howson thinks that they will be perfecting the set right up previous plays like “Guys and Dolls” and “Legally Blonde.” Mr.Smith and helpers assist. to the start of the play.

THE PURPLE PRESS VOLUME 11 ; ISSUE 6 PAGE 7 Sound and lights: The show behind the scenes

Written by: Jack Robinson Tavani (PAHS alumni and Deichmann. Sound Technician) put it The job of Sound “the more experience you Technician in the Sometimes the important people in can get, the better you production is work a musical aren’t always in the spot- become.” the soundboard light singing and dancing; rather, The job sounds easy and make sure they are behind the scenes doing enough, but there are everyone who lights and sound. Controlling the lights and sound system is challenges. The lights are needs a micro- important to make sure everything seen and heard clearly by controlled by a program- phone has one. the audience. These tasks are difficult to learn, but as Marcus mable board that everyone Thankfully, the PAMS auditorium has better acous- tics and has a more user-friendly soundboard. The board is capable of using more Marcus Tavani mans the sound board. microphones and must makes it easier to repair properly learn to operate. them with its iPad and less isolated location. Even with these This year it is especially diffi- benefits, the sound crew can still be plagued by the usual cult since “Hairspray” is being problems, such as “When a microphone is having a problem performed in the PAMS audi- and you need to quickly figure out which microphone it is torium instead of the high and how to fix it as fast as possible,” said Marcus Tavani. Also, school. The middle school at times during performances actors may skip a line that lights and sound system is could cause the sound technician to miss a sound effect cue. capable of more since its brand new; however, it is Though they may not be performers on stage, sound and much harder to learn, but light operators are part of the reason musicals and plays look “once you master it and sound great. They make sure everything technical runs The sound and lights crew: Braden Bowdish, Noah you can do any- smoothly, guaranteeing the best possible outcome for the Deichmann, Drew Gibson and Jonathan Gibson. thing you want,” spring musical “Hairspray.” said senior Noah

The Purple Press is written, edited, Putting the “music” in musical and produced by the Phoenixville Area High School Journalism class Written by: Sarah Burns (Period 4). happens in the pit… to be able to flow with Advisor: Mr. The famed movie the production,” said Zittel “Hairspray” has come to Phoe- Mr. McAdams. Being Layout editor: nixville in the form of a musi- there are 40 musical Amanda Hozyash cal, introducing the communi- cues in the show, ty to a funky, jazzy, rock and don't forget to pay roll era. This year, the band’s new director, Mr. Staff: your respects to the Jessica Anthony, Ben McAdams, is in charge of the pit orchestra, the sup- orchestra when the Armsrtong, Brett plier of the non-vocal music. The pit consists of 10-12 Arney, Alaina Deleo- musical ends. ne, Devin Gervasi, students from the band and six professional players. Vincent Gervasi, Staying with the “funk” vibe of the era, the pit con- One of the pit’s fa- Owen Goryl, Amanda sists of saxophones, trumpets, strings, guitar, bass vorite songs to play in Hozyash, Cecilia drum, piano and electric keyboard. The orchestra the show goes by the Knaub, Kelly Kopera, Matthew Lopolito, started with rehearsals after school in early January. name of “Without Jenna Powell, Jack Love.” Mr. McAdams Robinson, Austin The songs have a lot of Motown influence in them Starczewski, Andrea and can be com- Stock, Nick Vaile, pared to the works Bridget, Walt, Chris- of Phil Spector, who A view from the stage of the pit practicing after school. topher White, Sarah Burns, Ze’aira was known for com- Boggess bining string instru- ments with the funk stated, “‘Without Love’” is the slow jam… for the horn of brass, saxophone player that is the 1970s funk tune.” Having all this fun All photos in this and jazz. Being playing these great songs does come with one catch: issue were photo- skilled with their commitment. “You gotta be able to come in and graphed by Mr. instruments, the pit Lantzy. play,” said Mr. McAdams. This also goes for the pro- may manage to fessionals, as they have to play the music correctly make this look easy, with little knowledge of the music before the practic- but behind the es. If you have a scenes, there always comment, ques- seems to be a bit of Surely, in the end, all of this commitment and time tion, or concern pressure. “The pres- will pay off, and the sounds of “Hairspray” will about the paper or transport you back to the 60s, an age of great music. you wish to submit sure comes from… an article to The connecting what Mr. McAdams intensely conducting a song featuring the professional Purple Press happens on the players. please e-mail stage with what zittelj @pasd.com. THE PURPLE PRESS VOLUME 11 ; ISSUE 6 PAGE 8

The 1960s: A decade of change

Written by: Kelly Kopera Emerging technologies such as FM radio and color TV women’s fashions got less conservative: bikinis and miniskirts made entertainment as we know it today more prevalent in were both significant diversions from previously dominant The decade in which “Hairspray” people’s lives. Music styles. takes place was a pivotal one: the became more accessi- The Beatles exercised immense influence on As the frequency of open-minded young population’s increasingly liber- ble, a key catalyst American culture throughout the 1960s. viewpoints became more common, al views influenced everything from of the “British significant effects developed in the fashion to politics. Though invasion”— sphere of political activism. The Vi- “Hairspray” is set in Baltimore in 1962, widespread radio etnam War and Civil Rights Movement drew thousands of protesters to the nation’s capital. The implications of the latter issue are seen throughout “Hairspray,” whose conflict has its roots in racism and the shifting ideals sur- rounding it. Tracy Turnblad, the show’s

play helped the Beatles skyrocket to American stardom. Shows like “The Twilight Zone” and “Gilligan’s Island” brought families to their new tele- vision set regularly. The growing fascination with TV plays a role in “Hairspray” as well, since the story is centered on Dancers show off their moves on “The Buddy Deane Show,” the TV dance the fictional Corny Collins Martin Luther King, Jr, renowned Civil Rights program on which “Hairspray’s” “Corny Collins Show” is based. Show. activist, at the March on Washington in 1963. The popularity of the it’s important to note that all of these changing outlooks Beatles led many young men to imitate their hairstyles, but main character, faces stubborn opposition eventually culminated in the counterculture movement of the pompadour and the crew cut popped up on many heads the late 1960s, marked by hippies, Woodstock, and an over- when she sets out to racially integrate “The Corny Collins as well. As a result of the decade’s free-spirited attitude, all psychedelic vibe. Show.” Hairspray: Behind the scenes at rehearsal

Written by: Cecilia Knaub The seamlessness of a show is a major factor contributing to its success. Seam-

lessness, however, is only obtained It’s 5pm in mid-March, and the through repeated acts of chaos, and to middle school auditorium is buzzing. an untrained eye, rehearsals are charac- An ensemble of voices crashes from terized by just that. On a macro scale, the auditorium in a lightning strike several groups working in unconven- of harmony. This vocal warm-up involves the whole cast, a tional spaces on completely different group of 50-or-so high schoolers, and just as I enter the material is disconcerting, but when I dimly lit theater to watch rehearsals, the exercise ends. Dr. visit with the several independently Carp gives brief in- structions, and the players are off to their respective chores. Within minutes, danc- ers are in the lobby, rehearsing choreogra- The cast of “The Corny Collins Show” strikes a phy to music stream- operating pose. ing from a portable talent to act, factions, I speaker hooked up to discover implicit sing, and dance can be recognized without any particular an iPhone. On stage, outfit, the true effect of their transformation into their re- organization at work. about 20 performers spective characters will not be grasped until the live perfor- In order to maximize are blocking choreog- the waning rehearsal mances. This is true in regards to every other aspect of the raphy for “Big, Blonde show as well. All the preparation is necessary to beat the time before opening and Beautiful,” a night, every aspect of material into familiarity, but when the curtain rises to show a number that con- sea of shadowed faces, instinct will take over, bringing a the musical is under cludes Act One. In a level of intensity impossible to duplicate in rehearsal. constant refinement. separate room, the Maddy, Josh and Jake belt their song. ensemble sings and Amidst the chaos, Until then however, rehearsal looks very little like the final show, but that’s ok. On opening night March 26, every danc- re-sings a verse from the main stage emits er, every ensemble member, every technician, and every an entirely different song. Set builders are on stage, working an irresistible pull. Stripped of costumes and adornments, actor and actress will be ready because of the precise meth- quietly behind the cast in the scene. the actors appear as themselves, a startling comparison to od to the madness of rehearsals. what they’ll look like in their 1960s costumes. While their

THE PURPLE PRESS VOLUME 11 ; ISSUE 6 PAGE 9 Andy Ball: Setting the stage

Written by: Austin Starczewski cast. In addition to props I am also in charge of the set. I have 60s. So finding those to know which set pieces need to come out for which scenes kinds of props is chal- and make the scene changes go as smoothly as possi- lenging. We usually When watching a show, many peo- ble. During the show we wait back stage for the scenes to put together a list of ple do not understand how much change. When the scenes do change, so do the sets. The props we don't have time and effort goes into the way the stage crew takes the previous set backstage and brings out in our prop room at stage looks and the props that are the set pieces for the next scene.” the high school and used. For- send it to the parents Due to the fact mer Phoenixville student-actor of the cast and crew. that the show is set Andy Ball is the stage manager for They always come in 1962, Andy “Hairspray,” and he has a lot to do through for us.” Alt- stressed the im- to make the show run smoothly. hough the actors portance of using shine on stage, don’t As the stage manager, Andy is in props that fit the forget about the peo- charge of the stage crew, making time period correct- ple that make the sure all of the set pieces are in the ly. He said, “There stage shine. right place at the right times. He are many strange also is in charge of deciding what props required to props are necessary for the show. make the show fit He said, “My role in the show is to that time period. We organize everything that happens needed a TV, radio The “Hairspray” stage crew members: Jessica Bugh, Andy Ball giving directions. back stage. I have to determine Victoria Lopez, Argenysse Marcelino, Kate Winkler, and microphone what props the cast will need and Gabby Messere, Ben Lavigne, and Jennifer Weber. that look like they then organize back stage for the were made in the

Hope Simenson: “The cool sets.” Jon Gibson and Noah Deichmann: “The lights”

Allison Buck: “Gangnam Style,” Megan Murphy: “The Char- Morgan Whitman: “Posing” lie Brown,” Julia Benner: “Krumping,” Cali Mulzet: “Jazz hands,” and Taylor Allen: “Step-ball-change.”

THE PURPLE PRESS VOLUME 11 ; ISSUE 6 PAGE 10 Find all of the words in the word bank. Then use the remaining letters to find the answer to the secret question. Secret Question: What is the best song from “Hairspray”?

AMBERVONTUSSLE LINK PRUDY BALTIMORE LITTLEINEZ RECORDSHOP COMESOFAR MISSWIMSEY SEAWEEDJSTUPPS COOTIES MOTORMOUTH THESIXTYS EDNA MRFLAK TRACY HAIRSPRAY MRSPRITZER WILBUR JAIL PENNY

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