The Soph-Frosh show was brilliantly original. The plot was something new and innovative and made the school cafeteria aides feel loved and appreciated. “Their show was so heartwarming and reminded me of my own grandmother’s homemade sausages. She would have little parties that were just as weird and original as Soph-Frosh SING!. It was so cute, she would call them Sausage Parties,” one aide said.
“I really loved Soph-Frosh’s plot,” junior Holden Higgins said. “It was just like this movie about food I once saw. I think it was called ‘The Hungry Games’?”
The props department added a different dimension to this amazing show. They gave very small lollipops to the yellow M&M and a huge, gigantic, larger lollipop to King Hershey. But it wasn’t about size because both lollipops were just as realistic and tasty.
The casting of Kevin Zong as the yellow M&M and William Lohier as the Hershey’s bar was another job well done. “We made a concerted effort to make sure we cast people based on talent, not race,” Soph-Frosh Coordinator Ruby Gary said. “I mean, come on, everyone knows I don’t see color. I have black friends!”
Despite this colorblindness, Soph-Frosh was still able to provide commentary on racial relations in modern-day America. Having a well-loved black leader removed from power for pure anarchy proved an inspiring message for current times.
The political messages displayed by Soph-Frosh extended far beyond race. They also chose to support the widely popular meninism movement. Support for this movement was found in contemp lifting up the only male dancer, in the set with Hershey’s being replaced by HimHey’s, and of course, by the fact that the Soph-Frosh SING! reminded so many viewers of sausage parties.
Both Senior Coordinator Winston Venderbush and Junior Coordinator Ray Jones expressed satisfaction with these political messages. “It was so incredibly moving to see Soph-Frosh display such powerful messages about keeping the sausage party alive #ImNotWithRuby.”
The rest of Soph-Frosh SING! seemed like a desperate attempt to figure out what SAP is. “Is it Sausage After Party? Sausage Appreciation Party?” freshman Hiro Kimura asked. Their party scene seemed eerily realistic to the real Sausage After Party, with tons of underclassmen just awkwardly dancing on the sidelines.
One of Junior SING!’s strong suits was without a doubt the quality of its acting and the depth of its characters, with junior Mark Shafran gracefully fulfilling the role of Mark Shafran, and junior Augie Murphy perfectly executing her role as Rich Person Stereotype. Cody Lin and Rigneyla Rigneyla (yes, his last name is also his first name), both stunned the audience with their ability to stretch themselves and play a flamboyant sassy boy and a stone-faced macho man respectively. The only mis-cast seemed to be of Holden Higgins, who struggled to portray a character who actually had to work for wealth.
The juniors won bonus points in the eyes of The Spectator for complying with the Americans With Disabilities Act of 1990 by making sure to include a mentally disabled character (played by junior Justin Chan) in the script. “I’m glad the juniors chose to acknowledge my legacy,” former President of the United States George W. Bush said.
Junior SING!’s biggest challenge was reminding the audience that their theme was in fact ‘1920s’ and not ‘Boat with Al Capone impersonators onboard.’ However, they accomplished this very feat through their many well-developed female characters such as the ballroom instructor, the useless girl who falls in love for a man trying to steal her jewel, and the annoying rich mother who hates her kids.
One of Junior SING!’s highlights were its subtle subplots, like when Frank and Bella stood side by side admiring the “nice view.” Given that they were on a boat in the middle of the ocean at night, the audience was left to ponder what they saw. Was it another boat? Was it Candy Heart hooking up with Tootsie Roll at CAP (Coronation After Party) after preaching self love? Was it Junior SING! sinking? But for once, it was nice to see a SING! express appreciation for pitch blackness.
This idea of pondering kept coming up in Junior SING!. Truly a work of art, many aspects of Junior SING! were left up to the audience’s interpretation. One notable example comes from their lyrics. From all the “zooms” to the “boms,” each word was open to interpretation. In one song, one singular word was repeated and shouted over and over again. Some heard the word “rain” while others heard “Ray.”
“I thought they were shouting ‘pray’ over and over again,” Senior SING! cast member Lowell Weisbord exclaimed. “It was so touching to see young students being engaged in religious ideals.”
Yet, Junior SING! was able to surprise the audience again by revealing the true nature of the word on Saturday night. “The word was simply sail. Sail. It was meant to invoke an image of watching the boat of opportunities, the boat of beating Soph-Frosh, and the boat of winning next year, sail away,” art teacher Leslie Bernstein explained.
The junior set was yet another highlight of the show. Seated right behind The Spectator in the audience, Junior Coordinator Ray Jones’ father offered his opinion. “I don’t know if you know, but my son was the coordinator and he really brought this show to life,” Jones said. “That scene change with that single potted plant was minimalistic, yet instantly transformed the entire set into the scene of the ball. I felt like I was actually there and I envisioned dancing with my daughter, who by the way also helped Ray a lot with putting this show together.”
The ending was heartwarming and what happened after the kiss was simply (Due to the word limit, The Spectator unfortunately must close the curtain on this section of the article).
Contrary to the meninist leanings of Soph-Frosh, Senior SING! made sure to assure students that the class of 2017 would have voted for Hillary by choosing to put a woman in power over her brother. “It was important that our show had feminist tenets,” senior Stiven Peter said.
However, the two shows also had their racial similarities. “With the script and when casting, we made sure to do everything we could to keep the one person of color out of power,” cast director Livia Kunins-Berkowitz said.
The seniors also had excellent diction in their script. “We made sure to add ‘-eth’ to each word to ensureth the dialogueth was an accurate representation of medievaleth languageth,” senior and scriptwriter Nadia Filanovsky saideth.
As with the other SING!s, the casting turned a few heads, as a few judges once again walked out in tears after viewing Yorick the jester pop out of the box. “While normally I like surprises, seeing [senior Alec Dai] wearing whiteface was too touchy for me,” an anonymous judge said. “And to see a mocking of Italian cuisine. A-mama-mia! What a poor-a taste in jokes-a!”
Perhaps the biggest highlight of Senior SING! was its subtlety in its messages. Sir Komsyze was actually meant to sound like the word compromise, advocating for the idea that SING! shouldn’t be a competition but rather a showcase of our talents. “It’s all about compromise. If the juniors wanted our plot so badly, they should’ve let us know and we would’ve given it to them,” scriptwriter Asher Lasday said.
Likewise, Richard the Sword Swallower was meant to be about how to deal with hard things. “Life can be hard sometimes. Sometimes you just have to take it in and move on,” scriptwriter James Zhang said.
While as a whole the casting was excellent, the chemistry between the king (Dennis Ronel) and the queen (Kate Johnston) was lacking. “I don’t know. There was just something off about the the king,” junior Alex Whittington said. “He seemed to be more fond of Richard the Sword Swallower than of his own wife.”
Senior SING! ended on a very beautiful note, with people gathering at the CAP from all parts of Wessex: Eassex, Floorsex, Moresex, Wallsex, and Bathroomsex.