"Credit Mattson for a sophisticated production overall and a solid cast beginning with Egan Lindsay (John Proctor), Siena Widen (Abigail Williams), Brooke Mazur (Elizabeth Proctor), Luke Nicholson (The Rev. John Hale), Sierra Kelly (Rebecca Nurse) and Braden Evans (Deputy Gov. Danforth). Even with a cast of 30, there are no weak links."
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"What’s immediately striking about Durango High School Troupe 1096’s production of Arthur Miller’s play “The Crucible” is what you see and hear. The set is sparse – bare tree branches and minimalist sets perfectly capture the Puritan time period. The minimal lighting, and music from a live, lone cellist, provide a moody, spooky tone. And that’s before the actors even take to the stage."
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"In his seventh production with the troupe, Mattson guides a cast of 32 through the songs and dances “Grease” fans have come to love. 'It’s been really fun – I’ve had the most fun directing this show than probably the other ones,' Mattson said."
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"To say 'Streetcar' is a challenge is an understatement for any theatrical company, let alone high school players. With a double cast performing alternate nights, the gritty American classic receives a tight and credible production throughout. Director Ben Mattson plunges his actors swiftly into the action, and the tempo rarely slows except for a few intimate scenes."
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"Taking place on the set of an off-, off-, off-, off-Broadway play, desperate actors’ egos flare, things break and, oh yeah, the body count mounts. The whole cast works well together, and their comedic timing is impeccable – especially during Act II, when the physicality of the play really ramps up. The sparse set serves to keep the attention on the actors, and the use of the front row and space immediately in front of the stage gives a real sense of the play-within-a-play setting."
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"Director Benjamin Mattson and his team have outdone themselves once again. Working from scratch, Mattson’s crew maximized the wide DHS stage to suggest a French village, Belle’s cottage, a spooky forest and the Beast’s elegantly dark castle. The ever-reliable Tom Kyser shaped the music and conducted the large student orchestra. Mattson’s huge cast has too many players to name, but all bring energy and focus to their roles."
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"The theater program is only growing in popularity. At Tuesday’s rehearsal, the stage was packed with performers going over the show’s songs, and the tech crews filled a classroom in the back as well. 'I don’t think it’s possible for this program not to grow because it just garners momentum,' Mattson says. 'The more people that fall in love with it, the more people want to become a part of it. This program is a beast.'"
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"Troupe 1096 deserves an extra round of applause for Mattson, who had some big shoes to fill when he took charge of the program for the 2015-16 school year. Former directors Kristen Winchester-White and Walker White left an award-winning program a year ago to pursue other challenges, leaving some students and their parents wondering if the program might struggle this season. Thanks to Mattson, and to his driven students, this year’s group had another outstanding season."
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"The final production this year is already underway. Mattson has challenged the students with what’s called devised theater. The troupe’s upperclass students have spent months developing an evening program based on creative collaboration. That’s an alternative term for the group-made, collage-like work of devised theater."
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"Directed by Benjamin Mattson, the DHS production captures the kinetic energy of the work and today’s young and privileged class. Scrims, photo projections, stairs on wheels, and flats that spin create the illusion of a California sorority, a restaurant, Harvard Yard, a classroom and a courtroom. Kudos to the technical team for a stylish and swiftly moving production."
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"The time ranges from the 1960s to the present, with an emotional trajectory from innocence through experience, from adventure to the bitter reality of war and its aftermath. There is no sugar-coating the anger, confusion and coming to terms with lives changed forever. Credit goes to cast and crew for a well-focused, swiftly moving production."
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"The great lion puppet is a work of stage wizardry. Credit White and his puppet designers, Rebekah Hwang and Bailey Kord, plus master carpenter Samuel Coleman for fashioning a huge, 8-foot-tall lion with a slatted wooden head, moveable mouth, elaborate mane and a burlap-wrapped body. In the spirit of the National Theatre’s “War Horse,” Aslan moves with Fowler at the head and two actors inside the body. Aslan is heavy, yet graceful – and convincing."
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"Among the highlights. a high-energy, swiftly moving story that spans French history from 1815 to the mid-1830s. Thrilling contrasts between quiet and combustible moments run throughout. There are a multitude of big-crowd scenes, from the prisoners that flood the aisles in the opening, to the factory workers, to the revolutionaries in the streets. In contrast, Winchester stages several solos with great simplicity."
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"The aurora borealis plays a continuing role throughout. And at the end, everything comes together in a spectacular light and sound show with evocative, bittersweet music. From stage manager Katelyn Craig through the student designers, costumers, the lights and sound crews and the actors, the production achieves a splendid creative wholeness."
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"In the recognition scene midway through Act II, Maria (the effervescent Emma Buchanan) and Capt. von Trapp (a stalwart and mature Evatt Salinger) have set their differences aside and finally meet in mutual love and understanding. The scene could easily spill into dreamy, romantic excess as it did in the film version. But Buchanan and Salinger bring a beautiful stillness to the moment and sing the plaintive ballad, 'Something Good,' directly and simply to each other."
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"Director Winchester uses the entire playing area, including platforms and planks in the audience plus aisle entrances. In addition, huge billowing ribbons of fabric loop from the walls up to the ceiling creating a sense of being inside a theatrical tent. Credit White and his crew for transforming a pedestrian space into a magical realm."
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