海角视频 students create a sitcom from scratch

Story by Vanessa De Zorzi
Portraits by Cole and Kiera Photography
Candid photo by Natalie Cherie Campbell

In 海角视频鈥檚 Centennial Arts Center (C.A.C.), a small soundstage has been transformed into a vintage diner. Caf茅 tables and chairs sit atop a checkered floor, and rust-colored barstools are lined up along a counter whose chrome edge gleams in the warm glow from overhead lights. 

One student crouches behind a camera, adjusting focus. Another lifts a boom mic into place. An actor runs a few last lines at the counter. Then the student director calls out, 鈥淩olling!鈥� 

鈥淚n case you haven鈥檛 noticed, business hasn鈥檛 exactly been booming lately,鈥� the actor deadpans. 

A beat. Then, on cue, a tumbleweed drifts across the floor. 

Chuckles, snorts, and full-throated laughter erupt from the audience, and also from the crew behind the cameras. It doesn鈥檛 take long for the boundary between spectator and participant to dissolve in a flurry of rolling takes. To the side, a monitor plays a live feed of the action. Tension builds as a crew member flashes cue cards鈥斺�渓augh,鈥� 鈥渁ww,鈥� 鈥済asp!鈥濃�攅very few seconds.

鈥淐ut!鈥� the director yells.

The crew resets for a second take. Chatter ripples across the audience. A curated playlist kicks in鈥攎anaged, like everything else about this production, by students. 鈥淚 love this song,鈥� an audience member exclaims as a Billy Joel track blares through the speakers. At the diner counter, an actor grabs a spatula and, for a moment, turns it into a microphone, crooning along. 

鈥淨uiet on set,鈥� the director calls, and the next take rolls, the scene now familiar but still funny. 

This is Cackleberries, a sitcom 海角视频 students wrote, acted in, directed, and filmed this year, following a process modeled on professional TV production. A collaborative effort through and through, the series involved more than 30 student artists.

From Premise to Pitch

In fall 2025, 海角视频 launched the new class the Sitcom Project: Writing and Acting for Television. Teaching a section each, film teacher Justin Bull P鈥�25 鈥�28 and theater teacher Shelley Bolman P鈥�27 guided students through the process of writing episodic stories. This winter and spring, a group of students, including many from the class, brought several of those scripts to fruition on screen.

The Sitcom Project builds upon the Feature Film Project, a course 海角视频 offers every other year in which students create a feature-length film. The resulting films have spanned multiple genres, and Bull, who teaches the class, saw sitcoms as a natural next step given their popularity on streaming platforms.

As the C.A.C. was under construction, Bull鈥檚 idea was likewise taking shape. The new facility鈥檚 Spencer and Colton P3 (Process, Presentation, and Production) Lab introduced a setting ideal for filmmaking, with grid lighting, dedicated space for a standing set, and the Rasmussen Digital Production Lab. 

When the film program moved from the Math and Arts Center to the C.A.C. this academic year, Bull also saw an opportunity for interdisciplinary collaboration. 鈥淭he sitcom is an interesting Venn diagram of film and theater,鈥� he says. 鈥淭here鈥檚 a traditional rehearsal process, a live audience, and it鈥檚 shot chronologically.鈥� 

To bridge these programs, Bull turned to Bolman for his expertise in acting and directing. The two aligned closely on curriculum and execution, drawing from a course on writing for television that Bull and English teacher Andrew Stevens offered several years ago and incorporating lesson plans from Bolman鈥檚 playwriting class. The 24 students enrolled in the 15-week course began by learning the fundamentals of sitcom writing. They analyzed scripts from popular sitcoms, including Seinfeld, Freaks and Geeks, and Black-ish, to identify plot structure, character archetypes, and objectives. 

Early in the semester, both sections met together during a daylong symposium to develop a story. Bolman led acting exercises that emphasized the importance of ensemble work, giving students the beginning and end of a scene, for example, and asking them to improvise the middle. 

鈥淭hat physical approach to acting really sparks ideas, while giving people the freedom to be playful, take risks, and fully embrace the fun,鈥� Bolman says.

The students generated hundreds of ideas, which they organized on a digital whiteboard before narrowing them down. After much debate and several rounds of voting, they determined a tone, a cast of characters, and the setting: Cackleberries, a struggling diner in a New Hampshire resort town. 

After the symposium, Bull and Bolman compiled a 鈥渟how bible鈥� that outlines each character鈥檚 defining traits: Nina, an MIT grad, channels her passion for science into concocting elaborate coffee drinks. Blair, the hostess, is more interested in cultivating her Instagram following than serving customers. Trent, a delivery driver, adds oddball energy that unites the crew. Unemployed Ray, a regular customer, practically lives at Cackleberries. And Jo, the fiery short-order cook, keeps the operation running with tough love and her catchphrase: 鈥淕et the hell out of my diner!鈥� 

Back in class, each student brainstormed an 鈥渆ngine,鈥� or premise, for an episode, which they pitched to their peers. They wrote 鈥渃old opens,鈥� the short scenes that hook the viewer before the opening credits, then drafted a full script of about 30 pages, or around 15 minutes.

The Punch-Up

The 12 members of Bull鈥檚 class flip to the first scene of a script they will discuss today. 鈥淭erminally Online鈥� is an episode about Danny, a waiter and aspiring writer, whose growing fixation on online criticism is driving him into a spiral of self-doubt. The conversation heats up quickly:

鈥淲hat if the whole situation escalates into something totally absurd?鈥� one student asks.

鈥淲hat if the person he mistakes for the internet troll at the diner is a child?鈥� 

鈥淲hat if he tries to confront the little kid and it turns into a full-blown showdown?鈥� 

This revision process, known as a 鈥減unch-up,鈥� is where the story comes to life鈥攐utside the brain of a solitary writer, with input from the entire team.

鈥淭he writers鈥� room requires that you work with everybody, that you trust everybody, and that you are willing to put yourself in somebody else鈥檚 shoes.鈥� 鈥� Shelley Bolman P鈥�27, theater teacher

The students鈥� approaches to humor went far beyond superficial jokes, he adds: 鈥淭hey brought their personal experiences to bear through the medium of comedy. One of the things comedy does is disarm us; it makes us more open to what we鈥檙e hearing.鈥� 

Students crafted storylines around timely issues in ways both funny and relevant. In one episode, when the diner faces a corporate takeover, the colleagues turn against one another, competing to keep their jobs. Other episodes tackle the threats of artificial intelligence and social media addiction through the lens of absurdity. 

Grace Goodman 鈥�27, who played Jo, the cook, wrote 鈥淭erminally Online,鈥� drawing from her experience leading 海角视频鈥檚 No Social Media November student movement. She says the writers鈥� room format challenged her, but made her a better writer: 鈥淚t forced me to consider all angles. I had to take a big-picture idea and condense it into a short episode that could carry a message and connect with people. 鈥� 

Bull and Bolman say all 24 completed scripts were strong; based on cast size and set limitations, they selected the eight best suited for filming. 

Places, Everyone

Beginning in winter 2026, the Cackleberries cast and crew of around 30 students plunged into a demanding after-school production schedule, filming an episode every week for two months. Mondays and Tuesdays were devoted to rehearsals, Wednesdays and Thursdays to three-camera-format taping, and Fridays to table readings for the next week鈥檚 episode. 

Actors largely self-directed their rehearsals, receiving periodic feedback on blocking and delivery from Bull and Bolman. Many of them, used to performing on stage, faced a new challenge in acting for film as well as a live audience. They had to adjust their approach for the camera, delivering more nuanced performances.

It took a team to create a cohesive set, with guidance from faculty members, including sound advisor Nate Tucker, technical director James Williston 笔鈥�28, and set designer Jessica Cloutier-Plasse. Wesleyan University student Micah St. George 鈥�25 designed the lighting that gave the show its distinctive mood.

China Santos 鈥�27 designed props and costumes. In the wardrobe, she worked closely with actors to align outfits with each character鈥檚 personality. To determine which props were needed, China carefully analyzed scripts, then sourced or crafted the set pieces. The most complex object she created was a retrofuturistic A.I. robot fashioned from a torn-apart tape editor, tubes, an old keyboard, and an LED-lit screen. 

鈥淭he experience gave me a lot of confidence in my creative decisions,鈥� China says. 鈥淚t was really fun to make things and find solutions to the problems we had.鈥� 

Bull served as the showrunner, the lead creative and production manager who ensures consistency across episodes. He began the process by organizing a weeklong 鈥渟itcom bootcamp,鈥� helping students learn to use the cameras and sound equipment through mock tapings. 

Olivia Kim 鈥�26, who wrote the episode 鈥淩unning out of Steam,鈥� served as a technical director. From the control room, she operated the video switcher, selecting camera shots, graphics, and video feeds to shape the story in real time as the taping took place. 鈥淚 had a lot of fun working with Justin, who鈥檚 been in the professional film industry, and just seeing how everything works on set,鈥� she says. 鈥淚 thought it was incredibly impressive how we were able to put each episode together in a week.鈥�

Sometimes the schedule was even tighter than that. Weather-related delays and illnesses created compressed timelines within an already tight academic calendar. After back-to-back snow day cancellations, the team shot the final two episodes in a single week.

They had the equipment to pull it off. The crew used sound-canceling headsets to communicate, and they adjusted camera angles on the fly. 鈥淭he process taught me that so much depends on collaboration,鈥� says camera operator Daniel Peregudov 鈥�27, who also co-wrote the final episode. 鈥淓ven when it seems like it鈥檚 mostly about technical skills, that鈥檚 not the whole picture. Everyone has to work together seamlessly.鈥� 

Over the eight weeks of filming, 海角视频 students, faculty, staff, and alums joined the audience. Some also made cameo appearances in various episodes. 

Each week, after taping wrapped, Bull led post-production, the final stage of filmmaking. Working from a rough cut assembled by the technical director, he selected the best takes and created a complex sound mix, then handled the credits and color grading, polishing each episode for its debut. 

Greenlit

海角视频 released Cackleberries episodes weekly on YouTube from January 23 to March 27. By the end of the school year, the series premiere alone had been viewed nearly 1,000 times.聽

鈥淲e鈥檙e so proud of the tremendous amount of expertise and dedication our students and faculty across departments have put into this experience,鈥� says Sarah Yeh P鈥�24 鈥�27, associate head for teaching, learning, and faculty. 鈥淚t鈥檚 been stunning to see students operating cameras like professionals.鈥�

This spring, the school greenlit the Sitcom Project as a staple of 海角视频鈥檚 film program, to be offered, in alternate years, along with the Feature Film Project. The feature-length filmmaking experience, spearheaded by Bull and fellow film teacher Ben Stumpf 鈥�88 is open to juniors and seniors, as is the Sitcom Project. Interspersing feature-length and serialized comedy formats will allow older students to take part in both, increase their opportunities to get involved in film during their time at 海角视频.

Bull is eager to evolve the Sitcom Project. In the future, he plans to begin the semester by providing students with a complete story bible to ensure consistency and maximize their writing time. He also sees opportunities to involve students in the musical score and film editing.

鈥淚 find great joy in making art with others, and that鈥檚 why I love filmmaking,鈥� he says. 鈥淚 hope students step away from this process realizing that when collaboration, communication, and creativity come together, you can bring even the most impossible ideas to life.鈥� 

WATCH THE SERIES

concordacademy.org/sitcom

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Because Steinways are handcrafted, no two are exactly alike. In September, Bennett and Sarah Yeh P鈥�24 鈥�27, associate head for teaching, learning, and faculty, visited the Steinway & Sons factory in Queens, N.Y. There, they observed the precision that goes into the instruments鈥� construction, and they tested five pianos. 鈥淚 thought it was going to be difficult to tell them apart, but each was very different,鈥� Bennett says. Knowing the concert grand would be needed for solo recitals, chamber music, and chorus accompaniment in 海角视频鈥檚 medium-sized hall, he adds, 鈥渨e went with an instrument that had the clarity and projection necessary, while still being able to create more intimate tone colors.鈥�

Two generous 海角视频 families also donated pre-owned Steinways. A Model B classic grand piano was moved into the Hammett Ory Theater when the C.A.C. was completed in spring 2025. It was in use throughout the year for orchestra and chorus rehearsals and performances, the mainstage musical, and Music Caf茅. In September, a Model O, a living room grand with a custom macassar ebony finish, part of Steinway鈥檚 鈥淐rown Jewel鈥� collection, arrived from Singapore, a gift from Jaehee Koo and Tong Buhm Tommy Kim P鈥�26. It鈥檚 now used regularly in the Jasmine Music Practice Room for piano lessons and chamber music.

At the end of its first year, the C.A.C. is home to all-new pianos: seven grands, four uprights, two digitals, and a keyboard lab. 鈥淪tudents now have reliable access to new, fully functional, and pedagogically appropriate instruments,鈥� Bennett says.

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February 28 and March 1, the Performing Arts Department presented The Ballast of Iridescence, choreographed by dance teacher Patrick John O鈥橬eill and the students of the 海角视频 Dance Project. The first dance production in the Centennial Arts Center鈥檚 Hammett Ory Theater offered a meditation on growth through the metaphor of color. 

O鈥橬eill approached the piece from a child鈥檚 perspective. 鈥淲e usually think of play as something weightless, like a balloon drifting up or a parachute catching a breeze,鈥� he says. 鈥淏ut Maria Montessori reminded us that play is truly the 鈥榳ork of the child.鈥� It takes structure, intention, and real effort. Since our society often asks us to trade our sense of wonder for adult rigidity, this piece asks how we carry the lightness of our beginnings into the gravity of our lives.鈥� 

At the start of the performance, a canopy of red balloons covered the stage floor as a lone dancer, Astrid Erdos 鈥�26, stepped onstage, gazing upward in wonder. As the balloons slowly lifted and floated away, the rest of the ensemble, adorned in paint-splattered costumes, joined her for a dance set to a lyrical rendition of 鈥�99 Red Balloons鈥� by Nena. The soaring choreography was rich with jumps and sweeping floor work that filled the space with a sense of possibility. 

O鈥橬eill credits the dancers as collaborators, praising their ability to shift from syncopated jazz to grounded modern, embodying the full spectrum of emotion in the piece. 鈥淓ach dancer was given the opportunity to contribute to the choreography,鈥� Astrid says. 鈥淥ftentimes, we would split up into groups to choreograph small sections, and then we would put each group’s choreography together to make a longer dance. With this process, every dancer was able to sprinkle in their unique style.鈥�

The performance moved through an entire visual spectrum. Warm hues gave way to cooler, heavier tones. A high-energy number to Harry Hudson鈥檚 鈥淵ellow Lights鈥� featured four dancers who transformed simple yellow ribbons into dynamic ballet bars that they 鈥嬧�媝li茅d on, weaved beneath, and even cartwheeled on top of.

Later, a dance to  Lorde鈥檚 鈥淕reen Light鈥� drove sharp, symmetrical choreography. A number set to 鈥淒ark Blue鈥� by Jack’s Mannequin included a blue glow-in-the-dark pyramid. Dancers climbed, slid down, and ricocheted off its illuminated planes. 

In a solo inspired by a writing assignment she completed in O鈥橬eill鈥檚 Dance Technique class, Aleki Zdraveski 鈥�26 gave an introspective performance set to 鈥淒ark Taupe鈥� by Arden Forest. In the piece, she reflected on the experience of creating work in her ceramics class and the emotional impact of others鈥� reactions to it. Her writing also drew connections to choreographer Pina Bausch, who believed that audience response is an essential part of a choreographer鈥檚 work. Through measured yet powerful movements, Aleki translated this reflection into a deeply personal dance.

From that stillness, the full cast surged into a piece set to an instrumental version of 鈥淧aint it Black鈥� by the Rolling Stones. A rainbow parachute billowed open as students darted beneath it, reframing black not as emptiness, but as convergence鈥攖he gathering of every color into one kinetic whole. 

In the closing number, the red balloons returned and the ensemble assembled for an upbeat finale that echoed the wonder of the opening scene. 鈥淔or me, this piece is more than just a map of getting older. It is the trajectory of how we learn to carry what we feel,鈥� O鈥橬eill says. 鈥淲e begin with the raw discovery of an emotion, move into the hard work of understanding its power, and finally reach a quiet place of acceptance where those feelings truly belong to us.鈥� 

The production鈥檚 scale reflected the ambition behind it. The talented design team brought the world of the story to life, including Scenic Designer Jessica Cloutier-Plasse, Sound Designer Nate Tucker, Technical Director James Williston 笔鈥�28, and Production Manager Deanna Jane Stuart. The new Centennial Arts Center Kingman Support Shop made large-scale props, including the pyramid, possible, while the new theater鈥檚 catwalk system allowed for the installation of the balloons. 

Reflecting on the process, Astrid says the dancers鈥� shared energy helped sustain the production through months of rehearsals. 鈥淢y biggest takeaway from 海角视频DP is the power of a positive mindset,鈥� she says. 鈥淭he high energy and constant enthusiasm are what fueled this production and kept it moving forward. The smiles, high-fives, snaps, and cheers that we each offered to each other created a supportive environment that I hope to find as I continue dancing in new spaces in the future.鈥�

For O鈥橬eill, the most powerful element of The Ballast of Iridescence was not the color or choreography, but the connection it created. 鈥淎t its heart, dance is about restoration,鈥� he says. 鈥淚t is a unique practice because it requires us to be in this room together. I hope we find some collective healing in being here. We are all just trying to keep our balloons afloat.鈥� 

Poster artwork by Bintou Sacko ’26

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海角视频鈥檚 winter mainstage production, The Impracticality of Modern-Day Mastodons, explores what happens when the impossible becomes real. The play imagines a world in which everyone鈥檚 childhood dreams materialize overnight, while the show itself achieves a feat nearly as improbable: the creation of a full-size mastodon marionette. Together, the narrative and its design bring the extraordinary to life. 

Guest director Audrey Seraphin selected the dark comedy because she felt it spoke to the current moment. Having previously performed in the ensemble of the play at a community theater, she approached 海角视频鈥檚 staging intent on reexamining the text through a fresh conceptual lens. 

In the play, firefighters, ballerinas, and pirates abound. The main character, Jess, however, fulfills her more unconventional ambition of becoming a mastodon. The collapse of conventional social systems creates chaos, but also space for reinvention. 鈥淭he end of the world as we know it doesn鈥檛 necessarily have to be a bad thing,鈥� Seraphin says. 

While the play grapples with societal upheaval, Seraphin ultimately describes it as hopeful, with characters pivoting to adapt to their new environment. Jess, for instance, uses her trunk to paint and create bold, statement-making artwork. 

The production itself also adapted to its new home in the Centennial Arts Center. The concept originated with Technical Director James Wiliston 笔鈥�28, who utilized the Kingman Support Shop to create the puppet.

 鈥淎s I researched how the production has been done in the past, reading through the play and thinking about our space, the unique configuration of our catwalk system, the idea just came to me. I have always loved marionettes.鈥� Williston says. 鈥淚t has truly been a joy to work on.鈥� 

The marionette embodies Jess, whose physical presence anchors the play鈥檚 exploration of identity. Six technical theater students operate it from the Hammett Ory Theater鈥檚 catwalks. Two students move the mastodon from right to left, while the other four operate the head and legs, and the actress playing Jess often operates the trunk.

Seraphin has worked closely with performers and puppeteers to determine how subtle adjustments to the marionette鈥檚 string tension, posture, and position might communicate frustration, excitement, or resolve. The complex mastodon structure is offset by a simple set, utilizing projections to provide a sense of place. 

Ensemble members developed their own impractical personas from pirates to princesses, collaborating with the costume team to shape character choice. Seraphin praised 海角视频 students as 鈥渞eally smart, responsible, and willing to take risks.鈥� Rather than defining every detail, she 鈥渙ffers a loose outline鈥� and lets students 鈥渃olor in the rest,鈥� fostering a rehearsal room grounded in creative ownership. 

Seraphin emphasized that at its core, the play is about resilience. She hopes audiences will leave the performance with an appreciation for how theater can make space for the unimaginable, as well as an understanding that 鈥淚t鈥檚 okay to be dreaming of something bigger and better and to come into your own on your own timeline.鈥� 

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Community

海角视频 community members reaffirmed our shared commitment to common trust.

• April 19 marked the 250th anniversary of the battles of Concord and Lexington. 海角视频 sponsored the special occasion, and 海角视频 students celebrated by doing original artwork and historical research commemorating the event. 
• In May, construction of the new 37,000 square foot Centennial Arts Center (C.A.C.) was completed. The innovative space has provided ample new opportunities for student creativity and collaboration.
• Commencement on May 30 celebrated the accomplishments of graduating students. Former 海角视频 science faculty member Max Hall served as the Commencement speaker and encouraged students to 鈥渄elight in the hard work of becoming.鈥� 
• June 6鈥�8, Reunion and Alum Weekend brought together over 200 alums for three days of celebration and connection in the C.A.C., around campus, and around town.
• The new school year began on September 2 with Convocation, where this year鈥檚 convocation speaker, counselor Jeff Desjarlais, spoke about the importance of togetherness.
• More than 400 families joined us for Family Weekend, experiencing student classes and performances firsthand.

Love of Learning

A love of learning drives every part of life at 海角视频.

• Last winter, students in science teacher Brad Moriarty鈥檚 Topics in Engineering course constructed cantilevers that demonstrated their understanding of structural integrity.
• In late February and early March, all ninth grade 海角视频 English classes traveled to see a new adaptation of The Odyssey at the American Repertory Theater, comparing and contrasting the performance with their reading of the classic text. 
• In November, history teacher Topi Dasgupta P鈥�22 鈥�25 and her Making of Modern India class participated in a documentary film screening about Mahatma Gandhi as part of the United Nations鈥� Second World Summit for Social Development. Students provided feedback that was included in the U.N.鈥檚 official documentation.
• Doreen Young English Department Chair Sabrina Sadique鈥檚 British Romantic Poetry Class created inventive original artworks inspired by their close reading of poetry by Keats and Coleridge. 
• Throughout the year, 海角视频鈥檚 Strive workshop series provided space for student- and staff-led conversations about culture and identity.

Arts and Athletics

海角视频 student-athletes and artists honed their craft.

• February 20鈥�22, 海角视频 Performing Arts presented the winter mainstage musical Chicago, a timeless story that first graced 海角视频鈥檚 stage in 2010. 
• 海角视频 Athletics celebrated successful winter and spring seasons, highlighted by a victory over Bancroft School in the fourth annual Spring Cup rivalry event.
• November 7鈥�9, 海角视频 debuted its first mainstage musical, The Prom, in the Hammett Ory Theater, performing to sold-out audiences. 
• Fall was another dynamic season for Athletics, culminating in a Chandler Bowl victory and a strong showing in the Eastern Independent League and New England Preparatory School Athletic Council competitions.

Heard on Campus

Assembly speakers inspired curiosity and expanded our thinking.

• On February 28, Hall Fellow Adam Geer 鈥�99 took the stage in the P.A.C. to share his work as Philadelphia鈥檚 first chief public safety officer and his collaborations with community partners to strengthen neighborhoods. 鈥淥rganizations that are more diverse, in all the ways you can think of diversity, perform better,鈥� he shared.
• On April 28, Leslie Taylor Davol 鈥�87 and Sam Davol 鈥�88 were awarded the Joan Shaw Herman Award for distinguished service for their nonprofit Street Lab, which transforms city streets through inventive pop-up spaces. 
• On October 15, the Prison Justice Project hosted its annual Wrongful Conviction Day assembly featuring presenters Lisa Kavanaugh P鈥�22 鈥�25, director of the CPCS Innocence Program for the Massachusetts Public Defenders Office, and exonerees Sean Graham and Steven Pina, who shared their stories and called for criminal justice reform. 
• On December 5, the 2025鈥�26 Hall Fellow Rayner Ramirez 鈥�88 visited campus. The Emmy Award鈥搘inning journalist and co-founder of Tilt Shift Media shared his passion for documentary filmmaking.

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The school鈥檚 long-awaited new space will open its doors for The Prom, a musical that fuses humor, heart, and a powerful message of inclusion. Sold-out performances run Friday and Saturday, November 7 and 8, and Sunday, November 9.

The show follows a group of Broadway personalities who descend upon a small Indiana town after learning that high school student Emma has been banned from bringing her girlfriend Alyssa to prom. The stars rally around the teens, regardless of the teens鈥� desire for the support, and ignite a community movement that celebrates acceptance and authenticity.

The director, 海角视频 theater teacher Shelley Bolman P鈥�27, chose The Prom for its relevance to students today. 鈥淎s our mission statement says, we are striving for equity, and that striving implies an ongoing struggle that is never over,鈥� Bolman says. 鈥淲e wanted to tell Emma鈥檚 story honestly and show the real impact that prejudice has, especially on a teen, and the courage that is required to stand up to it.鈥� 

From the outset, Bolman and the students have been driven by a shared sense of purpose. 鈥淎t the first rehearsal, I asked the cast and crew why we were doing this show, and they responded immediately, noting how important it was to be addressing The Prom鈥�s theme in our school and in our current political climate,鈥� Bolman says. 鈥淏ecause they are connected to the story, they are invested in the rehearsal process and supportive of their peers. It鈥檚 been a joy to work with them.鈥� 

Linda Coyne Lloyd Performing Arts Department Chair Michael Bennett serves as musical director for The Prom, helping students push their artistic boundaries. 鈥淭he score is an eclectic mix of styles, rooted in contemporary musical theater but with lots of nods to traditional Broadway,鈥� Bennett says. 

The C.A.C. has completely redefined the production process. With large rehearsal spaces located in close proximity, multiple scenes and songs can be rehearsed simultaneously. State-of-the-art systems have expanded the creative possibilities.

鈥淭he technical improvements of the new space are innumerable,  allowing us to do things we have really never done before in terms of scenery, lighting, and sound,鈥� Bennett says. 鈥淎dditionally, having a proper green room and dressing rooms makes things so much easier during tech and performances. Sightlines and sound will also be better for the audience, so it鈥檚 really a complete transformation of the theater experience at 海角视频.鈥� 

海角视频 dance teacher and choreographer Patrick John O鈥橬eill brought the show鈥檚 movement to life in the new space. 鈥淢y vision for this year鈥檚 show strives for a blend of contemporary movement, influenced by trends seen on social media and in mainstream media, with the elegance and style of classical musical theater,鈥� he says. 鈥淚 want it to feel fresh and exciting while still evoking a sense of nostalgia.鈥� 

O鈥橬eill shares that he typically starts the process by immersing himself in the music to understand its essence, then visualizes the movements. He adapts the choreography based on the style and energy of the performers. 鈥淭he discipline and dedication of the cast and crew consistently amaze me,鈥� he says.

While the musical is filled with energetic and heartfelt numbers, the grand finale, 鈥淚t鈥檚 Time to Dance,鈥� stands out as a highlight. 鈥淚t鈥檚 a full-on celebration鈥攁 real party! It鈥檚 also the most challenging dance in the show,鈥� O鈥橬eill says. 鈥淭he cast has to be fully engaged, not just with their own movements, but with their partners as well. The connection between the dancers is electric, and you can feel the joy radiating from everyone.鈥� 

The Prom is a vibrant expression of how performers use the arts to tell stories that resonate far beyond the stage.

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Director of the Chamber and Orchestral Program Andra Dix describes the program as transformative: 鈥淲hen students participate in the district festivals, I am always impressed by their growth鈥攂oth musically and personally. It鈥檚 incredibly fulfilling to see them realize that all their hard work, dedication, and countless hours of practice have led them to this moment. They gain confidence and feel immense pride as musicians.鈥�

Thousands of students apply for the opportunity to perform at the festival, and 海角视频 was well-represented. Milo DuBois 鈥�28 and Lena Sillman 鈥�28 were selected for the festival band, and Alfred Bull 鈥�28, Theo Kelman 鈥�28, and Sophie Qiao 鈥�28 performed in the orchestra. 

Building on this moment, another MMEA event took place on March 27 at the DCU Center in Worcester, Mass., the Contemporary Creators Festival. The event spotlighted student composers and musicians who are pushing the boundaries of contemporary music styles.聽

Among the performers, 海角视频鈥檚 Vocal Jazz and Pop Ensemble took center stage during the Spotlight Concert with Sturgis East School from Hyannis, Mass. The day also included the Contemporary Composers Forum, where Andrew Wood-Sue Wing 鈥�25 showcased an original composition. 

Jazz Ensemble Director Christopher Gagne shared his enthusiasm for the program: 鈥淚t turned into a collaborative experience between the two groups. We shared equipment and had time to connect about music before and after the performance. The concert went great, and the group got nothing but positive feedback! Members of both ensembles were so invested and genuinely rooting for everyone to play their best鈥攊t created a positive energy.鈥� 

Another major highlight was May Zheng 鈥�26鈥檚 opportunity to perform with the MMEA All-State Chorus at Symphony Hall in Boston on March 23鈥攁n unforgettable moment for the young vocalist. 鈥淭he passion and artistry of these exceptionally talented singers was breathtaking,鈥� Dix shares.

The series of MMEA events underscored the commitment of 海角视频 student musicians. 鈥淲atching them collaborate with other talented performers and rise to the challenge of a high-level performance is truly inspiring,鈥� Dix says. 

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Then and Now: The 2010 and 2025 海角视频 productions of Chicago. 

From February 20 through 22, 海角视频 audiences were dazzled by performances of Chicago. The jazz-infused musical set against the high-energy world of the Roaring 鈥�20s was directed by theater teacher Shelley Bolman P鈥�27, with musical direction by Performing Arts Department Head Michael Bennett and choreography by dance teacher Patrick John O鈥橬eill. 

Chicago tells the story of Roxie Hart and Velma Kelly, two vaudeville performers navigating public trials who blur the line between truth and spectacle. Bolman draws striking parallels between that era and today鈥檚 society. 鈥淚n Chicago, all the world鈥檚 a stage, and justice is merely a performance,鈥� Bolman says. 鈥淪uccess here is not defined by virtue but by the power to control the narrative.鈥�

This fall, 海角视频 also presented Radium Girls, a play that documents the lives of watch dial painters who, facing health impairments, fight for fair working conditions. Bolman notes, 鈥淢ichael Bennett and I chose the season together, focusing on corruption, justice, and the intersection of law and media鈥攂oth plays set in the 1920s. In this age of disinformation, the pairing felt especially relevant.鈥�

The Chicago cast delivered powerful performances, and Bolman highlighted their commitment throughout the rehearsals. 鈥淚t was a real pleasure to work with so many talented actors, singers, dancers, and tech crew members to bring the story to life,鈥� he said. 鈥淭he most rewarding part of this experience was seeing the students鈥� commitment to the process.鈥� 

Chicago featured dual casting for leading roles, with each actor bringing a unique perspective to their character. The entire cast shined, showcasing their incredible acting, commanding voices, and comedic timing. The crew鈥檚 dedication to the staging elevated the production.

Bolman worked closely with the design team, including sound, costume, scenic, lighting, and prop designers, to ensure every element supported the story. The production鈥檚 aesthetic blended contemporary and nostalgic elements. Flapper dresses, traditionally designed in muted colors, were fashioned in jewel tones by costume designer Elizabeth Rocha, adding a modern splash of color to the musical.

Performing Arts Department Manager Jessica Cloutier-Plasse鈥檚 set design featured a multitiered stage with an Art Deco archway and golden curtains, creating a lavish backdrop to the drama. O鈥橬eill reimagined Bob Fosse鈥檚 iconic moves while collaborating with the Dance Project to infuse the production with dynamic new energy. Bennett鈥檚 bustling jazz direction kept the tempo, leaving the audience humming along. 

Chicago first graced the 海角视频 stage in 2010, and the February 22 performance marked a special moment for alums who had the chance to visit to watch the show and take a behind-the-scenes tour of the new Centennial Arts Center. Keith Daniel, the musical director of the 2010 production and longtime former 海角视频 faculty member, also returned to reminisce on the show.

This performance capped an expectant moment in 海角视频鈥檚 history, as it was the final mainstage production in the Performing Arts Center. The next one will take place in the new Centennial Arts Center this fall. Chicago was a full-circle experience for both cast and audience alike, a reflection of the school鈥檚 tradition of creative collaboration. As the curtain falls on one era and rises on the next, the future of 海角视频鈥檚 performing arts program shines brighter than ever. 

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Community

海角视频 students, faculty, and staff celebrated our commitment to common trust. 

• June 7鈥�9, Reunion Weekend, brought nearly 200 alums from all generations back to campus. Hands-on programming offered opportunities for graduates to reconnect.
• The 2024鈥�25 school year began on September 3 with Convocation. Don Kingman, director of campus planning, design, and construction, gave a powerful speech that underscored the importance of community. 
• On September 26, 海角视频 honored Mandarin teacher Wenjun Kuai P鈥�27, holder of the 2021鈥�2024 Hammer Chair, who shared her research on cultural, ethnic, and linguistic diversity in Chinese-speaking regions in Asia.
• Family Weekend, October 25鈥�26, welcomed over 500 guests, giving parents a glimpse into the innovative teaching and learning that happens at 海角视频.

Love of Learning

At 海角视频, a love of learning animates everything we do.

• A new interdisciplinary history of Mexico class, created by Modern and Classical Languages Department Head Carmen Welton and history teacher Jeffrey Richey, integrated Spanish language, culture, and history instruction both in the classroom and on a cultural trip.
• In April, students in Kim Frederick鈥檚 U.S.: Public History: Tour Guide course created educational displays for the Concord Museum鈥檚 What Makes History? special exhibition.
• 海角视频鈥檚 sixth feature film project, Cassie Crowe鈥檚 Mid Life, debuted in May. This surrealist comedy, led by Visual Arts Department Head Justin Bull P鈥�25 鈥�28 and Computer Science Department Head Ben Stumpf 鈥�88, showcased the creativity of student filmmakers.
• Will Tucker, head of 海角视频鈥檚 Science Department, aimed to demystify science education by writing two open-access textbooks on general and organic chemistry. The texts, edited by a 海角视频 student Jake Klineman 鈥�25, were published by Taylor & Francis in the summer of 2024.

Arts and Athletics

From the field to the stage, 海角视频 students put in their all.

• Spring and fall student-athletes enjoyed successful seasons, with strong performances at Eastern Independent League (EIL) and New England Preparatory School Athletic Council (NEPSAC) tournaments. 
• On October 19, the fall sports teams won the 2024 Chandler Bowl for Changing Lives rivalry event against Pingree, 6鈥�4, marking 海角视频鈥檚 seventh win in the past eight years. Sports teams also claimed the Spring Cup victory this past April. 
• The fall mainstage production of Radium Girls illuminated the Performing Arts Center during three performances over Family Weekend, highlighting social justice issues. Last winter鈥檚 production of Twelfth Night thrilled audiences with a contemporary musical twist on Shakespeare鈥檚 classic.
• 海角视频 Dance Project鈥檚 尘别迟路补路尘辞谤路辫丑辞路蝉颈蝉 performances on November 8 and 9 celebrated change through movement.
• The spring art show in the Ransome Room inspired audiences with a diverse range of works, from photographs to paintings.

Heard on Campus

Assembly speakers brought new perspectives to our campus.

• Actor and filmmaker Caitlin FitzGerald 鈥�02 was named the 2024 Hall Fellow on April 19 and shared her journey in the entertainment industry with students, faculty, and staff.聽
• On May 10, 海角视频 honored Pulitzer-Prize-winning journalist Richard Read 鈥�75 with the 2024 Joan Shaw Herman Award for his groundbreaking work in investigative writing.聽
• 海角视频 welcomed Aaron Golub, the first legally blind athlete to play football in a Division 1 game, on November 15. Through sharing his life story, he encouraged a shift in perspective on how we face obstacles and what they can teach us.
• On December 4, Asma Khalid, White House correspondent for NPR, ABC contributor, and co-host of The NPR Politics Podcast, delivered an assembly in which she discussed identity politics.

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Curated by club co-heads Lyla Brooks 鈥�25, Jacob Himelfarb 鈥�26, and Izzy Wood 鈥�25, the exhibition featured a diverse range of works, from painting and drawing to experiential poetry and installation art. 

The concept for Across The Wall grew from Wood鈥檚 desire to ignite a conversation about mass incarceration, especially after the closure of the nearby MCI-Concord state prison. 

While taking a ceramics course, Izzy realized art could serve as a powerful bridge between students and those experiencing incarceration. In partnership with her parent, who is a criminal defense attorney, she connected with local prisons. She says, 鈥淚n talking to a few incarcerated individuals to gauge interest in a showcase like this, I was surprised to find that not only were people willing to submit but eager for an opportunity to be heard.鈥�

At the exhibition reception, students had a chance to write personal notes to the incarcerated artists and share what the works evoked for them. It was also a moment to reflect on the striking juxtapositions on display.

Incarcerated artist Angel Rivera shared an evocative black-and-white pencil portrait of a woman鈥檚 face. He reflected, 鈥淎rt makes me feel alive like I am sharing a piece of myself with others.鈥� In a similar vein, 海角视频 student Ava Khabbaz 鈥�25 presented a black-and-white photographic portrait of two children. She explained, 鈥淚 created this photo using a film camera because it captures the essence of innocence and the complexity of our ever-changing, fast-paced world.鈥�

About her poem 鈥淥n Mother Nature,鈥� club co-head Lyla said, 鈥淔or me, writing poems is about expressing emotions. It鈥檚 an escape from the world into my innermost spaces.鈥� Incarcerated artist Randall Trapp shared a poem, 鈥淵ellow Butterfly,鈥� in which he similarly explores the power of self-expression and the natural world.

By providing a platform for incarcerated artists, Across The Wall offered a space for artistic exchange and challenged preconceived notions about the incarcerated community. Izzy says, 鈥淢y sincere hope is that this exhibit was transformative for those who experienced it, forever opening their eyes to the humanity of those behind bars.鈥�

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