When you got 100 voices singing who can hear a lousy whistle blow? Well there may not be 100 of them on stage (though it sure sounds like it) but Phoenix Festival Theatre is making sure that the world will know! About their production of Disney’s Newsies! Sensational vocal talent, strong acting with enthusiastic choreography, this classic screen-to-stage musical is making headlines for one weekend only at Harford Community College and you won’t want to miss it. Directed by Rob Tucker (with assistant director Jordan Baumiller), Musical Direction by Mia Bray, and Choreography by Leslie Perry, this fiery show about determination brings a closer look about just how dark and dangerous it was for those children working at the turn of last century before there were laws in place to protect them.

With the technical dream team working to incorporate the vision of director Rob Tucker, David Laskey (the theatre’s TM) and Sammy Jungwirth (scenic and lighting designer) you’re getting cinematic components to really highlight some of those edgier moments drawn into focus by Tucker’s concept. The scrim is an alley wall, covered in faded newspapers, which serves as the main projection space for all of the historical artifacts being projected at subtle yet critical moments throughout the performance. Actual headlines of the traumas, suffering, and tragedies that befell child laborers, actual photographs from those news articles, all tie together the bigger picture when they’re projected. Jungwirth’s set itself has a static framework— the iconic scaffolding, though somewhat lower than one might expect from a standard production of Newsies— serves as the main staging component, and a few simple slide-on/wheel-in set pieces for an ease of scenic shift. And that’s it; it’s minimalist but in an artful and conceptually clever way that best serves both the show and its message.

What makes the show pop— again from a technical standpoint because the tenacious choreography, extraordinary vocals, striking blocking, and overall acting and performing are in a stellar category all their own— is Jungwirth’s lighting design. There is a finesse to his illumination tactics that gives the show this aura of the silver screen, this verve of iconic Hollywood, this feel of cinematographic sensationalism. Making full use of the line-runner LED that frames and essentially creates a proscenium box in this otherwise cavernous space, your imagination is hoodwinked into focusing on the action inside the ‘lighting box’ and it does the trick! There are a lot of uses of shadow (a staple in a great deal of Jungwirth’s lighting design projects) that really hone in on some darker moments in the production. One such moment that really stands out is the initial dance break buried in “Seize the Day.” Jungwirth uses a shadowy-dark-out to signify ‘starting in darkness’ just like any real movement or strike; unknown until someone sheds light on it, and as they march and dance forward into the dance-break, the light grows. There are multiple moments like this, scattered throughout the performance, all of which align or compliment the projections that are placed strategically so as to catch your eye but not pull focus.

If you’re looking for a visual spectacle; Choreographer Leslie Perry has got you covered. The enthusiasm and energy in her dance work is effervescent. There’s a balanced blend of new dance moves and styles along with iconic moments that everyone expects if they’ve ever seen any production of Newsies. There’s a lot of cross-stage galloping and marching, as well as ‘Hamilton’ sky-punch-power-poses to really drive home the intention of these numbers home. Perry gets the whole cast tapping for “King of New York” and even puts some of the less seasoned tappers up on the one-tier scaffolding, swaying in time with the music so create that ‘all-encompassing’ appearance. Perry’s choreography has polish and panache in addition to lots of energy; particularly whenever the News-kids are about to demonstrate something. And a noteworthy shout-out goes to Erin Acerno, Maeve Acerno, and Emma Dunlop, for their trio tap-series that serves as a callback after “King of New York.” Perry’s choreography gets worked into Jungwirth’s lighting approach, often times creating really striking visuals that looks— for lack of more intuitive wording— COOL.

Musically, Mia Bray is making magic with her vocal direction. The cast is large, though not too large, and certainly not 100-voices deep, but you feel like you’ve got 100 voices every time the group comes together for numbers like “The World Will Know”, “King of New York”, and “Once and for All.” Working with Technical Manager David Laskey, Bray gets fully balanced sound as well. (One or two minor microphone hiccups— owing to a power outage on the campus several hours before the start of the final dress and the fact that they were so minor they were almost unnoticeable was an impressive feat all its own!) And the harmonies that Bray achieves, particularly in “Santa Fe” are astounding. There are also a lot of moments where talented, bright tenors are going for those higher-register options during belted sustains— Davy coming immediately to mind for this— and the way Bray works with Rob Tucker to keep accents and characterizations fully present whenever the actors are singing is another feather in her cap as a well-rounded musical director. All too often, especially in community theatre, you get moments of acting in scene, singing in song, and sometimes an accent that can transcend both. With Bray and Tucker, you get consistent, steady accents that give you the flavor of the show’s time and place, fully actualized character development that permeates both the speaking and singing voices of the actors, and a consistent, well-rounded display of both at all times.

Rob Tucker has cultivated something riveting. With Jungwirth’s lighting— particularly with that intense cinematic style moment during “Once and For All” as the news-kids become a printing press (fear not, there’s still a beautiful prop on stage) with their rigid staccato movements and the flashing overheads— Perry’s choreography, and Bray’s vocal input, this show is highly polished, tightly paced, and visionary. Tucker’s blocking— like setting Katherine Plummer way back in the cavern of the stage and having a lone light on her and the desk, creating the illusion that she’s a small fleck in the grander scheme of the bigger picture…right up until she isn’t with “Watch What Happens” (and that becomes a visual sensation to observe with lighting and movement too)— to his physical approach to certain moments— like keeping Plummer and Jack Kelly apart on the scaffolding as much as possible for “Something to Believe In”, which gives that number a more realistic reason to exist (rather than Disney’s “well, it’s a Disney show so there has to be a love song, right?” reason.) It’s his understanding of the space and how to block character dynamic and relationships into the natural movement of the show that really makes you drawn to the anecdotes these characters are living.

What’s more, Tucker draws attention to an overlooked component of the show; yes, Newsies is splashy good fun with dancing and singing and it holds a special place in the hearts of many who grew up with the film, but the bigger message is the deplorable conditions that the government allowed to exist before child labor laws came into play to protect young workers. And he draws attention to this without being heavy-handed, preachy, or up on a soapbox. It’s there and Tucker merely shifts the focus of the show. He’s also got a great handle on coaching that rough-trodden New York accent and building up the camaraderie amongst the news-kids. It’s riveting stuff, really and it shows in the plethora of personalities that populate the stage. There’s depth in line delivery, something that is all too often overlooked in musical theatre, and you get a real sense of urgency, especially in those high-stakes scenes in the second act. It’s an impressive feat, bringing that much depth to a ‘fun-Disney’ show and Tucker excels in this practice.

Strong voices and talent a plenty, the ensemble is chock-a-block with indefatigable energy. All of them have names and roles— and if I spend the time listing out all the who’s who, the poor program printer will feel like they put all that effort into those beautiful program for nothing— but the ensemble (in order of print because I’m not trying to miss anyone by trying to rearrange them alphabetically— Emma Dunlap, Autumn Ferguson, Cate Standish, Abby Koncurat, Allison Strickler, Erin Acerno, Declan Wood, Kaitlyn Marie Wissel, Kelly Koncurat, Kalea Bray, Bevin Gorin, Kaitlyn Jones, Megan Koncurat, Bella Preisinger, Shawn Preisinger, Abigail Standish, Ryan Bordenski, Kristina Spencer, Lisa Standish, Anna Perry, Caroline Ervin, Gray Jabaji, Emily Watt, Isabel Bray, Emeline Beanblossom, Mo Tacka, Maeve Acerno, Alphan Nthuo, Kat Sullivan, Emily Morey, Alexandria Stevenson,) is sensational. You get performers like Kalea Bray who triples, possibly quadruples and quintuples up in roles like a nun, Bowery Beauty, and the nefarious Snyder the Spider, and you get a delightful difference each time you see Kalea Bray in one of those different roles.

Ryan Bordenski has exquisite deadpan delivery as Wiesel, and while the accents that he uses for that character, Mr. Jacobi, the Bowery Theatre Stage Manager, and the Mayor are very similar, you get slightly different postures in his body language and overall attitude shifts to differentiate. There’s a really beautiful character moment with the three Scabs (Emily Watt, Gray Jabaji, and Kelly Koncurat) when Jack Kelly talks them down. The meat of the delivery in that moment comes from the Jack Kelly character but Watt, Jabaji, and Koncurat each have this moment of really listening and responding, letting that decision weigh out in their facial expressions before acting on it; it feels authentic rather than ‘block-directed.’ You get wonderful punches of personality, particularly from the rough-shod leader of Brooklyn, Spot Conlon (Isabel Bray) and the way Bray drops into that lower register for “Brooklyn’s Here” is an impressive showcase of her vocal range. Jordan Baumiller, the show’s AD, even pops up with the perfect cameo in the finale of the performance as Gov. Teddy Roosevelt. His vocal affectation and overall mannerisms are spot-on for this historical figure, and it’s a delightful moment that grabs your attention and makes you smile.

If you’re keeping eyes on those rowdy and enthusiastic News-kids, you won’t be able to take your eyes off Romeo (Declan Wood) who has spunk and tenacity and is often flipping, jumping, and all but flying around the stage. He’s fun to watch. So too are Albert (Autumn Ferguson) with the snappy and zingy deliveries, particularly when agitating Wiesel, and Racetrack (Emma Dunlap) who’s the mouthpiece that kicks of “King of New York” with that epic ‘ershter’ line. All of the news-kids have little moments with one another, stealing each other’s caps or playing games— the way kids were meant to— and it just adds layers and levels to the show that make it especially engaging for the audience to enjoy.

Plucky and spunky Les (at this performance both Roman Gusso and Brady Fiol…Gusso in Act I and Fiol in Act II) is that adorable little urchin that really gives you that extra zip of comedy and edge, particularly when serious moments are trying to unfold. You’ve got Gusso having the lion’s share of those insane lines during the first act of the performance, particularly when they find themselves fleeing to the sanctuary of Medda’s Bowery theatre and Fiol with the dulcet tones lending his voice to the quartet of Jack Kelly, Davy, and Katherine Plummer during “Watch What Happens (Reprise)” in the second act. Both bring little moments to the character that are unique whilst still staying true to the function of the ‘adorable little brother.’ And both have a well-established working camaraderie with both Jack Kelly and Davy.

Speaking of Miss Medda’s Bowery, Jordan Burch leads the Bowery Beauties (Kalea Bray, Caroline Ervin, Bevin Gorin, Kaitlyn Jones, Megan Koncurat) through her big splashy number “That’s Rich” with aplomb. Good vocal tone, and a simple approach to the character, Burch lives in the spotlight of her number and lets the audience enjoy the fun of the song. There is a tender moment between Burch’s Medda and Jack Kelly in the second act, which feels authentic and uniquely touching, particularly when she says she’s going to miss him. The five Bowery Beauties do a superb job of framing and accenting Burch during that number as well, giving it that Vaudeville show feel.

If there’s a curious choice in the production it’s the mercurial bombacity with which Samuel Brooks presents Joseph Pulitzer. In some moments he’s utterly calm and exacting but in others he’s almost a caricature of a cartoon villain, shouting and screaming at the top of his lungs, even when singing, though this might be an intentional directorial choice— almost like enlivening a political cartoon from the newspaper to showcase what a dark, overriding force Pulitzer is in the fate and future of the newsies. Brooks does have an unctuous voice that slips like fry oil through “The Bottom Line” and the way he has Katherine frog-marched into his office before “The Bottom Line (Reprise)” is a clever way to handle that particular reveal. Brooks, at times, also feels a little modern in his delivery, though again this could be a directorial decision to showcase how even now in our present-day times the oppressive voice of the press can control what’s happening around us.

At it’s core, Newsies circles around four principal characters— Crutchie (Zachary Dodson), Davy (Stanley Evans), Katherine Plummer (Jess Simonson) and Jack Kelly (Eric Bray Jr.)— with each of them having their own experiences to bring to the table. Dodson’s Crutchie is a real gem; he leans into that limp fully, never faltering except in that one beautifully staged and executed intentional moment. During “Santa Fe”, where Crutchie and Jack are dreaming about escaping to the sunshine filled New Mexico town, Dodson very intentionally stands on both feet, almost like the dreamy cutaway you’d get in the cinema (perfectly surrounded by that golden glow light from both the overhead drops and the LED-proscenium frame) and for one instant you can picture his dream of how much better his life would be. And then as the song shifts, the lights shift, and he stumbles, almost falling— it’s such a microscopic moment but it has such an impact and it’s breathtaking. Dodson has a beautiful voice that really lights up the harmonies in that number and he’s spunky, a character trait usually reserved for Les or one of the other ornery newsies. And when he sings “Letter From the Refuge” there’s so much heart and intention behind it that you really feel every line he’s discovering. That fraternal bond he shares with Jack Kelly is mighty impressive too.

Stanely Evans’ Davy is determined. There’s a lot ways to approach Davy— he starts off as an outsider who gets melded in or he’s standoffish until he’s not— but with Evans’ Davy you get this sense of belonging right from jump-street, which you wouldn’t think would work but for this particular production it does. Having that glorious top-tone tenor voice to support numbers like “Seize the Day” doesn’t hurt either. There’s something simple and genuine about the way Evans approaches the character, both when singing and when speaking, and the relationship that develops between him and Jack Kelly feels deeply authentic, even when Kelly points out their differences— like Davy having folks. And Evans’ sparks of leadership when trying to find the right words to motivate the newsies are exactly that— little flickering misfires that eventually catch into a big glowing bonfire and it’s really wonderous to experience.

The girl. (Though this production is chock-a-block with newsgirls too) Disney gives you ‘the girl’ and Katherine Plummer can be such a boring, static, two-dimensional figure that’s there strictly for the meet-cute-love-crap that Disney slaps on everything. But Jess Simonson, under the director of Rob Tucker, really makes her pop and practically explode. The frigidity and sharpness when initially encountering Jack Kelly is palpable and it feels natural. But where Simonson shines is in the unhinged way in which she approaches “Watch What Happens.” It’s almost like Simonson is actualizing the fact that Katherine Plummer has multiple opinions or even factions of herself inside her mind, all of which are taking voice and flight in this number and she’s having an argument, debate, and discussion with multiple versions of herself in this song. It’s wild in the best way possible. Her vocal acuity soars, particularly with the sustained-belt at the end of “Watch What Happens” and her overall interactions with the other newsies is cheeky but welcoming. And you get to see a little of her tap talent during “King of New York.”

With that hard-edged New York turn-of-the-century accent, and that fresh baby face, Eric Bray Jr. is giving a spectacular performance as Jack Kelly. The emotions Bray Jr. is pitching into this character are off the charts, but never in a melodramatic sense. Watching Bray Jr. unravel, particularly in those hit-hard moments— like when Davy, Les, and Katherine confront him about running away in Act II— is a visceral and evocative experience that brings a whole new level to this character, his story, and the overall message of the show. Bray Jr. has extraordinary vocal control, whether he’s dreamily pushing out “Santa Fe” or melting down in its reprise and his accent is never compromised, even when he’s singing. Watching Bray Jr.’s Jack Kelly flee Spider is hysterical— he runs, almost like a video-game character, with little leaps and heal kicks, across that scaffolding and it’s just aces. You get balance from his character as well during “I Never Planned On You” and “Something To Believe In” both of which appear on the surface to be mostly about Katherine, but in this interpretation delve deeper into the crux of the world and the child-labor movement at large. And when Bray Jr.’s Jack Kelly has to rally up the newsies for “The World Will Know” and “Once and for All” it’s like watching a fireworks display finale; Bray Jr. is pumping heart, soul, and serious sound along with body language and dance moves into both of those numbers.

So the world will know— and Bel Air will too! Harford County’s got real talent— and it’s on stage for you! And the time is now— cause their show is here. Phoenix Festival Theater has got this down— so lend them your ear. Newsies is ready for you— are you ready for them? Get those tickets before their show becomes yesterday’s news.  

Running Time: 2 hours and 20 minutes with one intermission

DeNewsies plays through June 22^nd 2025 with Phoenix Festival Theater, a part of LIVE! At Harford Community College— currently at Amoss Center— 200 Thomas Run Road in Bel Air, MD. Tickets are available by calling the box office at 443-412-2211 or purchasing them in advance online.