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Following a precedent set by

Tony Van, a previous student,
William Jones (11th) "promposed" to Claire Reed (12th).
Here are a few stand-out
moments.

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"I want to dedicate this to anyone

who has been nervous about doing
something for the first time."
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"The first time's always perfect."

question

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Variety Show

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"Claire Reed, stand up. Will you go

to prom with me?"

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Far left Gavin Lyall (12th) performs "Kissing a

Fool" by George Michael.
Left Olivia Dutro (11th) belts out beautiful
notes during her performance of "Hallelujah"
by Jeff Buckley.
Below Left Sarah Lawson (12th) sings "Wishing
You Were Somehow Here Again" from The
Phantom of the Opera after dedicating her
performance to her best friend Katelyn Lovitt,
who passed away last year.
Below Middle T. Davis (11th) raps and dances
to an original song.
Below Right Alex Boxx (11th) rocks out during
his rendition of "Hey There Delilah" by the
Plain White T's.
Background William Jones (11th) performs a
poem before "prom-posing" to Claire Reed
(12th).

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This year's Variety Show consisted of songs, dances, raps, and a flashing finale.
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After Dutro, the show sped along smoothly, punctuated only by

jovial puns from the emcees between acts. The agenda was diverse,
drawing talent from several capacities. Some acts were touching: Sarah
Lawson (12th) performed a lovely vocal tribute to her late friend,
Madison Central graduate Katelyn Lovitt; Addison Crowder (12th)
and McKenzie Wilbourne (11th) performed a dramatic original dance
duet; and William Jones (11th), after a reciting a poem, prom-posed
to Claire Reed (12th) to audiences delight.It was one of the scariest
and most exciting moments of my life, Jones recalled later.
Other acts called Broadway to mind, with Allison Dunns (10th)
piano performance, Bradley Daviss (10th) lyrics, and Gavin Lyalls
(12th) lively vocals. And others were new altogether, such as Alex
Boxxs (11th) electric guitar rendition of Hey There Delilah, T.
Daviss (11th) original rap, and Courtney Johnsons (11th) charming
performance of French classic La Vie En Rose.
The show ended as it had begun: dark except for lights reflecting
from the stage floor. However, these lights were blue, red and were
only ornaments for the original tracks by Dylan DJ Deal Beals (12th).
The audience was dancing, spinning, laughing, and yelling to be heard
above the clamor of an evening well ended.
And then the show was done. The house lights flicked on, and once
again people weaved in and out of the rows to greet performers and
shower them with hugs and flowers. Eventually, the stage was quiet
again. Little exposed what had occurred that night, except for a few
skid marks and wayward music sheets. However, when the expected
domestic violence workshop came to Madison Central, the shows
effects were felt yet again. The participants and their talents had left
their mark on the minds of many. The final lines of Katie Christys
poem said it best: Do not simply wish for a brighter tomorrow. Simply
be it.
Variety Show

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sure you think about lighting, Rebecca Temple

said. Her words echoed across the dimly lit auditorium, bouncing along
the pale gray walls as the sound crew scrambled to adjust the
microphones. As she spoke, students bustled about. One was crouched
on the stage scrawling stage directions. Behind her, another pirouetted;
her white dress flying about her legs. Another ran through his music
tracks for the next night. The rehearsal had begun, and the Variety
Show was officially underway.
I cant wait for the show. I changed my poem, Katie Christy (11th)
said as she hurried past the library at the end of third block, just hours
before the show. She was referring to an original poem she had penned
about world peace; the one she was slated to perform on stage at the
show. For Christy, social issues had long been important. She was the
founder and co-president of Madison Centrals new Advocates For
Change club. The Variety Shows profits were going to support the
clubs highly anticipated domestic violence workshop, and Christy was
ready to get the show on the road.
Less than 24 hours after the first and only rehearsal, it was Thursday
evening. Minutes before, the auditorium had been silent and still. The
dressing rooms were inhabited only by feather boas from musicals past
and a few scattered programs. Now, people were rushing across the
stage like busy honeybees, hidden only by a thick gray curtain and the
45 minutes left before the beginning of the show. There were some
hectic moments: volunteers were frantically running errands backstage
and the programs had apparently vanished at one point. However, at
6:02 P.M., the house lights dimmed into total blackness; tiny lights
shining from the floor merrily led onlookers to their seats, and the first
act, Olivia Dutro (11th), walked to the center stage. She quietly began
the soft exposition. There was no longer frenzied movement backstageonly stage lights, guitar notes, and a single voice. The show had begun.

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