Write-up: by Kaylee Guinigundo
Photos: provided by Dr. Phillips Center for the Performing Arts
(Dr. Phillips Center for the Performing Arts, Orlando FL) “Life is random and unfair…Life is pandemonium!” And never has pandemonium looked so joyful, vibrant, and captivating as it did in the Dr. Phillips Center interns’ electrifying production of The 25th Annual Putnam County Spelling Bee. With a small but mighty cast, this performance exploded with personality and precision, proving that you don’t need a huge ensemble to fill a theater with laughter, heart, and harmony. Every moment pulsed with spontaneity and soul, turning a middle school spelling competition into a full-blown theatrical celebration.
The Dr. Phillips Center’s 2025 intern company brought new perspectives to the infamous musical Spelling Bee that resonates with many of its viewers. With a show that humorously unpacks the true complexities and pressures of being a child, directors Ryan Simpson and Victor Wisehart uncovered new emotional layers in a musical often known more for its quirk than its heart. It is clear that their approach to personalize the experience of the Bee for their audience honored its humor while expanding its emotional depth through staging and character interpretation.
Simpson and Wisehart’s goal of immersing the audience directly into the spelling bee was apparent from the start as the house lights didn’t immediately go down once the show started. Although this may be unconventional for musical theater, the choice to keep the lights on made the audience feel like we really were about to witness a spelling bee. Instead of establishing a clear cut from reality and performance, we were brought into the world of the gymnasium, experiencing the tension, awkwardness, and pride right alongside the characters.
This immersion was maintained throughout the performance as typical theatrical barriers were broken down to allow full participation from the audience. As this was my first time watching the Bee, I was pleased to realize that audience participation and improvisation is a crucial part of the show. Although it might be a necessity, the 2025 intern company did a transcending job to specialize the show with the seamless inclusion of contemporary references that aided in characterization. True to the show’s improvisational roots, the directors and cast embraced the freedom to inject up-to-date humor into the dialogue, resulting in a performance that felt alive—tailored not just to the script, but to this specific moment in pop culture.
The Coldplay kiss-cam joke, for instance, caught the audience completely off guard—in the best way. Referencing the now-iconic viral moment with a wink and just the right amount of self-awareness, it landed perfectly with younger audience members while even prompting chuckles from those less tuned into the TikTok-verse. This connection from the musical theater world to modern media brought the characters to life even more.
In this way, the modern jokes became more than just punchlines—they were extensions of the characters’ identities. Logainne dropping a political reference? Of course she would. Leaf Coneybear rambling about Coldplay? Absolutely. These were smart, intentional touches that made the show feel authentic without losing the nostalgic awkwardness that defines Spelling Bee. These additions didn’t just feel topical; they helped the characters feel like real kids of today, each one deeply shaped by a rapidly changing world.
Building off of the unique characters displayed in this interpretation, the cast and crew deserve an immense amount of credit for developing these characters in ways never heard of before. Rather than exaggerating the characters’ eccentricities, the actors portrayed them with empathy and authenticity, making their insecurities and ambitions tangible. Little acting choices that were made really added emotional depth to each character. Whether it was Cole Higginbotham’s childlike physicalities for Leaf Coneybear or Milan Borges’ take on Marcy Park’s clear internal debate of having fun and being competitive, these actors truly understood the struggles of being a child with demanding expectations. While each performer fully committed to their childlike behaviors, I would like to highlight Jayme Dills for fully embodying five-year old Logainne Schwartzandgrubenierre. Dills didn't just play Logainne’s political representative for laughs; she highlighted the pressure of being a young person who feels responsible for fixing everything. Her commitment to character detail—quick glances to her dads in the audience, hand-wringing before spelling—brought layers of meaning to every moment. She also maintained a very distinct lisp throughout the show, which furthered the childlike demeanor that was present in Logainne. In addition to Dills, Jayna Glynn’s take on Olive Ostrovsky was a revelation. Her reactions in every scene fully captured Olive’s desire to befriend the other kids, while also fearing the rejection that may follow. But rather than presenting Olive as the abandoned child she often is interpreted as, Glynn played into her hopefulness and brought out a side of Olive that was both tender and courageous.
The choice of not portraying Olive as a completely abandoned child was extended into her main song “The I Love You Song” that reveals her complex family dynamic. It is often shown that Olive’s dad chooses to not be present in her life as a result of redirecting his anger towards her mother to Olive. This usually lands as an emotional layer for the audience, as some may find relatability within the family dynamic. But rather than depicting Olive’s parents as emotionally unavailable adults, I was personally moved to tears as I watched them depict Olive’s mother to have cancer, leading into her dad’s grief and rejection. In the span of a few minutes, it was clear that Dr. Phillips chose to approach the usual depiction of her family differently. By doing this, they opened up a whole new level of relatability, inclusion, and representation that musical theater does not often see. This unspoken characterization for Olive’s parents tapped into a different understanding of hurt, not only in children but in families in general. Although a small change, Dr. Phillips silently reinforced their belief of including everyone in the arts, despite any hardships or illnesses they may face.
This 2025 staging of The 25th Annual Putnam County Spelling Bee was more than a showcase of emerging talent—it was a reinterpretation that trusted its cast to mine truth from comedy and beauty from chaos. Simpson and Wisehart allowed their performers to play freely within structure, encouraging a level of exploration rarely seen in youth-driven productions. The result was a Spelling Bee that felt unexpectedly personal, emotionally current, and—most impressively—alive.
In emphasizing authenticity over caricature and human connection over laughs alone, this production reminded us that Spelling Bee is not just a comedy about a competition. It’s a story about identity, growth, and the strange, beautiful tension between childhood and adulthood. And through this lens, the interns of Dr. Phillips Center delivered something entirely their own—charged with heart, full of character, and bursting with unified energy.
Photos: provided by Dr. Phillips Center for the Performing Arts
(Dr. Phillips Center for the Performing Arts, Orlando FL) “Life is random and unfair…Life is pandemonium!” And never has pandemonium looked so joyful, vibrant, and captivating as it did in the Dr. Phillips Center interns’ electrifying production of The 25th Annual Putnam County Spelling Bee. With a small but mighty cast, this performance exploded with personality and precision, proving that you don’t need a huge ensemble to fill a theater with laughter, heart, and harmony. Every moment pulsed with spontaneity and soul, turning a middle school spelling competition into a full-blown theatrical celebration.
The Dr. Phillips Center’s 2025 intern company brought new perspectives to the infamous musical Spelling Bee that resonates with many of its viewers. With a show that humorously unpacks the true complexities and pressures of being a child, directors Ryan Simpson and Victor Wisehart uncovered new emotional layers in a musical often known more for its quirk than its heart. It is clear that their approach to personalize the experience of the Bee for their audience honored its humor while expanding its emotional depth through staging and character interpretation.
Simpson and Wisehart’s goal of immersing the audience directly into the spelling bee was apparent from the start as the house lights didn’t immediately go down once the show started. Although this may be unconventional for musical theater, the choice to keep the lights on made the audience feel like we really were about to witness a spelling bee. Instead of establishing a clear cut from reality and performance, we were brought into the world of the gymnasium, experiencing the tension, awkwardness, and pride right alongside the characters.
This immersion was maintained throughout the performance as typical theatrical barriers were broken down to allow full participation from the audience. As this was my first time watching the Bee, I was pleased to realize that audience participation and improvisation is a crucial part of the show. Although it might be a necessity, the 2025 intern company did a transcending job to specialize the show with the seamless inclusion of contemporary references that aided in characterization. True to the show’s improvisational roots, the directors and cast embraced the freedom to inject up-to-date humor into the dialogue, resulting in a performance that felt alive—tailored not just to the script, but to this specific moment in pop culture.
The Coldplay kiss-cam joke, for instance, caught the audience completely off guard—in the best way. Referencing the now-iconic viral moment with a wink and just the right amount of self-awareness, it landed perfectly with younger audience members while even prompting chuckles from those less tuned into the TikTok-verse. This connection from the musical theater world to modern media brought the characters to life even more.
In this way, the modern jokes became more than just punchlines—they were extensions of the characters’ identities. Logainne dropping a political reference? Of course she would. Leaf Coneybear rambling about Coldplay? Absolutely. These were smart, intentional touches that made the show feel authentic without losing the nostalgic awkwardness that defines Spelling Bee. These additions didn’t just feel topical; they helped the characters feel like real kids of today, each one deeply shaped by a rapidly changing world.
Building off of the unique characters displayed in this interpretation, the cast and crew deserve an immense amount of credit for developing these characters in ways never heard of before. Rather than exaggerating the characters’ eccentricities, the actors portrayed them with empathy and authenticity, making their insecurities and ambitions tangible. Little acting choices that were made really added emotional depth to each character. Whether it was Cole Higginbotham’s childlike physicalities for Leaf Coneybear or Milan Borges’ take on Marcy Park’s clear internal debate of having fun and being competitive, these actors truly understood the struggles of being a child with demanding expectations. While each performer fully committed to their childlike behaviors, I would like to highlight Jayme Dills for fully embodying five-year old Logainne Schwartzandgrubenierre. Dills didn't just play Logainne’s political representative for laughs; she highlighted the pressure of being a young person who feels responsible for fixing everything. Her commitment to character detail—quick glances to her dads in the audience, hand-wringing before spelling—brought layers of meaning to every moment. She also maintained a very distinct lisp throughout the show, which furthered the childlike demeanor that was present in Logainne. In addition to Dills, Jayna Glynn’s take on Olive Ostrovsky was a revelation. Her reactions in every scene fully captured Olive’s desire to befriend the other kids, while also fearing the rejection that may follow. But rather than presenting Olive as the abandoned child she often is interpreted as, Glynn played into her hopefulness and brought out a side of Olive that was both tender and courageous.
The choice of not portraying Olive as a completely abandoned child was extended into her main song “The I Love You Song” that reveals her complex family dynamic. It is often shown that Olive’s dad chooses to not be present in her life as a result of redirecting his anger towards her mother to Olive. This usually lands as an emotional layer for the audience, as some may find relatability within the family dynamic. But rather than depicting Olive’s parents as emotionally unavailable adults, I was personally moved to tears as I watched them depict Olive’s mother to have cancer, leading into her dad’s grief and rejection. In the span of a few minutes, it was clear that Dr. Phillips chose to approach the usual depiction of her family differently. By doing this, they opened up a whole new level of relatability, inclusion, and representation that musical theater does not often see. This unspoken characterization for Olive’s parents tapped into a different understanding of hurt, not only in children but in families in general. Although a small change, Dr. Phillips silently reinforced their belief of including everyone in the arts, despite any hardships or illnesses they may face.
This 2025 staging of The 25th Annual Putnam County Spelling Bee was more than a showcase of emerging talent—it was a reinterpretation that trusted its cast to mine truth from comedy and beauty from chaos. Simpson and Wisehart allowed their performers to play freely within structure, encouraging a level of exploration rarely seen in youth-driven productions. The result was a Spelling Bee that felt unexpectedly personal, emotionally current, and—most impressively—alive.
In emphasizing authenticity over caricature and human connection over laughs alone, this production reminded us that Spelling Bee is not just a comedy about a competition. It’s a story about identity, growth, and the strange, beautiful tension between childhood and adulthood. And through this lens, the interns of Dr. Phillips Center delivered something entirely their own—charged with heart, full of character, and bursting with unified energy.
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