Review: BYE BYE BIRDIE at Little Rock Christian Academy

There’s something delightfully nostalgic about stepping into the world of Bye Bye Birdie, and for my very first visit to Little Rock Christian Academy’s theatre program, I could not have asked for a more impressive introduction. Their recent production, which ran April 9–13, didn’t just capture that retro charm, it elevated it to a level of polish that felt remarkably professional. Under the direction of Leslie Harper (who also served as Music Director and Choreographer), this student production delivered a high-caliber experience that rivaled many community theatre productions, brimming with confidence, precision, and undeniable star power from its young cast.

Even before the curtain officially rose, the production found a clever and engaging way to pull the audience into its world. To open the show, TV personality Christina Munoz appeared in a pre-recorded video interview with the girls waiting for Conrad Birdie. This creative choice immediately established the show’s tone and time period, while also adding a fun, multimedia element that heightened the sense of excitement surrounding Birdie’s arrival. It was a smart and polished touch that set the stage for the high-energy storytelling to come.

Set in the late 1950s, Bye Bye Birdie follows the frenzy surrounding teen idol Conrad Birdie as he prepares to leave for the army. Hoping to capitalize on one last publicity stunt, songwriter Albert Peterson and his secretary-turned-girlfriend Rosie Alvarez arrange for Conrad to give a farewell kiss to a randomly selected fan, Kim MacAfee, in Sweet Apple, Ohio. What follows is a whirlwind of teenage excitement, small-town chaos, and romantic complications that ripple through the entire community. 

This was my first visit, so I had no idea that the level of professionalism would be so high. Harper’s direction was sharp and intentional, with seamless transitions, strong character work, and a clear vision that guided every moment on stage. The choreography was not only energetic but impressively clean, executed with a precision that spoke to the discipline and dedication of the cast. Assisting her was Student Director and Dance Captain Blakely White, who also took on the role of Rosie Alvarez, demonstrating not only leadership behind the scenes but a commanding presence on stage. Alongside her, Stage Manager Lillie Dunn, a senior, ensured the production ran with the kind of smoothness typically associated with seasoned companies.

This cast was stacked with talent, delivering performances that felt both polished and fully realized. Mitchell Cohen as Albert Peterson anchored the show with strong comedic timing and a relatable charm, creating a character audiences could root for. One of his standout moments came in the lively “Put On a Happy Face,” where he teamed up with Sad Girl Layla Chatham for a number that was not only vocally engaging but full of sharp, energetic choreography.

Blakely White’s Rosie Alvarez was an absolute standout, and she made that clear from the very beginning. Opening the show with “An English Teacher,” White immediately established herself as a leading lady with remarkable poise and control. Her vocals were clear and expressive, her presence confident, and there was a sense of ease in her performance that felt truly professional. She earns my starry-heart eyes for setting the tone so strongly from her very first note.

Kaisson Norwood as Conrad Birdie brought undeniable star quality to the stage, delivering an Elvis-like crooning style paired with smooth, confident moves that had the audience completely captivated. His performance embodied the charisma and swagger of a true rock-and-roll idol, making it easy to see why the entire town and the audience fell under his spell.

Kerith Norwood as Harry MacAfee provided a hilarious and grounded portrayal of the overwhelmed father, while Claire Abston as Doris MacAfee complemented him beautifully, creating a believable and often humorous family dynamic. Ava Fletcher shined as Kim MacAfee, capturing the excitement and innocence of a teenager swept up in sudden fame, while Jaydon Clark as Randolph MacAfee delivered delightful comedic moments that added to the show’s charm. As one of the younger members of the cast, Clark was especially fun to watch—he looked like he was having an absolute blast sharing the stage with his high school counterparts, and that joy radiated into the audience.

Ada Peeples as Mae Peterson was a scene-stealer in her own right. She leaned fully into the role, laying on the mama guilt with such conviction and comedic precision that it felt like she had years of experience to pull from. Her delivery was sharp, her timing impeccable, and every moment she was on stage added an extra layer of humor and personality to the show.

Clendon Jones as Hugo Peabody added teenage-angst and humor to Kim’s loyal boyfriend, rounding out a cast that worked seamlessly together.

Musically, this production soared, and one of the true highlights for me was “The Telephone Hour.” It’s always been one of my favorite numbers in the show, and the Teen Chorus did not disappoint. The energy, the crisp vocals, and the coordinated staging made the number feel alive and buzzing with excitement, perfectly capturing that sense of teenage gossip spreading like wildfire.

The ensemble served as the backbone of the production, and their commitment was unwavering. Every performer on stage contributed to the world of Sweet Apple with clear intention and character specificity. Their timing and expressions created a believable and engaging environment, and their ability to maintain that consistency throughout the show was impressive.

Technically, the production matched the performance level. The costumes captured the bright, playful essence of the 1950s, while the set and lighting design worked in harmony to create a visually engaging experience. 

If this production is any indication of what Little Rock Christian Academy’s theatre program consistently produces, then I will absolutely be back. Bye Bye Birdie was more than just a strong first impression, it was a statement. These students are not only learning the craft of theatre, they are already performing it at an impressively high level, and I, for one, cannot wait to see what they do next.

As always, extra points for the musicians who put the music in musicals. 

ORCHESTRA

Keys 1 -- Bob Bidewell

Keys 2 -- Luke Swearingen

Bass -- Max Campbell

Drums -- Brandon Brockington

Trumpet 1 -- Tom Richeson

Trumpet 2 -- Taylor Brandon

Trombone -- Evan Smith

Reed 1 -- Micah Bowling

Reed 2 -- Jackie Lamar

Reed 3 -- Preston Gibson

Reed 4 -- Jake Gatlin

Violin 1 -- Mari Alison Bowling

Violin 2 -- Marco Moya

Guitar -- Isaac Helgstad