AMPA Gala 2025: A Celebration of Talent, Community, and Craft (By Clara Carter-Klauschie)

This past Saturday night, I attended Gala, the annual performance showcase hosted by Hamilton High School’s Academy of Music and Performing Arts (AMPA). As a Gala newbie, I wasn’t entirely sure what to expect. The event’s name alone has always evoked a sense of prestige and mystery for me. Preceded by a dinner (which I did not attend) and comprising a large cast of students and staff, it’s likely the most ambitious event AMPA puts on each year.

Across nearly three hours of performances and speeches, culminating in the selection of AMPA’s “Performer of the Year,” students took the stage to share their artistry with boldness and sincerity. While I’ll be sharing a few of my personal highlights and reflections, keep in mind that I’m no artistic authority. Ultimately, art is subjective.

As I entered the auditorium and found a seat on the right side, the lights dimmed and the show began. First up, “Movie Magic,” a group poetry performance by the Hami Lit Poetry Team. Setting the tone for the night and introducing the theme, “At the Movies,” this brief spoken word piece was not without comedy. Students moved between speaking in unison and breaking off into individual lines, aiming to encapsulate the experience of cinematic wonder. Many of the lines echoed the now-iconic Nicole Kidman AMC ad—perhaps intentionally. Overall, I enjoyed the levity of this piece as an introduction to the evening.

As the poets exited, the first Performer of the Year finalist of the night, Isaac Garcia, entered. A pianist, Garcia took on a rhythmically layered and technically demanding piece: Liebestraum No. 3 in A-flat Major, S.541 by Franz Liszt.

Next came a shift in mood, medium, and set, as the piano was laboriously moved to the side. Advanced Dance took the stage with a moving group piece. Their performance was among my favorites, though I’ll admit, I’m biased. As a member of the dance department, I’d seen this piece many times in rehearsal leading up to our recent concert.

Performed to “Soon I Will Be Done With the Troubles of the World,” an African American spiritual sung by Mahalia Jackson, and choreographed by Latrece Douglas, the work was deeply emotionally resonant. From the first movement, it was clear the dancers were not merely executing choreography but embodying strength through grief and struggle. Ultimately, the piece’s power and emotional clarity came from its striking visual pictures and slow, intentional pacing.

As the dancers took their final, emotionally-charged steps off stage, the spotlight turned to clarinetist Daniel Flores, a highly decorated Performer of the Year finalist whose jazzy solo was both skilled and spirited. Flores, accompanied by pianist and fellow finalist Isaac Garcia, displayed strong musicianship, keeping the audience thoroughly entertained with a jovial performance of “Clarinet Blues.” 

Up next, a complete tonal turnaround! The theatre department performed an excerpt from their Spring play, The 39 Steps. Directed by Alison Miller, this uproarious scene followed characters Richard Hannay and Pamela Edwards, played by Micah Rosenthal and Clementine Jones, as they attempted to escape a pair of “heavies.” Using a range of props—including stools, a disconnected steering wheel, and stuffed lambs—the scene leaned into absurdism and slapstick. Without full context, however, it felt quite disjointed and chaotic. Still, the scene succeeded in entertaining the audience and revealed the theatre department’s range, showcasing acting that was markedly different from The Crucible (their fall play). 

A significant departure from this theatrical comedy, the third Performer of the Year finalist, sophomore Max Olsen, took the stage. Seated at the piano, he delivered a crisp, clean, and satisfying rendition of a Beethoven sonata. As a beginner pianist myself, I was thoroughly impressed by Olsen’s skill and polish.

Following this classical precision, Gala transitioned to a vibrant cultural celebration with Ballet Folklorico’s Coco-inspired performance. Dancers donned vibrant, floral skirts and flowers in their hair. Choreographed by Maritza Olmos, this piece beautifully showcased traditional folklórico footwork and made dynamic use of skirts as expressive tools. It resonated as a heartfelt representation of Mexican culture, elevated by the soundtrack of a beloved film. Moving from duets to group sections seamlessly, this performance stood out for its synchronicity and joyful energy. 

Next, the singular film offering of the night: The Letter. Crafting a sincere and moving commentary on the Black experience, Director Baron Ellis and Director of Photography Andrew Corzine filmed students from the Black Literature class reading letters intended for their younger siblings. Filmed completely in black and white and layered with photographs of Civil Rights demonstrations, the piece delivered a powerful message. Its directing, cinematography, and score were clearly selected with intention, coming together to create a very emotionally impactful short film. 

Another impressively-composed piece of art, Mariachi Del Oeste’s rendition of “La Bamba de Veracruz” lifted the mood with a spirited showing. Weaving rich harmonies and textures, their performance stood out not only for its musical quality but also for its infectious energy and cultural significance. Judging by the burst of applause that followed, this was among the best-received performances of the night. 

Up next was another favorite, Performer of the Year finalist Kailyn Ferguson, dancing a solo titled “Drift” to Billie Eilish’s “My Future.” Dressed in a flowing blue two-piece set, Ferguson’s performance offered an intimate and introspective exploration of personal growth and emotional resilience. She drew from her full range of dance experience, incorporating ballet, contemporary, and acrobatic movement to sincerely embody her character. From extensions to tumbling passes, from melancholy to empowered, the dance moved through emotional textures, mirroring a personal journey. 

As Ferguson’s solo concluded on a note of personal strength, the program moved into collective joy with the Hami Advanced Combined Choir’s “Oh Happy Day.” Dressed in perfectly matching black formal wear, the choir energized the theatre with a celebratory gospel classic, which also tied into the Gala’s movie theme (having been featured in Sister Act). This buoyant performance led into an entertaining piano rendition of John Williams’ “Cantina Band” from Star Wars, performed by both piano finalists.

Matching this upbeat energy, the cast of Grease took the stage, performing the classic “Summer Nights.” Though perhaps not their cleanest showing, the strong vocal capabilities of leads Jem Renaud and Scarlett Sittenfield still shone. After a brief intermission, performances resumed with Performer of the Year finalist Madison Fujioka, who played Jan in Grease, singing “My Days” from The Notebook (musical). Accompanied by Noah Farag on piano, Fujioka showcased her range and musical theatre-coded vocal style, honed over four years and seven productions at Hami.

The final of six Performer of the Year finalists to take the stage, Jackson Petty, a jazz guitarist, featured his talents with the backing of a skilled jazz combo. His precise skill and ease on stage were evident, making for an engaging, technically complex, and effortlessly cool performance. 

With all finalists' performances complete, Gala’s energy built toward its grand finale. While judges deliberated, ensemble acts filled the stage. Hami’s wind ensemble, string orchestra, advanced guitar class, and jazz ensemble all delivered polished, complex, and impressive pieces, each a testament to AMPA’s musical excellence. One among the many student-produced offerings of the night, a rapping trio, known as NBT (Never Been Typical), also showcased their work, rapping as their music video played on screen. Shout out to Make Waves, Hami’s record label, which supports NBT and numerous other student artists. Their end-of-the-year album, Memento, will be coming out on June 10th!

And finally, the long-awaited moment of the night arrived! AMPA Coordinator Rebecca Hurst walked to the podium to reveal the 2025 Performer of the Year scholarship winners: Daniel Flores (1st), Kailyn Ferguson (2nd), and Jackson Petty (3rd). My commendation to all finalists and scholarship winners, whose talent and passion for performance dazzled!  

But no reflection on the night would be complete without recognizing the behind-the-scenes brilliance of Hami’s tech crew. While performers often take center stage, the tech team is the vital backbone of any AMPA production, managing lights, sets, and sound with professionalism. Just one example: the large piano was moved on and off stage nearly ten times throughout the evening, each time requiring a coordinated crew of about eight students. What a feat! And by far, Gala’s most memorable moment came midway through the second half, when stage tech teacher Mr. Thomas gave a heartfelt speech and invited his students onstage for a group hug. With Mr. Thomas retiring this year, the moment beautifully encapsulated the deep mentorship he’s cultivated over six years at AMPA. It was the heartwarming highlight of the night! 

All in all, Gala offered a vibrant glimpse into AMPA’s range of offerings, serving as a celebratory culmination of the year’s work. My takeaway was clear: the work happening in AMPA is meaningful, intensive, and deeply impactful. Students in AMPA—my peers—are artists with something powerful to share. I feel incredibly lucky to learn from and alongside such a talented, passionate, and diverse community of creators and educators.