EMAV Review: 'Small Mouth Sounds' is a near-silent tour-de-force ★★★★★

★★★★★ - Irresistible

We’ve often heard “acting is reacting” but that is an over-simplification. It’s really not that easy. Not by a long shot. The toughest job an actor can face is being on the stage without any lines to speak. For without lines, most people would ask, how does an actor let you know what is going on, what their motivation is, what is bothering them–what their innermost thoughts are–at the crux of a scene?

Silence your electronic equipment and breathe in…breathe out. Breathe in…breathe out. Those are only a couple of the “Small Mouth Sounds” you’re going to hear as A Public Fit presents Bess Wohl’s delightful, quirky play. You’ll hear even less speaking. Yet this talented ensemble evokes laughter and tears without a need for Silent Screen-type captioning.

Six people gather at a woodland retreat to make peace with what life is shoving (or has shoved) at them, or simply “find themselves.” As directed by Ann-Marie Pereth, “Small Mouth Sounds” is a tour-de-force. Consider it a Master Class, not only in acting but in life.

The cast portrays a cornucopia of disparate characters: Jan (Timothy Cummings) is the follower dealing with loss, Rodney (Mario Peoples) is the experienced-at-this hunk, Ned (Marcus Weiss) is easily confused and unsure, Joan (Valerie Carpenter Bernstein) is the exhausted caretaker and partner of Judy (Dina Emerson) the cancer patient, Alicia (Jamie Carvelli Pikrone) is a hot mess and deals with a different kind of loss albeit no less (immediately) painful than Jan’s. Then there is the unseen Teacher (Erik Amblad), who leads the group through their week of silence and does the most speaking via a god mic.

Assisted by Josh Wroblewski’s beautiful atmospheric lighting, Eric A. Koger designed a wonderful set that provides everything from classroom to bunkhouse to forest. Add in sound by Arles Estes and the effect is complete immersion.

Without dialogue, how does one gather even the most basic of information? The way we all do. Every day as we interact with everyone around us. By shrugs, by exasperated sighs, by smiles, hand gestures, head nods or shakes, or the short verbal phrase here and there; an “I guess,” or “Whatever.” How we interpret those signals determines our immediate emotional reaction. Interesting how alike and together in the world we all are, isn’t it?

In the end, what you find funny, what brings you to shed a tear, will depend upon where you are in your own journey. That determines how you interpret the display of humanity on the stage. One thing is guaranteed, this production will move you.

When: 7:30 p.m. Thursday - Saturday; 2 p.m. Sundays through March 10

2 p.m. Saturday March 2, 9

Where: The Usual Place, 100 S. Maryland Parkway

Tickets: $25 - $30 (www.apublicfit.org)

Producer: A Public Fit; Artistic Director: Ann Marie Pereth; Producing Director: Joseph D. Kucan; Director: Ann Marie Pereth; Set Design: Eric A. Koger; Lighting Design: Josh Wroblewski; Sound Design: Arles Estes; Costume Design: Mariya Radeva-Nedyalkova; Stage Manager: Brandi Blackman

#EatMoreArt #APublicFit #Theatre #Review #Atreides #downtown #vegasculture

EMAV Review: LVLT's Classic Doll’s House is timely

Photos taken by Kris M. Mayeshiro/ km2creative

★★★½☆ - Satisfying

Henrik Ibsen’s drama, “A Doll’s House,” was published and performed in the late 1880s. With the fight for women’s equality still raging today, the election of so many women to legislatures around the country brings the play’s ideals front and center.

The original sparked much controversy and adaptations abound (even a radio version). Using a literal translation by Charlotte Barslund, Frank McGuinness’ 1997 adaptation sticks closely to the original and won the Tony Award for Best Revival of a Play.

This LVLT production, directed by Jane Walsh, is stylized. It takes on a Dickensian London atmosphere introducing the characters delivering gifts. Actors greet with hugs and kisses, or foul expressions depending upon the relationships yet to play out; dialogue is mouthed, while the children are busy with a period hand-clapping game. Once the gifts (children’s blocks) have been placed on a bookshelf, everyone exits, and the actual play begins.

As Nora, Olivia Hernando flits and twirls and dances around the stage, delivering a laughing, silly, naïve Scarlett O’Hara-type damsel. She’s never in one place for long and very self-absorbed. Hernando retains that even as her transgression(s) are revealed. Only when she’s faced with complete destruction do we see any convincing conflict. The change from woe-is-me to self-determination happens in a sudden realization rather than slowly deriving from a discussion with a family friend. Hernando further muddies the waters as the only actor to deliver dialogue in very precise, stilted enunciation.

Her husband, Torvald, is played effectively by Shane Cullum as he first coddles, then slowly becomes concerned for Nora’s mental welfare as she has trouble with a dance he taught her years before. His hands, then body shakes as he reads of her crimes and realizes what they will do to the family. Subsequently, reading a letter absolving her, Cullum again takes his time in the realization; thought processes expressed slowly as things sink in and his excitement and relief mount.

Marni Montgomery-Blake delivers a steady performance as Kristine Linde, Nora’s childhood friend. Her displeasure with Nora’s selfishness is displayed behind softly delivered words, and she moves with the confidence of a woman who has faced her own difficulties in life and come to terms with needing to provide for herself as well as a desire to care for others.

The villain of the piece comes in the form of one Niles Krogstad, played with finesse by David Ament. He’s subtle when he needs to be and overtly threatening when that ploy doesn’t work except when Krogstad turns his back in a position of weakness.

Like Hernando, Steve Webster plays his character (Dr. Rank) very stylized. His delivery at first is very sing-song in a beautiful tenor, later meshing with the remainder of the cast in a more realistic portrayal.

The nanny (Martha Bowers) and two children (Jack Davison and Lila P. Fisher) round out the cast. The kids are adorable – as kids should be – and their performances are convincing. Bowers has trouble meshing words with physicality, though, when she reveals a troubled background.

Stephanie Daniels has provided beautiful period costumes. She’s given the men silk cravats, a delightful party gown for Nora, and even Rank dons a colorful vest. Raphael Daniels-Devost lights the small stage well. The only thing which sticks out is the bright light shining through the fourth wall window; it comes up and dims out as if days pass within seconds.

The lovely, simple set by Chris Davies evokes the time period and the proper station of a family on the lower rungs of upward mobility.

When taking liberties in stylizing a classic such as this, it would seem permissible when dealing with onstage smoking. The lighting of a cigar would be best left out completely, rather than so unconvincingly mimed.

Though direction muddies at times, Walsh brings it all round full-circle with the curtain call as actors carry on the blocks (which slowly left), to be replaced on the shelf.

Though the play is 131-years old, it’s timely, rapidly selling out as the 2017 sequel “A Doll’s House, Part 2,” written by Lucas Hnath, will be presented as part of the Mainstage series May 3-19.

What: A Doll’s House

When: 8 p.m. Thursday - Saturday; 2 p.m. Sunday through February 24

Where: Las Vegas Little Theatre-Fischer Black Box, 3920 Schiff drive

Tickets: $14 - $16 (702-362-7996; www.lvlt.org)

Producer: Las Vegas Little Theatre; Director: Jane Walsh; Set Design: Chris Davies; Lighting Design: Raphael Daniels-Devost; Sound Design: Joey Jevne; Costume Design: Stephanie Daniels; Stage Manager: Cassidy Bonifacio

#Theatre #Review #LVLT #Atreides #EatMoreArt #vegastheatre #vegasculture

EMAV Review: Cockroach Theatre's "Anarchist" is brilliant madcap mania ★★★★★

★★★★★ - Irresistible

Cockroach Theatre is presenting a new adaptation of “Accidental death of an Anarchist” by Dario Fo. The Italian-born playwright was the recipient of the 1997 Nobel Prize in Literature and was best known for his comedy criticizing everything from government to the Catholic Church. This new adaptation by James Sandlin Ashby is farcical but you won’t find any slamming of doors. This is more in the true spirit of Commedia dell'arte (a popular form of early Italian play) wherein the cast and audience are in on the jokes, and improvisation is welcome.

Deftly directed by Allegra Libonati, the production is full of vivid sparks, colorful fireworks, and madcap mania. It is, in short, a brilliant production.

From the moment you are escorted into the venue you are immersed in the experience and the laughter starts. It rarely lets up. But, I warn you this is not the type of farce where you want to lose focus – you’ll miss some of the gags. A scene change might make you think of the old “Batman” TV series, a scene may remind you of a Three Stooges bit, and some characters may harken to mind “The Pink Panther”’s Inspector Clouseau. All of it will both remind you about the current dour reality of our world and make you forget it at the same time.

Brett Alters as Maniac heads the superb cast. His physical comedy is great, and using sleight of hand manages new surprises at every turn. His comedic timing with a line, punching the punch line with wrinkled, brow brings this performance to a new level. He easily slips from one character to the next with a wink and a nod. And, lest you begin to doubt the validity of the jest, he’ll drop the ruse just long enough to make sure you pick it back up.

Christopher Brown (Deputy Chief), Annette Houlihan Verdolino (Commissioner), Brian Sloan (Bertozzo), Jillian Austin (Journalist), and Brent Mukai (Officer) round out the superb cast. They not only support Alters, they support one another in a waterfall of comedy. I would find it difficult to extoll the ways in which each actor shines.

The production values from Jesse Soper’s scenic design to Rosalie Chaleunsouck’s sound design are top notch. Rising above are the props of Rebecca Sass. Yes, she deserves special notice and you’ll realize why when you see this show.

There are so many things that I refuse to let you in on because it would spoil the experience. You’re going to have to fully trust me on this one. If you’re looking for fun and laughter, look no further.

When: 8 p.m. Thursday – Saturday; 2 p.m. Sunday through February 10

NO PERFORMANCE on February 1 due to First Friday.

Where: Art Square Theatre, 1025 S First St, #110

Tickets: $20 - $25 (www.cockroachtheatre.com, 725- 222-9661)

Producer: Cockroach Theatre; Artistic Director: Daz Weller; Director: Allegra Libonati; Scenic Design: Jesse Soper; Lighting Design: Ellen Bone; Sound Design: Rosalie Chaleunsouck; Cosume Design: Abby Stroot; Props: Rebecca Sass; Production Stage Manager: Marni Lewis

#Theatre #Review #Cockroach #downtown #vegastheatre #vegasculture #EatMoreArt #Atreides

EMAV Review: Outcast miscreants kill in LVLT's 'Assassins' ★★★★½

Photo Credis: Kris Mayeshiro @km2creative.com

★★★★½ - Delicious

Stephen Sondheim’s musicals have entertained and fascinated for years. With few exceptions, if it’s a Sondheim show it’s a hit. His lyrics always carefully move the story arc and build character at the same time, his music is always deeply layered and usually difficult to sing. “Assassins,” with a book by John Weidman (based on an idea by Charles Gilbert) is rather more of a revue than a typical musical, and a dark-comedy vaudeville one at that.

For its original run, previews sold out indicating the draw of a Sondheim work but Frank Rich noted in his NY Times review, “Assassins will have to fire with sharper aim and fewer blanks if it is to shoot to kill.” Yet, the show, reworked, has been a staple around the globe and won both the Tony Award and Drama Desk Award for Best Revival of a Musical in 2004.

Currently kicking off 2019 at Las Vegas Little Theatre (LVLT), directors Walter Niejadlik and Gillen Brey have assembled quite a talented onstage ensemble. From all appearances, the entire production team came together as an ensemble, as well. From Ron Linblom’s wondrous two-story set to Candice Wynant’s superb costume choices for each required period everything melds into a perfected melody. Even the sound design by Mike Olsen lends credence with an Emma Goldman (played with finesse by Tiffany DeStenfano) speech with a microphone effect that cuts in and out.

Backed by a 13-piece orchestra under the direction of Toby McEvoy, 17 new and familiar faces grace the stage giving voice to Sondheim’s notes. There are some standout performances, as there always are in any given production.

April Sauline as the Balladeer ties the vignettes together and finds the heart behind the comedic. Two newcomers to the LVLT stage, Stephan Maeder playing the lovelorn John Hinckley and Lucy Angelo giving life to oddball Lynette “Squeaky” Fromme, combine their voices for a beautiful “Unworthy of Your Love.” Maeder brings a hang-dog attitude to his portrayal of Hinckley and actually makes one begin to feel sorry for him.

Though Angelo’s high range hit a few flat squeakers in the solo portions, her portrayal throughout the show was thoroughly engaging. In scenes with Halle Lyons, as Sara Jane Moore, both Angelo and Lyons made a great pair of failed presidential killers. Lyons has a wonderful time as Moore, the verbal timing and physical comedy rolls easily.

Another newcomer, Meric Barkey Lewis Pittman immediately grabs attention with a deep rich baritone even in speaking. His statesman-like portrayal of Leon Czolgosz brought a dignity to the man who killed William McKinley, yet the sense of his social awkwardness is always there.

The failed attempt on Richard Nixon’s life is brought hilariously to life by Jacob Moore. Though Moore doesn’t get a solo or duet to sing he provides a steady, complete drunken, beer-swilling Samuel Byck to life in a pair of solo scenes.

The ensemble numbers are well staged and choreographed, scene changes are smooth and rapid. Nothing feels out of place, each beat of the show hits on target.

You might wonder how a show about killers and would-be killers of presidents could be funny. But “Assassins” is a political sideshow spanning the centuries, from Lincoln to Reagan, as noted in the ensemble-performance of “Another National Anthem,” bringing outcast miscreants together to humorous effect, and this production hits the right notes.

When: 8 p.m. Thursday - Saturday;

2 p.m. Sunday ( additional 2 p.m. Saturday, Jan 26)

Through February 3

Where: Las Vegas Little Theatre, 3920 Schiff drive

Tickets: $22 - $25 (702-362-7996; www.lvlt.org)

Producer: Las Vegas Little Theatre; Directors: Walter Niejadlik, Gillen Brey; Musical Director: Toby McEvoy; Choreographer: April Sauline; Set Design: Ron Lindblom; Lighting Design: Ginny Adams; Sound Design: Mike Olsen; Costume Design: Candice Wynants; Wig Design: Betty Sullivan-Cleary; Stage Manager: Cindy Lee Stock; Running Crew: Ernest Medina, Chris von Uebbing

#Theatre #vegastheatre #EatMoreArt #Review #Atreides #LVLT

EMAV Review: Majestic Rep's Spring Awakening blossoms then soars ★★★★★

★★★★★ - Irresistible

Lord Alfred Tennyson wrote, “In the Spring, a young man’s fancy lightly turns to thoughts of love.” Only it’s not so delicate as Tennyson states. It rises up full-bore like a heat-seeking missile. But what happens when that young man and the girl he seeks have no real idea of what is happening?

You can find out as Majestic Repertory presents “Spring Awakening,” the rock musical with book and lyrics by Steven Sater and music by Duncan Sheik which was based on the 1891 play of the same title by Franz Wedekind. The 2006 musical won eight Tony Awards under the direction of Michael Mayer.

Under the astute direction of Troy Heard, the Majestic production soars. Each and every piece of this puzzle is perfectly in place. It’s a tough show with some tough subject matter; it’s not only awakening sexuality that is brought to light.

The cast is headed up by Nicholas Lamb as Melchior and Callie Maxson as Wendla. They aren’t Romeo and Juliet-type star-crossed lovers, they are two teens seeking truth and love amidst a society – much like today’s – intent on keeping them in the dark.

Lamb has a beautiful tenor that fills the room with hope and vivacity and darkness and grief. This young actor takes the very soul of the character and bares it almost as if he needs you to see through the sinew and veins to the raw nerve endings. His is an incredible performance so fully rendered I dare you to walk out at the end of the play unmoved.

And he’s matched beat for beat by Maxson. When the two come together in scenes and in song, such as “Word of Your Body” and “Guilty Ones,” their portrayals and voices blend perfectly. Maxson carries her joy and then confusion and sorrow on her sleeve, we are able to see her work through the emotions, we see the gears turning as she remains always in the moment.

The characters of Moritz (Joel Ruud) and Martha (Tatum Rajsky) are especially tormented, and Ruud and Rajsky are up to the task. Both actors allow the haunted look associated with their plight under an exterior that belies their reality.

Michael Sullivan, plays all the Adult Men, and Kate Sirls renders the Adult Women. Both actors switch smoothly between roles. Each character comes across believable and separate.

The remaining ten characters are brought to life by a wonderful supporting cast of actors. Not a single one disappoints in any way. However, RJ Viray is a particular standout as he makes direct visual contact from time to time; each emotion reflected not only in stance but in his eyes.

The choreography by Jenna Szoke is fitting of a rock musical though still manages to invoke the time period of late 19th Century Germany. Movement provides an interesting, sometimes jarring, counterpoint and juxtaposition to the emotions of a number emitting the bottled-up sexual energy longing to be freed.

Yale Yeandel’s simple thrust stage is overhung with bare tree branches and softly glowing lanterns serves multiple settings. Abby Stroot’s costumes – particularly the boys – are period and detailed. And, Marcus Randolph lights it all in a mixture between harshness and soft-focus enhancing the mood of each scene.

While the production is about teenage angst the theatre offers a cautionary word: There are sexual situations, language, and brief nudity. What may surprise you is the realization that, as art imitates life, we haven’t progressed much at all as a society in these matters.

An important end note: Due to scheduling the rental cost of the microphone kit tripled for this production. The theatre is trying to raise $5,000 during the run of this show to purchase equipment. It’s a very worthy cause and I encourage you to make a donation.

When: Thursday - Saturday 8pm; Sundays 5pm through February 10

Tickets: $15 - $28 (www.majesticrepertory.com)

Producer: Majestic Repertory Theatre; Director: Troy Heard; Musical Director: Andrew Tyler; Choreography: Jenna Szoke; Lighting Design: Marcus Randolph; Scenic Design: Yale Yeandel; Costume Design: Abby Stroot; Sound Design: Kat Gonzalez; Technical Director: Joe Hammond; Stage Manager: Cory Covell

#Review #Theatre #MajesticRep #Atreides #downtown #vegastheatre #vegasculture #EatMoreArt

EMAV Review: A ball at LVLT's 'Ballyhoo' ★★★★½

★★★★½ - Delicious

“The Last Night of Ballyhoo,” Alfred Uhry's 1997 Tony Award-winning play, takes a solid look at anti-semitism in the South. The action is centered around the Atlanta Jewish community's annual Ballyhoo Ball (a Jewish cotillion) during the excitement surrounding the 1939 premiere of “Gone with the Wind” and the breaking out of World War II in Europe.

Directed by Rob Kastil for Las Vegas Little Theatre (LVLT), the production wisely mines the humor and slips in the right amount of poignancy in all the right places. This is really an ensemble piece and Kastil has treated it as such with quite a capable cast. After an initial stumbling over a couple of missed lines and despite stepping on laughs, this cast grabs the reins and gallops along without missing a beat.

Scene breaks are numerous but the pacing never suffers because of them, thanks to an excellent Running Crew. And, thanks to Mike Olsen’s very appropriate sound design, the music at first retains the moment then transitions us smoothly into the next scene.

Marty Weaver delivers a steady Adolph Freitag, the patriarch of the clan. Weaver represents the calming influence to each imagined catastrophe in a houseful of women worried about invitations to the Ballyhoo Ball and marriage proposals from the right men. He’s always in the moment and his timing is on point.

Act Two introduces us to Peachy Weil played with obnoxious delight by Michael Blair. His antics, both physical and vocal, bring laughter even with a running gag because Blair so easily and convincingly slips from one emotion to another.

Throughout, Shane Cullum, Dani Andino, and Mary Claire Owen keep pace and deliver perfect support. Cullum takes the brash Joe Farkas and grounds him; Andino plays Reba Freitag with great droll humor; and Owen brings needed understated softness to the educated Sunny Freitag.

The widowed Boo Levy is a whirlwind of activity and has more to say than any situation requires. Teresa Fullerton dives into the character with her usual verve. She’s a dervish of activity. In those moments she isn’t directly involved, Fullerton stays facially in the scene but, instead of some worried fidgeting or hand-wringing, her hands plunge stiff-armed to her sides.

As her daughter, Lala Levy, Stephanie McCue lands some good lines with Scarlet O’Hara over-the-top drama to good effect. McCue has the Southern Belle antics down pat almost as if she’s channeling Vivian Leigh. At times it gets to be a bit too much but she delivers the final line of Act 1 with sheer perfection.

Production values are all top-notch. The set, designed by Ron Lindblom, is a glorious depiction of a large Atlanta home on Haversham Road (a real Atlanta street). Ginny Adams’ lighting genuinely bathes the set; Stephanie Daniels’ costumes are on point for the period and Lala’s Ballyhoo gown is a showstopper.

If you’re looking for something heartwarming that isn’t yet another version of “A Christmas Carol,” if you want some good laughs instead of schmaltz, look no further than LVLT’s “The Last Night of Ballyhoo.”

What: The Last Night of Ballyhoo

When: 8 p.m. Thursday - Saturday; 2 p.m. Sunday through December 16

2 p.m. Saturday, December 8

Where: Las Vegas Little Theatre, 3920 Schiff drive

Tickets: $22 - $25 (702-362-7996; www.lvlt.org)

Producer: Las Vegas Little Theatre; Director: Rob Kastil; Set Design: Ron Lindblom; Lighting Design: Ginny Adams; Sound Design: Mike Olsen; Costume Design: Stephanie Daniels; Wig Design: Betty Sullivan-Cleary; Stage Managers: Brie Marielle, Jeremy Williams; Running Crew: Audrey Bernal, Chris Davies, Michael Ferruzza, Ernest Medina, John Pattison

#Theatre #Review #LVLT #Atreides

EMAV Review: Forget ‘cute kitten’ videos, comedy is raining Cat and Dog at CTC ★★★★★

★★★★★ - Irresistible

With all that’s going on in the world, with the rise in anxiety and blood pressure, we could use a little comedy; something to laugh at. Cockroach Theatre Artistic Director Daz Weller brought two short plays by a couple friends in Australia.

“The Dog,” by Brendan Cowell, and “The Cat,” by Lally Katz, have both, according to Weller, played successfully in Sydney, and elsewhere Down Under, but this brings their talent to tickle the funny bone in the U.S.

Director Matthew Morgan has chosen his cast well; Anthony Meyer, April Sauline, and Jonas Woolverton, do double duty and appear in both plays.

“The Dog” takes place in–where else–a dog park. Yale Yaendel’s set puts the action against a cyclone fence, complete with a rather full Doggy Waste Station which foreshadows trouble, and the fun starts immediately.

Meyer kicks things off with Sauline as dog owners who meet for the first time. In a series of scenes, Woolverton appears as Ben’s roommate, Marcus. There are the expected antics as the two men woo the same woman. Though the two men don’t appear together until the final scene, the tension between them is always evident. While Sauline basically plays the sounding board allowing the men to vent, she’s steady throughout, and her timing is impeccable.

The cliché goes “like cats and dogs.” But “The Cat” is the second act of the evening. If this decision was his, Morgan showed brilliance with the order of things. The script is witty, a bit far out, and he assigned the roles perfectly.

This time, Yaendel uses the entire performance space, giving us a variety of locations, each one specific. And Ellen Bone lights everything so well, overlapping cues to keep the action moving along at a clip.

And, here is where the cast truly shines. Meyer and Sauline play dual roles in this one. Meyer is Albert, who is being divorced by Alex, and appears as Jeff, Alex’s new lover; Sauline plays Alex, and Albert’s new lover, Sophie. Got it? Good. The divorcing couple must share custody of the Cat.

If it’s possible to steal the show, Jonas Woolverton does it, even though Meyer and Sauline match him point for point. They’re all always in the moment, but, if you know cats at all, Woolverton’s Cat is perfectly convincing in movement and antics.

One of the surprises of this script is that it’s a musical. I refuse to give away the other surprise because, to my delight, it caught everyone off guard. Alex and Albert have a duet that is hauntingly beautiful; you can’t help but be moved as they deliver “In My Life,” by composer Aurelien Budynek. Meyer has a nice baritone, clear and vocally acute. Sauline’s lovely alto is a perfect match and the two voices blend with precision.

There’s only one choice of the entire evening that bothered. Woolverton is clad in a black body suit, complete with tail, a rhinestone collar, and a headpiece with ears…that move the entire time. There were times my attention was drawn to the ears instead of actor’s actions. The worst part about those moments–audience laughter signaled I missed something.

Regardless, forget the cute kitten videos on Facebook. This is a completely delightful evening. It funny, it’s poignant, and I promise you’ll get plenty of laughs. And if you miss one or two jokes, it’s still one completely satisfying night at the theatre.

[Word count: 570]

What: The Dog / The Cat

When: 8 p.m. Thursday – Saturday; 2 p.m. Sunday through November 11

NO PERFORMANCE on November 2 due to First Friday.

Where: Art Square Theatre, 1025 S First St, #110

Tickets: $15 - $25 (www.cockroachtheatre.com, 725- 222-9661)

Producer: Cockroach Theatre; Artistic Director: Daz Weller; Director: Matthew Morgan; Scenic Design: Yale Yaendel; Lighting Design: Ellen Bone; Stage Manager: Rebecca Sass

#Cockroach #Theatre #Review #Atreides

EMAV Review: 'Falsettos' tugs the heartstrings at LVLT

★★★★½ - Delicious

Las Vegas Little Theatre continues it’s 41st season with “Falsettos,” book by William Finn and James Lapine, and music and lyrics by William Finn. The 2017 production garnered a Tony nomination for Best Revival (Musical).

The thing about this is, it’s dated yet still relevant today with its themes of sexual confusion, love, and the questions of what constitutes a family. Directed by Walter Niejadlik and Gillen Brey, this production finds those marks and hits them pretty much on target.

The show isn’t a musical in the normal sense – it’s more like “Phantom of the Opera” or “Les Miserable” in that there are very few spoken lines. Niejadlik and Brey have cast some gorgeous voices. There isn’t a single (adult) cast member whose vocal acuity doesn’t mesmerize. It’s also a nod to their skill as directors that the four-piece band, led by Toby McEvoy, doesn’t (for the most part) overpower the voices.

Led by Aron Shanley in the role of Marvin the play starts with a bang. Shanley’s tenor is delightful. His attempts to modulate volume are an issue at times; he doesn’t quite get over the musicians or other cast members when he should have the lead lyric. Shanley also has a problem with remaining in the moment. Overall, he appears a bit uncomfortable, not sure of what to do with himself.

Joe Hynes plays Mandel with a great comedic timing and flair. His antics keep the energy high and he relates to the other characters even when standing on the sidelines. If you’ve ever heard that an actor can make you laugh or cry with a simple expression or nod of the head, Hynes does it with panache.

Meeting him point for point is Melissa Riesler in the role of Trina, the discarded wife. Her “Breaking Down” is a wonder to behold. Riesler uses every bit of her physical and emotional instrument; she’s funny, she’s heartbreaking, she’s pouring everything into the lyric and she hits the back row with all of it.

Keith Dotson is wonderful. He plays Whizzer with style and grace; we’re never left to wonder what he’s feeling beneath the words. His delivery and expression on “Games I Play” is stunning.

Young Jake Fagone plays Jason, the confused son Marvin leaves behind. He’s got a lot of stage presence here and gives a credible performance. Demyia Browning and Amanda Collins fill out the cast, showing up in Act Two as the lesbian neighbors, filled with support and concern for everyone.

Ron Lindblom never fails to amaze. Using the main theme, his set is crafted using giant block letters to spell LOVE which break apart to form the various furniture pieces to define spaces. Coupled with Ginny Adams’ lights, the production glows.

Something to bear in mind, though. “Falsettos” begins with comedy but Act Two finds it sliding further and further into drama, yet the cast transitions into poignancy well, bit by bit, tugging on one heartstring at a time.

What: Falsettos

When: 8 p.m. Thursday - Saturday; 2 p.m. Sunday through Nov 4

2 pm Saturday, Oct 27

Where: Las Vegas Little Theatre, 3920 Schiff drive

Tickets: $22 - $25 (702-362-7996; lvlt.org)

Producer: Las Vegas Little Theatre; Directors: Walter Niejadlik, Gillen Brey; Musical Director: Toby McEvoy; Choreographer: April Sauline; Set Design: Ron Lindblom; Lighting Design: Ginny Adams; Sound Design: Mike Olsen; Costume Design: Candice Wynants; Stage Manager: Cindy Lee Stock

Photo courtesy of KM2 Creative

#LVLT #Theatre #Listing #Atreides #Review

EMAV Review: It’s Cabaret, old chum

★★★☆☆ - Satisfying

Most of the general public going to “Cabaret” at Majestic Repertory Theatre will expect a version of the 1972 film starring Liza Minelli. The stage version with the same music by John Kander, lyrics by Fred Ebb, and book by Joe Masteroff, based on John Van Druten's 1951 play “I Am a Camera,” which itself was based on a short story by Christopher Isherwood titled “Goodbye to Berlin,” is mighty different. Over the years stage revivals cut and reinstated songs, added and cut songs from the film. The stage version, despite being a musical is darker, more edgy than the film, clinging more to the underbelly of the Nazi takeover.

Under the direction of Troy Heard it doesn’t quite get there. While the venue is beautifully set for an immersive experience (thanks to The Design Ninjas), and the space is well used, the free-for-all eroticism turned dark political turmoil is somehow lacking. Pacing is slow, some of the songs are sung too prettily, and the tension doesn’t rise throughout the 2-1/2-hour show.

Heard took a risk in casting Anita Bean as the Emcee. It’s a ballsy move. And it could’ve worked to advantage if they’d gone whole hog. But Bean plays it as male, singing in lower chest registers and, particularly with the song “Two Ladies,” it loses the impact it could’ve had – despite that the two ladies are men in drag.

Bean does bring the right amount of bravado and brassiness to every scene. But she a problem with the dialect that whips from German-tinged to French, to Romanian, to American. “And” is “und” with all the other characters, but not Bean. She’s not consistent with the “th” sounds either; sometimes it’s “zay,” sometimes “they.” Her “w” slips from “ven” to “when.”

The two unfortunate star-crossed lovers, played by Axel Knight (Clifford Bradshaw) and Charlie Starling (Sally Bowles), are, for the most part, flat and one-dimensional. There’s no emotional depth. Transitions are missing. A connection is missing, the chemistry isn’t there. When Clifford gets badly beaten by refusing to cooperate with Ernst Ludwig (played with superb subtlety by Andrew Young), in the next scene Knight is bouncing around the stage with nary a wince. The voices are there, though. Knight has a pleasing tenor, and Starling can belt out numbers with the best of them.

Gail Romero (Frauline Schnieder) and E. Wayne Worley (Herr Schultz) work really well together. The comedic timing is there, and we can see the relationship unfold; the reticence and regret in Romero’s performance when she breaks off the relationship with Schultz; and Worley’s sad but pragmatic response is perfectly brought to bear.

The Kit Kat Boys and Girls are great, every single one of them. When Katie Marie Jones breaks from the pack to deliver a spine-tingling “Tomorrow Belongs to Me” you know she means it. It’s a highlight of the evening.

Kimberly Amblad brought touches of Fosse into the choreography yet made it her own, and Kathy Wusnack’s costuming is wonderful.

The play is relevant given the current rise of certain elements in the country. Want to see how unchecked power gains ground? Go to “Cabaret,” old chum.

What: Cabaret

When: Thursday - Saturday 8pm; Sundays 5pm through August 26

Tickets: $15 - $28 (www.majesticrepertory.com)

Producer: Majestic Repertory Theatre; Director: Troy Heard; Musical Director: Andrew Tyler; Choreography: Kimberly Amblad; Lighting Design: Marcus Randolph; Scenic Design: The Design Ninjas; Costume Design: Kathy Wusnack; Sound Design: Andrew Young; Production Manager: Coral Benedetti; Stage Manager: Josh O’Brien

#MajesticRep #Atreides #Review #Theatre #Listing #Downtown

EMAV Review: Ruthless laughter

★★★★½ - Delicious

What do you think of when you think killer comedy? When’s the last time you saw murder and thought it to be belly-laugh hilarious? In 1993, “Ruthless! The Musical” (book and lyrics by Joel Paley, music by Marvin Laird) was nominated for the Drama Desk Award and won the Outer Critics Circle Award for Best Off-Broadway Musical.

During tough times in this country, society has always turned to entertainment. We collectively look for something to take our minds off the troubles of the world, something to make us laugh.

Under the direction of Rob Kastil, that’s precisely what happens with the current production at Las Vegas Little Theatre (LVLT). He has assembled quite the talented cast and ensured the tongue is firmly planted in the cheek. This show is campy and outrageous, and it works.

Teah DeStefano is close to perfect in the title role of Tina Denmark. She can sing, dance, act, and displays impeccable timing. Adorable in all the right places. Then she blurts out “Fuck that!” and rather than elicit shock, she makes you roar with laughter. DeStefano misses a high note here or there, but Musical Director Susan Easter could’ve easily avoided that by taking those down and still retained the necessary punch.

The curtain opens as Tina’s mother, Judy (Evelyn Connors) begins the show in earnest with a delightful, Stepford Wives personification. It sets the tone for the play and Conners is spot on. Later on, when her true identity reveals itself, she blossoms. The voice blooms in a lovely soprano, she moves around the stage with the perfect over-confidence of an over-indulged star, and never loses sight of the comedic.

The epitome of the underpaid and under-appreciated school teacher, Miss Thorn, is brought to life by Joy Demain. No stranger to the stage, Demain takes command of the boards. She brings character to a role that could easily become nothing but caricature. She’s blowsy and funny while belting out her lost dreams of stardom in “Teaching Third Grade.”

Marissa McCoy takes the subtle route with her initial appearance on the stage. When she arrives in the second act as Eve Allabout/Louise Lerman she’s full-bodied in voice and movement. She’s sweetness and snarls from one moment to the next.

Then there’s Andee Gibbs as Lita Encore, the cut-throat and ruthless critic. Gibbs is fearless. Her performance is delectable and brings to mind Rosalind Russel with “I Hate Musicals.” Gibbs breaks loose and lets the role take over.

The character of Sylvia St. Croix was written for a woman but, even since the very first production in New York, has typically been played by a man. Even so, casting Cory Benway shows a stroke of genius. His flair for being able to take the character to the absolute limit without going overboard takes the entire production to another level. He moves with confidence and control yet is always in the moment. His renditions of “Talent” and “I Want the Girl” are wonderful to behold.

The eleven o’clock number, a song placed within the script in such a manner and level it should signal the peak of the conflict and get the audience revved is slightly underwhelming. Here, it’s the title number which doesn’t quite do the job it’s supposed to do.

The usual high production values expected with LVLT are at play here. Act One is a tidy, understated suburban home, then with an unexpectedly beautiful Act Two set by Ron Lindblom under Ginny Adams’ lighting, a New York skyline shines through a penthouse window. The costumes and wigs are gorgeous. Though, St. Croix could use fingernails to complete the look. Rommel Pacson’s choreography is basic, but well-staged.

Typical opening night issues, such as the pianists drowning out lyrics in some places, stepping on laughs, and a jerky, misbehaving spotlight, should iron themselves out.

When: 8 p.m. Thursday - Saturday; 2 p.m. Sunday through July 29

Where: Las Vegas Little Theatre, 3920 Schiff drive

Tickets: $20 - $25 (702-362-7996; www.lvlt.org)

Producer: Las Vegas Little Theatre; Director: Rob Kastil; Musical Director: Susan Easter; Choreographer: Rommel Pacson; Set Design: Ron Lindblom; Lighting Design: Ginny Adams; Sound Design: Mike Olsen; Costume Design: Rose Scarborough; Stage Manager: Eve Smith

#Theatre #LVLT #Review #Atreides

EMAV Review: "Act of God" has some New Commandments ★★★★★

★★★★★ - Irresistible

I saw God last night. And He was funny as Hell! Do you know why He created man? He was lonely. And bored. Why the name Adam? To give him a leg up alphabetically.

To close out their 40th Mainstage season, Las Vegas Little Theatre is presenting David Javerbaum’s comedy “An Act of God.” What an act! The 90-minute show zips along under the direction of Maxim Lardent with a host of what seem like one-liners. But many are actually the build-up to final punch lines which had the audience howling with laughter.

The script itself provides for a certain amount of improvisation and Lardent chose his cast well. Glenn Heath, Kade Cox, and April Sauline are certainly up to the task. The trick is to pay attention. I know that’s hard to do when you’re still laughing at the previous line. And, yes, some things got lost early on when the cast didn’t hold for laughs. But they quickly settled in.

Do you know your Ten Commandments? Then you’ll fully understand this play as God (Glenn Heath) hands down a new set for a new age. It may sound like I have some kind of man-crush here that, production and production, I heap praise on this guy. But, really, it’s only because no matter what role he takes on, Heath fully lets go. He’s never afraid to wholly embody the role. He’s clearly having fun here and that makes it easier to roll along with him.

He’s joined by two of his most trusted angels. Kade Cox as Michael and April Sauline as Gabriel are rather like Ed McMahon to Johnny Carson. Both Cox and Sauline add to the funny moments by clarifying, asking questions, or assisting God in remembering certain things. Sauline’s Gabriel kowtows to curry favor, blending her bits with perfection. At one point, Michael gets a little too insistent and, well…compliments of Ginny Adams’ lighting, you know what happens if you make God angry. Cox is a real find, matching Heath measure for measure.

The simple set designed by Lardent and Ron Lindblom placed a small couch, table, podium (for a copy of the Guttenburg Bible, of course) floating in a blue sky among wisps of clouds. Where else would you expect God to reside?

Lest you ask, in this day and age, why God couldn’t be a woman, the cast will rotate roles over the course of the run. Both Sauline and Cox will get their shot at the title role. Check the website for their specific performances. A small hint for added enjoyment: If you attend a performance with either Heath or Cox, read the actor bios before the play begins.

Who doesn’t want a God with a sense of humor? This is not a play intended to offend. On the contrary, it’s all in fun for fun. Go. Laugh. It’s not a sin. God said so.

When: 8 p.m. Thursday - Saturday; 2 p.m. Sunday through May 20

2 p.m. Saturday, May 11

Where: Las Vegas Little Theatre, 3920 Schiff drive

Tickets: $21 - $24 (702-362-7996; www.lvlt.org)

Producer: Las Vegas Little Theatre; Director: Maxim Lardent; Musical Director: Karalyn Clark; Set Design: Ron Lindblom, Maxim Lardent; Lighting Design: Ginny Adams; Sound Design: Mike Olsen; Costume Design: Candace Wynants; Stage Manager: Eve Smith

#LVLT #Review #Theatre #Atreides

EMAV Review: 'Deathtrap' is a stand-in

★★★☆☆ - Satisfying

It happens; the planets don’t line up, the Universe plots against us. Theatre in the Valley (TITV) found itself in just such a situation when “A Grand Night for Singing” fell apart. In community theatre, what do you do when you sold season tickets and you owe those subscribers something? You punt and mount a replacement in a hurry. Ira Levin’s thriller “Deathtrap” or (almost) any Neil Simon comedy seem to be the go-to when you’re stuck in a pickle.

TITV found David Ament and “Deathtrap” and, according to last night’s sold out performance, it was a plot well-planned. Set designer Rick Bindhamer did a nice job getting the feel of a Connecticut home, the walls filled with the tools of death and window cards of the fictional plays mentioned in the show.

For the most part, Ament’s cast rallied round in the allotted time.

Sidney Bruhl is a desperate man. He hasn’t had a hit play in years. He’s also a closet homosexual and looking for a way to solve both problems. David Morey brings such nonchalance to the role that he’s much too at ease. Not to say he doesn’t have moments when that works. But, when he says, “I’m standing here terrified…” it’s not internalized in any way. Believability is left swinging in the wind.

Playing his wife, Myra, Edith Ellithorpe fares better. While some of her transitions are a bit bumpy, we at least see some fear and tension in her body. Her lines are more than just words from a page, we can see her think or recognize, and react.

Gary Brewer brings the Bruhl’s lawyer, Porter Milgrim, a friendly comportment, a statesmanship that works beautifully. He’s so at ease we know right away that he’s been in this room many times, that Sidney is more than a client. Brewer mixes the business with underlying pathos for a friend whose spouse has recently died.

The role of Helga ten Dorp is written to be comic relief from all the tension built up prior to her first entrance. Part of the issue is that there is no sense of pent-up fear. But, with arms waving and wild vocal syncopation, Vanessa Coleman turns in an over-the-top cartoon character with the type of heavily-accented broken English that brings more cringes than relieving laughter.

Chris Von Uebbing as Clifford comes across as natural. His movements, mannerisms, and delivery all combine into a whole. His transitions from wanna-be playwright to gay lover to victim all happen with finesse. He uses his full instrument to tell us what’s lying beneath the surface of the lines.

Production values are mixed. After such terrific set dressing, it’s disappointing to see a touch-tone phone with no cord., and to have Sidney dial a number and speak before anything can realistically happen. When Sidney is supposed to be rifling through desk drawers they appear and sound empty. The power cord is tucked under the electric typewriter rather than snaking its way down and under the desk.

Give this show a chance to settle in, and it should be satisfying enough as a last-minute stand-in for a show that didn’t make it to the stage.

When: 7:30 p.m. Fridays; 3:00 pm & 7:30 pm Saturdays; through April 15

2 p.m. Sundays

Where: Theatre in the Valley, 10 West Pacific St, Henderson

Tickets: $10 - $15 (www.theatreinthevalley.org, 702- 558-7275)

Producer: Theatre in the Valley; Director: David Ament; Set Design: Rick Bindhamer; Lighting and Sound: Alex Baal, Rick Bindhamer; Props: Lois Brown, Joan Vogel; Stage Manager: Ellen Radcliff

#Atreides #Review #Theatre #TITV

EMAV: Cockroach's 'Father' is stunning and brilliant ★★★★★

★★★★★ - Irresistible

As you watch “The Father,” by Florian Zeller and translated by Christopher Hampton, presented by Cockroach Theatre at ArtSquare, you will be treated to a fully integrated production.

A heavy hand would’ve turned this into a horrid, hard to watch example of the deterioration of the mind. Director Darren Weller (or Daz, depending upon which program entry you care to use) takes a difficult subject and handles it superbly with grace and style.

In the title role, Gary Lunn is remarkable. In every move, every tiny nuance from a hand nervously grabbing at a pant leg, the lift of an eyebrow, the sudden angry outbursts in confusion and fear, Lunn delivers a stunning and brilliant performance as Andre. Without a doubt this is his finest performance to date in Las Vegas.

The supporting cast of Clare Jaget, Jon Spinogatti, Gigi Guizado, Tim Cummings, and Kelly Hawes, are inspiring. Each of them brings a nuanced, three-dimensional portrayal to the stage. To give details would be a bit like handing out spoilers.

The entirety lends itself to unconsciously immerse the audience into Andre’s mind as lighting dims to escort us into a world as it slowly diminishes. Kudos to the deck crew. With the exception of the final two, set changes are completed in mere seconds during full-on blackouts – something I haven’t witnessed on Las Vegas stages for a long time. The final changes are accomplished under lighting for a definite purpose.

In the final scene Guizado spends an inordinate amount of time fluffing a pillow and straightening out the sheets and blankets of a bed into tedium. But, even that could be one more hint into the life of dealing with a person who is easily confused and repeats questions or statements ad nauseum.

Details, details, details. Not a one was left out. From the well-appointed Parisian flat designed by Alexia Chen, that shifts in miraculous ways to close in as Andre’s mind closes down, to the set dressing, everything is in place right down to the chicken dinner.

The Cleveland Clinic Lou Ruvo Center for Brain Health collaborated with Cockroach on this production. If you attend any performance, you are invited to return and join in a Talk Back with the production team after Sunday matinees.

To wax poetic would be overkill. Simply stated: This production is beautifully executed; theatre at its finest. Whatever you have planned during one of the scheduled performances, cancel it and go see this play.

When: 8 p.m. Thursday – Saturday;

2 p.m. Sunday through April 15

2 p.m. Saturday, April 14

NO PERFORMANCE on April 6 due to First Friday.

Where: Art Square Theatre, 1025 S First St, #110

Tickets: $15 - $25 (www.cockroachtheatre.com, 725- 222-9661)

Producer: Cockroach Theatre; Artistic Director: Levi Fackrell; Director: Darren Weller; Scenic Design: Alexia Chen; Lighting Design: Andy killion; Cosume Design: Candice Wyants; Sound Design: Toby Allen; Production Manager: Marni Lewis; Stage Manager: Nicole Killion

#Cockroach #Theatre #Review #Atreides

EMAV Review: "A View from the Bridge" is a relevant classic ★★★★☆

★★★★☆ - Delicious

It’s amazing that some American Classics are so relevant this many years later. Arthur Miller’s “A View from the Bridge,” now playing on the mainstage at Las vegas Little Theater, is so timely that it may have well been written in the last year, despite being set in 1955.

Under the direction of Walter Niejadlik, the play brings yesterday’s struggles into the new century. Though, in the days Miller covers it was done by greasing palms. The same issue was at the forefront: Immigrants.

Miming action (and subsequent reaction) during an opening monologue, then suddenly delivering reality between lines works against the suspension of disbelief. But, the large cast (fourteen) plays like an ensemble, though some are simple walk-on roles amid five major characters. Granted, certain small scenes could have been cut without feeling anything might be missing. And, for purists, if you’re going to do a classic, do the whole thing or don’t do it at all.

Gillen Brey turns in a very nice performance as Beatrice, the put-upon wife who actually rules the roost. Opposite Glenn Heath (Eddie), as the banter turns to heated sparring, Brey’s transition is slow and steady. The nicest thing is that she manages to evoke the love for her husband through it all.

As for Heath, his Eddie is yet another tour de force performance. Heath does what an actor should do; he becomes the character from dermis to marrow. To watch Eddie go from affable and supportive, to fiercely protective, to realizing he’s made a very grave mistake is something to behold. Heath embodies a character so completely you don’t recognize the man behind the costume. It’s only within the tenor of his voice you realize it’s him on the stage.

Couple those performances with Anastasia Koulich, who does a lovely turn as Catherine, Eddie and Beatrice’s ward. The delight she portrays in doting over her uncle feels real and right, the sincerity she brings to her interactions with Beatrice proves the mettle of this young actress.

As Catherine falls more deeply in love with Rodolpho, played by Michael Blair, we get to the crux of citizenry status. Blair brings an earnestness underlying the affable immigrant. He’s never afraid to show us what is roiling beneath the words. His scenes with Heath are intense and so based in reality that, in the end, we root for Rodolpho as much as Eddie does.

Though his opening scene was a little rough with unmotivated blocking, Alex Bassett’s Marco, Rodolpho’s brother, is another steady performance. As the story unfolds, Bassett shares the truth on his shirtsleeves, and it fits the character like a tailored garment.

Alfieri acts as narrator, interjecting short monologues which set the scenes. Gene Vitale downplays the role so much it makes him seem a disinterested party. It lacks pathos and stalls the flow. When he interacts with Eddie, Vitale keeps the pacing but doesn’t bring underlying truth to the words.

Yale Yeandel’s Brooklyn apartment is well designed and dressed, and is backed by a beautiful drop of the Brooklyn Bridge. He incorporates the street in front of the building and Alfieri’s office, melding the pieces seamlessly. Ginny Adams adds atmosphere by lighting that gives us night scenes with a gorgeous full moon over the bridge. Toss in the appropriate, barely-there background sounds by Mike Olsen, and you get top-notch production values.

Flaws in the production aren’t enough to take away much from the overall enjoyment because excellent production values and stunning performances bring everything back into focus.

When: 8 p.m. Thursday - Saturday; 2 p.m. Sunday through March 25

2 p.m. Saturday, March 17

Where: Las Vegas Little Theatre, 3920 Schiff drive

Tickets: $21 - $24 (702-362-7996; www.lvlt.org)

Producer: Las Vegas Little Theatre; Director: Walter Niejadlik; Assistant Director: April Sauline; Set Design: Yale Yeandel; Lighting Design: Ginny Adams; Sound Design: Mike Olsen; Costume Design: Rose Scarborough; Stage Manager: Chris Davies

#LVLT #Review #Atreides #Theatre

EMAV Review: 'The Wolves' scores big with raw energy

★★★★☆ - Delicious

It’s an ensemble piece that begins with a cacophony of conversation. Just as in life, people talking over one another, having separate conversations though they’re part of the same gathering. This gathering happens to be of the female Wolves indoor soccer team. Thus the title, “The Wolves,” of this incredible script by Sarah Delappe, a finalist for the 2017 Pulitzer Prize for drama. It won the Obie Ensemble Award, a Drama Desk Award, a…and, and, and. And recently closed a run at Lincoln Center.

Fear not, the entire play isn’t a jumble of sound. There are conversations as you’d expect from teenage girls as they try to make sense of the world at large, the affairs at home, in school and each other’s lives. This is a peek into how they interact, how they cope, with the kind of loving snark anticipated from such diverse personalities and backgrounds.

There are no character names, per se. Though the girls occasionally address a fellow player by name, those are tough to catch, so characters are listed by jersey number. It’s tough to review an ensemble piece, because the best you can do is cite the standouts who, in my mind, were #13 (Kate Reilly), #46 (Jasmine Kojouri), and #7 (Sarah Spraker). Oh, and #00 (Shambrion Treadwell), always in the moment, who remained silent until the final scene of the play.

Not to say there weren’t issues. There were. As when #2 (Anastasia Weiss) goes to comfort #8 (Stacia Zinkevich) after there have been insensitive comments made. Weiss’ actions and body language didn’t communicate much of anything at all, not even false perfunctory pity.

Overall, the warm-up exercises which are the bulk of the action, aren’t done with any sense of seriousness, at least not for an undefeated team. Carvelli, Kojouri, and Treadwell, though, seemed to have some of the right moves.

I’m picky about details; that’s no secret. #25 (Jamie Carvelli) sports a wig at one point, and the point is too obvious at the back of her head. We get crowd noises at the top of a scene to establish we’re at an indoor soccer stadium, and then everything goes silent as the dialogue begins. Low murmuring, or crowd noises from the other matches every so often would keep us grounded at what is going on in the place, what they’re warming up for – practice or a match.

Yet, Kate St-Pierre still provides a good production. Part of that genius is in the casting of Valerie Carpenter-Bernstein as Soccer Mom. The minute she enters, trying mightily to hold in her emotions, it was as if she held fate of the world in her hands. You could’ve heard a pin drop in the ArtSquare Theatre, as she bears her soul in grief and tears your heart out. Her performance is nothing short of brilliant.

The style of such indirect dialogue isn’t new, Mamet and Shepherd paved the way, but this is the kind of script that crackles with raw energy. By the time you read this, this ensemble will have settled in and sparks will surely fly.

What: The Wolves

When: 8 p.m. Thursday – Saturday; 2 p.m. Sunday through February 18

Where: Art Square Theatre, 1025 S First St, #110

Tickets: $15 - $25 (www.cockroachtheatre.com, 725- 222-9661)

Producer: Cockroach Theatre; Artistic Director: Levi Fackrell; Director: Kate St. Pierre; Scenic Design: Rachel Smallwood; Lighting Design: Ellen Bone; Cosume Design: Rose Scarborough; Sound Design: Kate St-Pierre Production Manager: Marni Lewis; Stage Manager: Amanda Peterson

#Cockroach #Theatre #Review #Atreides

EMAV Review: Get ready for 'Company'

★★★★☆ - Delicious

Let’s just put this out there for full transparency: I’m a sucker for a musical, and doubly so for a Sondheim musical. There’s nobody like him – his lyrics move a story and character arc, and his music soars. No matter how simplistic it may sound through the vocal chords of a talented singer, there is nothing simplistic about it. It’s pure mastery, and it takes mastery to sing. Yet, great emotion can be delivered and still hit the notes. Couple that with a book by George Furth and you’ve got a Classic American Musical.

Sondheim and Furth revised their 1970 libretto in the 90s and, under the direction of Walter Niejadlik as part of the LVLT 40th season, the story of “Company” still holds up. Niejadlik has assembled a talented cast and it’s a fun show.

With the exception of a few missed notes here and there, these actors were up to the challenge. There are certain numbers in the show that will always stand out, and such is the situation with this production.

Amanda Collins, as Marta, delivers a stand-up rendition of “Another Hundred People.” Every ounce of wonder-mixed-with-disdain comes through in her interpretation, as she alternately expresses her love for the crowded, dirty city and sadness over people who don’t live up to the spirit of the metropolis.

“The Ladies Who Lunch” is another one of the great songs from this play and Kim Glover delivers the proper amount of scorn in the lower registers but loses it in the high; the sounds become too pretty and melodic to pair with the intent. Otherwise, the cynicism is there in spades with her body language and dialogue from curtain to curtain.

Lest you think this is music with a little bit of dialogue, there’s a scene where Robert (Adam Dunson), Jenny (Shana Brouwers), and David (Jake Taylor) get high on pot. It’s funny and the timing of the three keeps it rolling.

Throughout the show, Dunson plays the still-single Robert low key, and it works because the neuroses are still there under the surface. He shines with “Marry Me a Little.” The one disappointment comes with his interpretation of “Being Alive.” Here, Robert reveals what he’s been searching for in a mate, but Dunson doesn’t fully commit the character to the lyrics; the longing, the want, the need are all missing in lieu of perfect melody.

Another treat of the evening comes in Amy (played by April Sauline who also choreographed) and Paul (Ben Rich). The two are having a blast and it shows. Particularly during “Getting Married Today.” This is one of those memorable Sondheim numbers because of the frantic pace, which Sauline manages with delightful angst and impeccable timing.

Under the musical direction of Toby McEvoy, voices blend well in ensemble pieces. And, to his credit, the nine-member orchestra never overpowers the vocals.

The voices of the entire cast are more than capable, but solid character needs to be infused into some of the individual musical numbers. Sauline’s choreography melds with Niejadlik’s staging. Ron Lindblom delivers a gorgeous New York City backdrop for the set; it’s simple, yet elegant. Couple that with intricate and stunning lighting by Ginny Adams and it’s an enjoyable evening.

When: 8 p.m. Thursday - Saturday; 2 p.m. Sunday through February 4

2 p.m. Saturday, January 28

Where: Las Vegas Little Theatre, 3920 Schiff drive

Tickets: $21 - $24 (702-362-7996; www.lvlt.org)

Producer: Las Vegas Little Theatre; Director: Walter Niejadlik; Musical Director: Toby McEvoy; Assistant Director: Gillen Brey; Choreographer: April Sauline; Fight Choreographer: Tommy Watanabe; Set Design: Ron Lindblom; Lighting Design: Ginny Adams; Sound Design: Mike Olsen; Costume Design: Rose Scarborough; Stage Manager: Gillen Brey

#Theatre #Review #LVLT #Atreides

EMAV Review: Majestic's "Cat" is a classic, with a new approach

★★★★☆ - Delicious

Here’s a new approach to Tennessee Williams’ “Cat on a Hot Tin Roof.” Now playing in the small venue of Majestic Repertory Theater, under the direction of Troy Heard, the show takes place completely in the bedroom of Brick and Maggie. Minor offstage dialogue comes from behind drops of white sheers contributing an air of Southern charm and heat.

At first blush, we’re treated with a gauze-filtered view of Brick, played by Adam Martinez, taking a shower in his briefs. This doesn’t create suspension of disbelief at the top of the show. The need for discretion is understandable, but the lighting might be adjusted to give us only a view of shoulders and above.

Act One is pretty much all Maggie (Breon Jenay), while she waxes on about Big Daddy’s birthday dinner Brick refused to attend. As the scene unfolds and Brick joins her onstage, Jenay provides the backstory of the failed relationship, all at too much the same level. When she says she’s “Lonely…” her intent is to attempt seduction. Failing that, she moves into trying to elicit jealousy. While Martinez remains fully in the scene, with proper reactions, Jenay doesn’t alter delivery in voice or movement fully enough to suck in the audience, to make us feel anything.

Act Two is where things heat up in this production. It took a few minutes, but Ronn Williams, as Big Daddy, and Martinez fairly light the place on fire. Here is an interpretation rarely investigated in productions of this script.

Williams makes Big Daddy a character with faults and finds the truth behind the roots of the persona; the dirt-poor farm hand of his youth are displayed full-on so that we get a three-dimensional portrayal. Williams has a vocal tic that escapes at the end of almost every line, which distracts to a degree. However, it disappears when he really digs to the soul of Big Daddy.

Martinez brings a quiet fire to Brick. He remains aloof, yet stays in the scene with underlying pain as he tries to drown self-disgust with endless liquor. Martinez also does something most actors fail at when playing alcoholics – he never gets sloppy drunk; enunciation and movement remain. His misery erupts in stages as Big Daddy prods for the truth, and Martinez lets us see it develop.

A parent and child so alike the two never connect is a wonderful way of writing truth into family dynamics. Eric Amblad finds it and delivers it; at first bestowing the power to wife Mae, played with rightful greed and avarice by Kady Heard, then seizing control there even as he loses his battle for control of the plantation.

Susan Lowe Shlisky (Big Mama) finally finds and delivers emotional bedrock in Act Three as she confronts her children, and the truth of her husband’s health.

This is the second presentation of the script this season. I can’t speak to the first because I didn’t attend, but if you appreciate Classic American Theatre you should head on over. Heck, it’s worth it for Act Two alone.

When: Thursday - Saturday 8pm; Sundays 5pm through January 27

Tickets: $25 (www.majesticrepertory.com)

Producer: Majestic Repertory Theatre; Director: Troy Heard; Lighting Design: Marcus Randolph; Scenic Design: Amy Gallach; Costume Design: Kathy Wusnack; Sound Design: Andrew Young; Stage Manager: Coral Benedetti

#Atreides #MajesticRep #Review #Theatre #Downtown

EMAV Review: 'Love, Love, Love' is a laugh-out-loud trip

★★★★½ - Delicious+

Tune in, turn on. Drop in, and drop out.

Those two phrases should be familiar to any Boomer who had even the slightest coming-of-age brush with the 1960s. The latter is the one Mike Bartlett’s comedy “Love, Love, Love” really addresses.

From the complete freedom of sex with whomever, whenever, wherever, rock ‘n roll, trippin’ on acid, and not trusting anyone over 30, to big cars and even bigger houses? How did this generation end up here? How did we fall into the trap?

Cockroach Theatre’s regional premier of Bartlett’s play, directed by Andrew Paul, bares it all in this riveting production. Paul has mined the script, and skillfully led his cast along the bumpy, drama-filled road without ever abandoning the humor. And humor abounds.

The cast turns in stellar performances. It’s not only the timing which lands every joke, it’s in the physicality – the loose agility of the young and the slowness of age; it’s in the high clear tones of youth transitioning to a sort of raspy alto. They make it easy to get caught up in the lives of these characters.

Mindy Woodhead (Sandra) and Darren Weller (Kenneth) are both such capable performers they could have stolen the show. Perhaps Paul kept them reigned in, perhaps their professionalism kept them grounded, or perhaps Brandon Dawson (Henry/Jamie) and Aviana Glover (Rosie), their young co-stars, are a match in talent. Whatever the case, these four actors command the stage, stay invested in the scene, and fully invested in one another.

The sets by Johnmicheal Bohach and Darren Weller are astounding in the transformations. From the dumpy flat of London to the ritzy burbs of Reddington, no detail was left out. We get 60’s kitsch to flashy post-90’s affluence with particular items, like framed album covers, tagging along helping prove out the growth and upward mobility of a generation.

It’s doubtful that general audiences would notice flaws, but that’s a critic’s job, especially one who is of a certain age to have traveled the path. With so much effort put into hair, fingernails, jewelry, and set dressing it’s disappointing to have other things overlooked. Abby Stroot’s costumes are terrific, except when black spanks are visible under Woodhead’s mini-dress, and we see a wedding ring on Weller throughout the play. In the final scene, when Sandra makes note of it, Glover should have long sleeves pulled down, covering her lower arms or (in such an intimate space as the ArtSquare) we should see obvious scars of her suicide attempt.

A particular issue yanks one right out of the suspension of disbelief: The e-cigarettes land with a resounding “clack” when dropped onto a hard surface. That, too, may have faded to blissful ignorance if it wasn’t for the smoking of joints which, if not real, is done with reality. Marijuana may currently be more acceptable than tobacco, but real smoke from (fake) joints shouldn’t be any different than real smoke from a tobacco-less cigarette.

Freedom’s just another word for nothing left to lose, as Janis Joplin so succinctly informed us. But, as this play intimates, we may have lost plenty – maybe even ourselves – as we raised the Me generation. But, as Director Andrew Paul states in his program notes: Decide for yourselves.

When: 8 p.m. Thursday – Saturday; 2 p.m. Sunday through November 19

2 p.m. Saturday, November 18

Where: Art Square Theatre, 1025 S First St, #110

Tickets: $15 - $25 (www.cockroachtheatre.com, 725- 222-9661)

Grade: ****-1/2 Delicious

Producer: Cockroach Theatre; Artistic Director: Levi Fackrell; Director: Andrew Paul; Set Design: Johnmichael Bohach, Darren Weller; Lighting Design: Eric Haufschild; Cosume Design: Abby Stroot; Production Manager: Marni Lewis; Stage Manager: Amanda Peterson

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EMAV Review: Lost "Hat" at LVLT still offers solid performances

★★★½☆'s - Satisfying+

LVLT’s Fischer Black Box presents another play whose title can’t be printed in family newspapers or announced vocally in news media as written. The language of the script is such that only a premium cable channel could tackle it without censorship. Stephen Adly Guirgis’ “The Motherfucker With the Hat” is a comedy, and the performance started out in high velocity.

Director Brandon Alan McClenahan assembled a talented cast. As with all comedy, there’s still a touch of high-stakes crisis, but this (almost) two-and-a-half-hour show lost the comedic, bogged down, and became a full-on drama.

It happened in an Act One scene between D.J. Hale (Jackie) and Gigi Guizado (Victoria). Guizado, who, at this point, leads the scene in full-out antagonist mode, hiccupped or something in the transition when she bursts into laughter and tells Jackie, “Ralph always wanted a dog.” As the production progressed, Rene F. Cobar, as Cousin Julio, and Ronn L. Williams, as Ralph D, found moments in delivery to point the way back to comedy, but it failed to catch and stick.

Don’t misunderstand, for the hour prior to that Guizado delivered a solid performance. Her Veronica is the quintessential woman who has figured out she screwed up when she married Ralph. She’s gruff and dour, and still manages to portray the underlying love.

Amanda Guardado plays Veronica, Jackie’s girlfriend since eighth grade, and opens the show with a sense of urgency, and body language that matches the scene. Her antics are a joy to watch. When she fights with Jackie, she brings it full force.

In both the physical and vocal, with the toss of the head to the graceful pointing of a foot, Cobar is all Julio, all the time. He submerses himself completely into the character, and his timing brought an inkling of a return to comedy in Act Two.

Williams, always a steady performer, does a nice job with Ralph D. He moves with authority as he cajoles Jackie into staying on the straight and narrow of sobriety. There’s something about his natural presence on stage which draws you in.

D.J. Hale moves through the scenes as if he owns them. The underlying mental fight is always apparent; his struggle to contain his anger, swallow his pride, and admit what’s happened lies on his shoulders comes across well.

The production values are top-notch. It’s especially good to see the Black Box utilized in a new configuration, rather than the standard proscenium-style of the recent past. Yale Yeandel’s brick-walled set envelopes the room; even the floor has been painted to resemble wooden planks. The ease with which we move from location to location helps hold the piece together. And, that McClenahan puts his actors onstage with business in the initial, essential area while the rest of the set is changed is brilliant because it keeps the play moving.

The job of a theatre critic is to review only what they see, when they see it. But, I’m going to crawl out on a spindly limb here. This is a talented bunch of actors, led by a capable director. I’d be willing to bet that subsequent performances will hit the mark.

When: 8 p.m. Thursday - Saturday; 2 p.m. Sunday through November 19

Where: Las Vegas Little Theatre, 3920 Schiff drive

Tickets: $10 - $15 (702-362-7996; www.lvlt.org)

Grade: ***-1/2 (Delicious)

Producer: Las Vegas Little Theatre; Director: Brendan Alan McClenahan; Set Design: Yale Yeandel; Lighting Design: Kendra Harris, Raphael Daniels; Sound Design: Sandy Stein; Stage Manager: Stephanie McCue

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EMAV Review: 'W;t' offers the flavor of life

★★★★★ - Irresistible

Wit is a noun meaning “mental sharpness, or keen intelligence.” But, we mostly use it in reference to an aptitude for quick-thinking humor. In the title of Margaret Edson’s Pulitzer Prize winning play, “W;t,” she replaces the i with a semi-colon. For writers, the intent of punctuation is to guide the reader. The semi-colon acts as a pause, a speed bump, and is used to convey separate yet connected thoughts of two independent clauses within a single sentence.

Vivian Bearing (Tina Rice) is trying to separate the love and zest for life and poetry from death as she fights a losing battle with Stage IV ovarian cancer. She wants that speed bump, that long pause, that separation.

With minor complaints, Rice is superb in the role. To watch her take on the character in stages, to immerse herself, as cast members remove her outer garments to reveal a hospital robe, place rubber-soled socks on her feet, and attach the IV needle is further disclosure, bit by bit. The final debasement is in baldness, and Rice’s evolution from hoped-for benign illness to fatal disease is complete. She stands bared in body and soul.

But, Rice doesn’t simply roll over and drown in the drama of it all. She brings all the pride and, yes, wit to bear. Each phase of an experimental, excruciatingly brutal treatment is a revelation in just how tough Vivian is in mental and physical fortitude. And transitions come from the gut. Some, at times, deeply enough Rice drops her volume so low we miss the words. In other moments, there is such a rapid spewing that phrases get lost. And this playwright’s words are important, every single one of them.

While each patient’s experience is different, it’s hard to imagine, as death approaches and the final stages of the disease wracks the body, that one would have the strength to scream, holler, pant and gasp, and writhe about with the amount of energy Rice puts out. But, it’s a choice and she delivers on it with every fiber.

The supporting cast is no less effective. Especially Andrew Calvert, Sabrina Cofield, and Barbara King. Calvert drives some of the humor with perfect timing. Cofield scurries about with the humanity the other medical staff are determined to hold at a distance. And King delivers a heartfelt portrayal in her role of E.M. Ashford through a soft and soothing goodbye as she reads “The Runaway Bunny,” which I expected her to leave resting on the stomach of the comatose Vivian as a final touching tribute.

Co-directors Ann-Marie Pereth and Joseph Kucan have seen to every detail and nuance. With the line, “a doctor fuck-up,” the humor remains intact, though most of the audience was too distraught to recognize it as such.

Eric A. Koger’s set delivers some wonderful surprises of its own. First blush appears quite clinical, but layers are added with projected verses of John Donne’s “The Divine Poems,” and perfectly chosen lines of dialogue. Add in a touch of genius in blocking where, at one point, Rice’s face is painted with them and this is a production of complete submersion. John McClain’s subtle sounds complete the environment of each scene.

On its surface, the content of the script may be distasteful to some portending a dour evening of death. But, if you go, you’ll find a production that is filled with the flavor of life.

When: 7:30 p.m. Thursday - Saturday; 2 p.m. Sundays through November 19

2 p.m. Saturday November 11, 18

Where: The Usual Place, 100 S. Maryland Parkway

Tickets: $25 - $30 (www.apublicfit.org)

Producer: A Public Fit; Artistic Director: Ann Marie Pereth; Producing Director: Joseph D. Kucan; Directors: Ann Marie Pereth, Joseph Kucan; Set Design: Eric A. Koger; Lighting Design: Elizabeth Kline; Sound Design: John McClain; Costume Design: Mariya Radeva-Nedyalkova; Stage Manager: Brandi Blackman

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