EMAV Review: NBT sinks its teeth into menacing and moody 'Dracula'

★★★★½ - Delicious

In the spirit of Halloween, Nevada Ballet Theatre gave a haunting presentation of Ben Stevenson's 1997 neoclassical ballet "Dracula" last weekend at the Smith Center. Full of sensational visual effects and otherworldly dancing, the show was led by artistic director Roy Kaiser in his first full season with NBT, and rehearsed by répétiteur Dominic Walsh, who worked extensively with Stevenson. On Friday night the second cast was haunted by a few mishaps, perhaps due to nerves. But the house was full and the audience appreciative, and seemed just as beguiled by the sinister Count Dracula as his minions who populated the stage.

Choreographer Stevenson kept the setting in Transylvania for his scenario, and altered the narrative of Bram Stoker's 1897 gothic novel--discarding some characters and creating new ones with their own storyline--to better fit the structure of a story ballet in the vein of romantic classics of the Victorian era. For the musical score Stevenson and music arranger John Lanchbery chose pieces by Hungarian composer Franz Liszt, who was also contemporary to the time and whose piano-driven style fit their aesthetic.

The stylized choreography and design--scenery by Thomas Boyd, costumes by Judanna Lynn, and lighting by Christina R. Giannelli (after Tim Hunter, executedby Peter Jakubowski))--also seem influenced by German Expressionism, particularly in the first and third acts in Dracula's dark and foggy castle. The silent film "Nosferatu" (and its underlying campiness) seems an inspiration for some of Stevenson's movements for Dracula's 18 undead Brides, who are a surreal corps de ballet as they move with arms outstretched and hands and fingers bent into claws. Their wraithlike movement also reminds of the Wilis from the ballet "Giselle."

Dracula, danced by Benjamin Tucker with a sensuous and sardonic vibe, pulsates his hand like a magnet so the Brides follow his command. They look like eerie apparitions with their white hair, skin, and tattered, diaphanous gowns, which the dancers flick as they move so the fabric looks like traces of ectoplasm hanging in the air. They glide about in serpentine formations and fall like dominoes in a circle, and there's a neat pas de six with quick, sequential movements. And Tucker with Brides Brooke Lyness and Rachel Thomson perform a fascinating pas de trois of symbolically sexual lifts and promenades.

This Dracula is a lusty fellow, and he quenches his thirst by feeding on beautiful young maidens. His crazed, bug-gobbling assistant Renfield, danced with acrobatic, manic energy by Robert Mulvey, kidnaps Flora from the peasant village nearby, and delivers her in a ghostly carriage drawn by skeleton horses. Christina Ghiardi as Flora has an effortless quality of movement with delicate phrasing, and transforms believably from innocent maiden to snarling ghoul. Dracula ravishes her during their pas de deux, and while she and Tucker had problems with a few lifts they delivered on many others, like when he carries her like a rag doll on his hip as she tries in vain to run away. He glides Flora and all his victims around because they are powerless to resist.

Horror and hopelessness segues to lightness and joy during the second act in the picturesque peasant village, when townsfolk gather to celebrate the courtship of coquette Svetlana, danced by Betsy Lucas, and young Frederick, danced by Michael Caye. In contrast to the monochrome tone of Dracula's castle, the town and its people are colorful and full of life. The corps perform an energetic folk dance with a ribbon/maypole dance for the girls and a pole dance for the boys, along with a charming character dance performed by Enrico DeMarco as the Innkeeper and Krista Baker as his Wife. And there's an excellent miming sequence by Monika Rostomian as the Old Woman, recounting stories about her life.

Lucas and Caye compliment each other both physically and personality-wise, though here too there were problems with lifts. But they both craft vibrant characterizations and pull off difficult dancing in their variations that sometimes have awkward movements. Lucas is luminous as she delivers turns both en pointe and with flat foot and gives some deft demi-ballonés, and Caye tosses of beautiful leaps and tours a la seconde. Then Dracula shows up to ruin it all.

He abducts Svetlana but before he transforms her into a bride with his bite, Frederick and the villagers arrive at the castle to thwart his evil ambitions. It's a scene of madness and mayhem, but good triumphs over evil and Dracula perishes in the most explosive way. The flying effects (by Flying by Foy) are so good it's impossible to tell that Dracula has a stunt double, played by Robert Fulton. And Dracula's gorgeous, heavy velvet cape, which looks like a bat with a huge wingspan, must be daunting to dance in.

NBT's lush presentation of "Dracula" is a phantasmagorical treat.

Photos by Alicia Lee Photography

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EMAV Review: A witch hunt transcends time in NCT's stark, futuristic 'Crucible'

★★★½☆ - Satisfying

Nevada Conservatory Theatre's ambitious presentation of "The Crucible" is a powder keg of raw emotion, with powerful performances and a post-apocalyptic setting that gives an abstract interpretation of Arthur Miller's timeless 1953 play. Based on the historical 1692 witch hunt, trials, and executions of those falsely accused in the Puritan community of Salem, Massachusetts, Miller wrote the piece as an allegory for McCarthyism. His insights into the all-too-human penchant for mass hysteria, brought on by projection and irrational fear, speaks volumes to the different world views that divide us as a nation today. It's a show about the battle of dualities--religion vs. secularism, conformity vs. freedom, falsehood vs. truth, and emotion vs. reason--which will never go out of style.

Directed by Darren Weller and presented in the Black Box Theatre, Salem is envisioned as a dystopian community set sometime in the future, possibly after a catastrophic event that led to a theocratic regime which stripped individual freedoms in exchange for safety. They live in a devastated urban center rather than the rural farming village of the text, so perhaps they sow crops and graze cattle in open areas around the city.

Joe Garcia Miranda's scenic design resembles an abandoned office complex of hard concrete and gnarled metal which is both expansive and claustrophobic, with a central skylight through which hazy beams of light stream as if God were keeping a close watch on the proceedings. Nothing is soft here except the rumpled costumes of Gabrielle Lewis--which look earthy and vaguely biblical for the secular, farmer characters and cold and tailored for those of strict faith--and the people who populate the stage, who are often put on the spot by the confrontational lighting of Kirt Matthew Siders with its geometric shapes, and the jarring sound design of Rosalie Chaleunsouck.

The alley-style configuration of the playing space--with audience on two sides--is challenging to stage and limits visibility of the performers who are often hushed in delivery or get caught up in emotion and forget to enunciate. Plus Weller's blocking is often stagnant and lacks energy, especially during the first half when numerous actors are onstage and the exposition is lengthy. It's difficult to invest in characters when we can't see their faces, but in certain scenes Weller seems to conserve movement so that tension builds to moments of explosive physical interaction, as choreographed by fight director Robin McFarquhar.

Nate Marble is a revelation as the flawed hero John Proctor. He has the strapping physicality of a tireless farmer and gives great depth to the sensible man with a conscience who must face the repercussions of his affair with Abigail Williams, played by Aviana Glover. They share a steamy scene of repulsion and attraction, and it's easy to see why Abby is so infatuated with him that she's willing to destroy the lives of innocent people. With her fiery portrait of heartless manipulation and adolescent fury at being sexually scorned, Glover is a force to be reckoned with.

Tola Lawal crafts a layered portrait of John's long-suffering wife Elizabeth, whom Abby accuses of witchcraft in hopes of taking her place. Lawal's quiet strength is a nice complement to Marble's mercurial side as they struggle to ford the chasm in their relationship, and one poignant scene features a holy trinity of sorts with investigator Reverend John Hale, portrayed by the sublime Bobby Lang. Intellectual and empathetic, Lang is a marvel to watch as he gradually transforms while grappling with doubt about the witchcraft claims and at the horrific persecution of innocent people. And Juliana Renee Martin imbues Mary Warren with emotional turmoil through both body and soul, while Delius Doherty gives measured flashes of humanity to the draconian magistrate Governor Danforth.

Performers in secondary roles are overshadowed and need to commit more fully to their portrayals. Johann Heske as Reverend Parris finds his footing as he grows to comprehend the weight of his actions, and Spencer Bisek as Thomas Putnam and Nicole Holbrook as his wife Ann give an air of righteous indignation but could use more venom behind their convictions. Weller has also made some distracting, gender-blind casting choices and it's unclear how we are meant to interpret them. Since shamans were often transgender in ancient societies, Noah Keeling as Tituba isn't too much of a stretch; Gail K. Romero brings humor as Giles Corey and Sherri Brewer gives a sweet Frances Nurse whether male or female or not; and Joan Mullaney's matriarchal Rebecca Nurse looks much too coiffed after months of imprisonment.

The tumultuous scene outside the courtroom is shocking as it builds momentum to the outburst of the repressed yet sexually charged girls who, in the throes of demonic possession, move about the stage in perfect unison like a murmuration of starlings. The stylized choreography of the girls' movement and vocalizations, including in the moody/pagan song of the sirens prologue, highlights the show.

"The Crucible" has many themes relevant to our times, but in essence NCT best captures the story of a good man grappling with the tragic consequences of his indiscretion.

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EMAV Review: Knickers get knotted during LVLT's bawdy 'Underpants'

★★★☆☆ - Satisfying

The play "The Underpants," now showing on Las Vegas Little Theatre's main stage, is like an Henrik Ibsen drama and a bedroom farce all rolled into one. Adapted in 2002 by Steve Martin from Carl Sternheim's 1911 play "Die Hose," which is a satire of the bourgeoisie, it covers a lot of ground thematically but without really going anywhere. And while it's full of double entendres, witty banter, and thoughtful musing, the plot revolves around female subjugation and sexual objectification, which in LVLT's presentation evokes both laughter and dismay.

The setting is Dusseldorf Germany in 1910, a time when married women were considered the property of their husbands. As the show opens, a shocking incident has just occurred. Young housewife Louise's bloomers fell down as she stood tippy-toe trying to see the King in his parade, and her uptight husband Theo fears his reputation will be ruined by those who witnessed the event. But the two randy gentlemen who did happen to see it--the poet Versati and the barber Cohen--have something entirely different in mind. Titillated, they arrive separately at the couple's doorstep in order to rent a spare room in their flat, hoping to seduce Louise and get into her pants. And busybody neighbor Gertrude is more than happy to help.

Since the actors' experience levels are varied, director Chris Davies keeps the performances on the understated side so there's not excessive mugging. But the physical bits could use more choreography and the difficult relationship between Theo, played by James Raven Malpino, and Louise, played by Mary Claire Owen, needs to be fleshed out. While on the page Theo views their marriage as a business arrangement, it would be nice to have some connection between the two no matter how slight, so we can believe he has her best interests at heart.

As Louise, Owen resembles a delicate, porcelain doll with her pretty floral dress and cheerful nature. Her movements and mannerisms don't always fit the era, but there's a nice moment when she's alone onstage and strips down to her corset in anticipation of a romantic interlude with Versati. She strikes a series of awkward, sensuous poses she hopes might impress him, and creates a neat effect that is like a vignette from a silent movie. Her charming innocence stirs our protective instincts.

Which makes it harder to accept Theo's incessant harping about her place in their marriage and of her wifely duties. While the pragmatic fellow is written to be rigid and Malpino embodies that aspect without a doubt, he plays the part with such focused seriousness that it's hard to relate to him. A touch of tongue- in-cheek bombastry might soften the stinging words of the humorless guy.

Yet one of the best scenes of the show features Malpino as Theo and Glenn Heath as the wannabe-poet extraordinaire Versati debating the merits of their different philosophies of life. Is it better to conform dutifully to the state through endless hard work, or to live freely as an artist with a passion for beauty? There's a stark contrast between the two and the answer might lie somewhere in the middle, but the delightful Heath relishes each line with such bravado that he easily convinces us a bohemian life is the way to go.

Ernest Medina is endearing as the neurotic hypochondriac Cohen. He and Owen share a chemistry in their scenes together and his funny, deadpan stories get some of the biggest laughs of the night. The sassy Shana Brouwers shows the wheels turning in the mind of the scheming Gertrude with her funny expressions and wildly tapping fingers, while Rob Kastil provides subtle buffoonery as the frigid Klinglehoff and Dan Worthington is appropriately regal in a cameo as the King.

The set design by Ron Lindblom captures the period with detailed pieces and with warm, earthy colors, as does the light design of Ginny Adams; the sound design by Davies and Heath creates a rich atmosphere through the music of Richard Wagner; and Rose Scarborough's costumes are lovely, especially the women's dresses and Louise's yellow one in particular, with its whimsical Bavarian touches of pom pom fringe and zig zag trim.

LVLT's bawdy presentation of "The Underpants" is entertaining and amusing, but its inherent sexism might get your knickers in a twist.

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