Cast your vote for the Las Vegas Valley Theatre AUDIENCE CHOICE AWARD by 11PM Thursday, 6/13/19!

There were almost 50 productions submitted to the Valley Theatre Awards by producers this year. We can only nominate 6 contenders for each of our 22 categories. Here is your chance to celebrate your own favorite show from 2018-2019 whether it was nominated or not! For the list of adjudicated nominees, go here.

Join us on 7/15/2019 at the Starbright Theatre in Sun City Summerlin at 7pm to see who won, and to celebrate the local Theatre community!

Rules:

1. The shows must have run from 6/1/18 through 6/9/19.

2. Shows closing after 6/9/2019 will be a part of NEXT YEAR's ballot, so save your vote for another show.

3. Shows MUST BE produced by local, independent producers. Shows MAY NOT be a touring or educational theatre production, or produced by a hotel and/or casino property.

4. VOTE for each of two categories: BEST PLAY and BEST MUSICAL. Get your friends to join in!

5. Ballots are SECRET. Your vote is your own business.

6. VOTING DEADLINE: 11PM, THURSDAY, 6/13/19

----- CLICK HERE TO CAST YOUR BALLOT! -----

#ValleyAwards #ValleyRecommended #Theatre #Music #Dance #Poetry

EMAV Review: Nevada Ballet sparks mid-winter inspiration with new work, a diverse program, and the L

Images captured by Virginia Trudeau Photography

The cast of Nicolo Fonte’s Crane/ing.

★★★★½ - Delicious

Nevada Ballet Theatre’s (NBT’s) mid-winter program at The Smith Center featured four Las Vegas premieres including a World Premiere, "Crane/ing" by renowned Choreographer Nicolo Fonte. Commissioned exclusively for Nevada Ballet, this never-before-seen ballet featured music by Giovanni Sollima and Donnacha Dennehy. This eclectic program offered by Artistic Director Roy Kaiser included the Las Vegas Philharmonic conducted by Music Director Donato Cabrera. Krista Baker in Crane/ing and Alissa Dale in Firebird

The February 16th evening opened with RAYMONDA VARIATIONS, which premiered in 1961 at the New York City Ballet, with choreography by George Balanchine and music by Alexander Glazounov. Throughout his life, Balanchine was attracted to Glazounov’s music for Raymonda. He wrote: “to try to talk about these dances in any useful way outside the music is not possible. The music itself, its grand and generous manner, its joy and playfulness, was for me more than enough to carry the plot of the dances.”

George Balanchine’s Raymonda Variations. Choreography by George Balanchine c The George Balanchine Trust.

Balanchine focused on various ways to use a dancer's rising on toe, the releve. The five soloists danced brightly and had a workout in this respect, mutually elegant and poised. The cascade of classical solos and pas de deux was filled with sweet waltzes and daring virtuosity.

Next was a pas de deux from LIGHT RAIN by Gerald Arpino. The NBT performance of this work was part of the Joffrey/Aprino Festival, celebrating the lives of Robert Joffrey and Gerald Arpino by having organizations nationally and internationally perform their works. LIGHT RAIN (pas de deux) included music by Douglas Adamz & Russ Gauthier.

Light Rain has been the Joffrey Ballet’s signature piece since its premiere in 1981. Created for the Joffrey’s Silver Anniversary, and presented again as the closing ballet of the Company’s Golden Anniversary, Light Rain remains the company’s most beloved and requested work.

Jaime DeRocker and Steven Goforth in Gerald Arpino’s Light Rain (Pas de Deux).

Gerald Arpino was the co-founder and resident choreographer of the Joffrey Ballet, directing the company for twenty years after Robert Joffrey’s death. He created this ballet to showcase the new young dancers of the company. “It is my gift to these talented youngsters…I am inspired by their modes and rituals, their passions.” Light Rain, with its accent on youth, its American artists, and its original music, continues The Joffrey traditions begun in 1956.

The costumes were unitards and, from far away, it was sometimes hard to tell the different genders apart, but, unlike in classical ballet, it didn’t really matter. All the dancers were awe-inspiring at handling Arpino’s mix of modern-dance and ballet.

NBT was honored to present CRANE/ING, a World Premiere ballet by renowned choreographer Nicolo Fonte -- Music by Giovanni Sollima, Aquilarco #6 (Spinning Top Prelude) and Donnacha Dennehy / CRANE version II.

Monolithic gestures and poignant subtlety were two extremes in the score that are bound up with Fonte’s own passion for both boldness and intimacy in movement. Even after discovering that the original commissioning of the score was for a dance for machinery, he still found it fiercely “bird-like” and poetically delicate.

The cast of Nicolo Fonte’s Crane/ing.

“Crane/ing takes as its main premise that perhaps viewing things from a “bird’s eye” view, we are, metaphorically speaking, able to soar up above to an “oasis in the sky” and from that perspective see the extraordinary beauty below – the extraordinary beauty that exists deep in the collective sacred spaces of our hearts and souls.” (Nicolo Fonte)

Robert Mulvey in Firebird.

The final ballet on the bill was FIREBIRD, Igor Stravinsky's breakthrough work of 1910, with choreography by Yuri Possokhov -- one of the most iconic and spectacular of the classical ballets of that era.

The story is based on a Russian folk tale where Prince Ivan, assisted by the Firebird, destroys the evil magician Kashchei the immortal, marries his princess and brings happiness to the kingdom. Alissa Dale danced the Firebird with strength and delicacy. Her pas de deux with Ivan, Sergio Alvarez, embodied the romantic lyrical brilliance of the choreography. Robert Mulvey, as Kaschie, and Jaime Derocker, as the Princess, also performed with great passion and intensity. This piece definitely stands the test of time.

Firebird's Christina Ghiardi and Sergio Alvarez.

Throughout the evening, all of the dancers performed with great beauty and control, delivering first rate performances which captured every breath of the music, and managed the choreography with comfort and confidence, making this another memorable performance. As always, NBT dancers were elegant and rousing in equal measure.

It takes a world class ballet organization, orchestra -- and their respective artistic leaders -- to bring such new creative work to Las Vegas artists and audiences. May this stellar artistic collaboration between NBT and the Las Vegas Philharmonic spawn many successors.

Correction: Due to injury, Christina Ghiardi (pictured) was replaced by Alissa Dale in 'Firebird.' An earlier version misidentified the artist in performance. Please accept our apology for this error.

#vegasmusic #vegasdance #vegasculture #EatMoreArt #vegasarts #vegastheatre #SmithCenter #dtlv #LVPhilharmonic #Stalter #Dance #NevadaBallet

FIREBIRD at Nevada Ballet Theatre with the Las Vegas Philharmonic

With Full Orchestra Featuring members of the Las Vegas Philharmonic Conducted by Donato Cabrera, Music Director of the Las Vegas Philharmonic FIREBIRD Music by Igor Stravinsky Choreography by Yuri Possokhov RAYMONDA VARIATIONS Music by Alexander Glazounov Choreography by George Balanchine LIGHT RAIN (pas de deux) Music by Douglas Adamz & Russ Gauthier, Dream Dancer Choreography by Gerald Arpino CRANE/ING – World Premiere! Music by Giovanni Sollima, Aquilarco #6 (Spinning Top Prelude) and Donnacha Dennehy, CRANE version II Choreography by Nicolo Fonte NBT’s mid-winter bill begins with Yuri Possokhov’s Firebird, the striking, animated tale of young Prince Ivan, his two loves and the sorcerer whose evil spell must be undone. George Balanchine’s pretty-in-pink Raymonda Variations follows, with its indisputable charm and dazzling movement. Next is a pas de deux from Light Rain by Gerarld Arpino. The NBT performance of this work is part of the Joffrey/Aprino Festival celebrating the lives of Robert Joffrey and Gerald Arpino by having organizations nationally and internationally perform their works.Finally, NBT is honored to present Crane/ing, a World Premiere ballet by renowned choreographer Nicolo Fonte. Prior to both performances, NBT will present Insights, an educational pre-performance discussion offering patrons an opportunity to further engage with the ballet, with special guests, multi-media presentations and more. Insights is free to all ticket holders and will take place in the Troesh Studio Theater, adjacent to Reynolds Hall, 45 minutes prior to curtain.

thesmithcenter.com Have a group of 10 or more? Contact NBT Group Sales at (702) 243-2623 for information on priority seating, special discounts and exclusive experiences. As a courtesy to our ticket holders, no children under 5 years of age are admitted to the performances. Firebird is sponsored by The Plaster Family Foundation. Light Rain (pas de deux) is sponsored by Sandee & Tito Tiberti. Light Rain (pas de deux) is supported in part by an award from the National Endowment for the Arts.

#vegasdance #EatMoreArt #vegasculture #Dance #NBT #LVPhilharmonic #SmithCenter

Contemporary West Dance Theatre celebrates Black History Month

Celebrating African American History Month Contemporary West Dance Theater (CWDT), a multicultural five-star American Dance Company dedicated to continuing the legacy of excellence in the arts, will perform under the artistic direction of company founder Bernard H. Gaddis, associate director emeritus Kevin C. Gibbs, and associate director Marie-Joe Tabet.

Choreographic works include: “Exit 6," by Ronen Koresh, "Variations," by Milton Myers, "If Juniper Street Could Talk," by Zane Booker, and “The Love Suite," featuring excerpts from various ballets choreographed by CWDT’s founding artistic director Bernard H. Gaddis. Co-sponsored by Contemporary West Dance Theatre. This concert is Free and Open to the Community!

Place: West Las Vegas Library Theatre

Address: 951 W Lake Mead Blvd Las Vegas NV 89106

Time: 7:30pm, 9:30pm Date: February 8 - 9, 2019

#WestLasVegasLibrary #CWDT #vegasdance #Dance #Listing

Collective Visions @ UNLV Dance

UNLV Dance has a deep respect for dance and design. The Department of Dance is the only dance department in the nation with a dedicated degree program in dance lighting, design, and stage management. Collective Visions is a concert where choreographers, visual artists, composers, and design artists collaborate to produce unique dance environments and visual worlds. Featuring choreography and design by UNLV’s award-winning faculty, Cathy Allen, Victoria Dale, Richard Havey, Michael Jarett, James Jeon, Beth Mehocic, Dolly Kelepecz-Momot, and Louis Kavouras, Collective Visions will be presented in the Judy Bayley Theatre. Price

Mar. 1, 2019, 7:30pm

Mar. 2, 2019, 2:30pm

Mar. 2, 2019, 7:30pm $18 - All Seats $10 discounted tickets are available for seniors, military members, all students, UNLV Faculty and Staff, and UNLV Alumni. Admission Information Order Your Tickets At the UNLV Performing Arts Center Box Office - Conveniently located on the north-east end of campus attached to the south face of the parking garage; view maps and directions for more information

Over the Phone - Call (702) 895-ARTS (2787) Online - Buy here. ​Please note: Additional fees apply to phone and internet purchases. Event Parking UNLV Performing Arts Center patrons are welcome to park in the Cottage Grove Parking Garage. Parking is free after 7 p.m. Monday - Thursday, after 1 p.m. Friday, and all weekend. Visit UNLV Parking and Transportation Services for more information.

Contact Information Performing Arts Center Box Office 702-895-2787 pacboxoffice@unlv.edu

#Dance #UNLVDance #vegasdance #EatMoreArt #vegasculture

EMAV Review: NBT's pristine 'Nutcracker' is one of their best yet ★★★★★

Snow featuring Jaime DeRocker as The Winter Fairy.

★★★★★ - Irresistible

There was a clarity of artistic vision this year to Nevada Ballet Theatre's holiday presentation of "The Nutcracker" at the Smith Center. Guided by choreographer James Canfield with répétiteur Tara Foy, the company hit the sweet spot in its seventh year of staging Canfield's own unique version of the 1892 ballet, set to the original score by Peter Ilyich Tchaikovsky and based on E.T.A. Hoffmann's 1816 novella "The Nutcracker and the Mouse King." The collaborative elements inherent to the always beautiful, art-nouveau-look show--including sets by Patricia Ruel, costumes by Sandra Woodall and Christopher Larson, and lights by Peter Jakubowski--coalesced seamlessly and overflowed with a generous spirit and a remarkable sense of immediacy. The mood was one of carefree exuberance both onstage and off during the second Friday performance. The Christmas Eve 'Party' scene with its soft lighting and splendid Victorian dollhouse feels like it is filtered through the memory of young heroine Clara, danced by Emma Mcgirr with head-to-toe, adolescent awakening. The vignettes featuring parents and children are focused and festive, and include social dances and boys and girls doing boyish and girlish things. Even the bewildered grandfather, played by Enrico DeMarco, hams it up with his "flossing" moves. Caroline MacDonald as Clara's jealous sister Louise flirts with Clara's love interest the Nephew, played with amusing befuddlement by Benjamin Tucker (who later dances the Nutcracker and the Prince). His uncle and Clara's godfather is the clockmaker Drosselmeyer, and Steven Goforth reprises the role with a distinguished and tenderhearted presence. Drosselmeyer brings gifts to wow the crowd, like the stuffed bear danced by Oslaniel Castillo with acrobatic glee, and mechanical dolls Harlequin and Columbine, danced by Michael Caye and Betsy Lucas. The clock peals and Clara dreams she is miniature like her nutcracker, brought to life by Drosselmeyer. With her porcelain dolls and toy soldiers escaped from their cabinet, she and the Nutcracker battle the Rat Queen, danced with panache by Christina Ghiardi, and her Rat army underneath the towering Christmas tree. The scene feels abbreviated, but remains eerie as McGirr moves with frightened stiffness and duets with Goforth in hypnotic slow-motion under stark streams of light.

Mirella Costa Neto as Winter Fairy and Sergio Alvarez as The Snow Prince.

The most awe-inspiring moment occurs when the curtain abruptly drops to reveal a wondrous, wintery land with snowflake stars and full moon floating in an inky sky. Under blue moonlight and gently falling snow that builds to a flurry, the corps de ballet in translucent tutus swirl like snowflakes with sweeping, sequential movements and pretty patterns. Mirella Costa Neto is a luminous yet feisty Winter Fairy, and her clean lines and sassy style add warmth to the chill. She and the tranquil Sergio Alvarez as the Snow Prince make a complementary pair, and he does elegant grand jetés and multiple tours en l'air in his solo work. The "Enchanted Fairyland" features gnarled ropes for trees with lights that beam like sunlight through leaves. Cheerful sprites and the corps as watercolored, dragonfly flowers waltz about, and each fairy has her own distinct personality and bug-like movement. Ghiardi is joyful with her fluid fouettés as the Spring Fairy, MacDonald is bright and fluttery as the Summer Fairy, and Lucas is earthy and energetic as the Autumn Fairy. As the Sugar Plum Fairy, Jaime DeRocker exudes kindness and grace and plays up the fairy movements with clipped pointe work and crisp piqués. Having Clara and the Prince present the "Divertissement" reinforces the idea that these dances are gifts. The "Spanish" pops with Rachel Thomson, Katherine Zimmerman, Caye, and Robert Mulvey as spicy Toreadors. The "Arabian" features an assertive Brooke Lyness with Alvarez as the peacock who descends in his cage for a duet of gliding splits and sensuous lifts. He opens his dazzling plume, and the audience swoons. In the "Chinese," gone are the stereotypical movements, but it's an endearing piece featuring Krista Baker, Isabella Kowalski, and Ryan McNally. The charismatic Jun Tanabe is a showstopper in the "Russian" with his virtuoso leaps and multiple tours, along with Rachel Ackerman, Jordan Mcintosh, and Danielle Maas. And David Hochberg as the flamboyant "Mother Ginger" with dancers from NBT's Academy as her children bring down the house with their acrobatics and high-caliber dance technique.

Students of Nevada Ballet's school put their training to work.

The "Grand Pas de Deux" puts focus back on Clara and her handsome Prince. McGirr and Tucker enjoy each other and their mutual affinity is palpable. They embrace each pretty lift and difficult lateral twist as a moment that marks a growing emotional intensity, and when McGirr does an arabesque penché into a kiss from her kneeling Prince, their devotion feels complete. The grand "Finale" and "Apotheosis" feature bits from each dance with performers in curtain call and brings the show full circle. With Christmas only days away, the children in the audience filled the air with "Oohs" and "Aahs" and a collective feeling of anticipation. That's what it's all about.

#LasVegasArtsandCulture #SmithCenter #NevadaBallet #NBT #Review #Dance #Theatre #vegasculture #EatMoreArt

One last time in 2018...every great story's end is the mark of a new beginning. How can we stART

"I want to sit under my own vine and fig tree, a moment alone in the shade, at home in this nation we've made." There is a "dream of a common language" in the spirit in all of us that hopes to exist peacefully in a place where we feel valued, safe, and connected to something greater than ourselves. Painfully, in a world of difference there is misunderstanding, the ache of loneliness, and a disorienting anxiety from the struggle for survival. Fear of the unknown can feel like an overwhelming obstacle to bridging divides, but artists have learned that it is in the unknown where anything is possible.

Artists dedicate their selves to their work because they discovered the secret art holds to our human survival of the unknown - it's not done by fighting against it, but by working with it. The secret is it only takes a little chance on sharing what you have to offer when someone asks a question, and respecting the offerings of others when you have one yourself. There's a reason why they call it the Golden Rule, because when artists have nothing, speak different languages, and are hiding in bomb shelters no matter where on Earth, it is the treasure that sustains their connection to each other and their ability to collaborate and overcome on the spot. Even in solitude, the artist instinctively works with the environment their partner in a relationship of give and receive

That same spirit is alive and well in Las Vegas, and it offers the hope that has written our American story. Every July that we wake up in the Mojave is a defiance of the impossible, and the result of countless shared visions put into action. How can we continue to build on the best of this legacy of overcoming together in what may seem like impossible times, and with such a diverse population? How can we develop enough understanding to move forward? Art is the human spirit in all of us struggling for survival that transcends language as it sings out for another's answer, and when it reaches us, we feel ourselves reflexively calling back in comfort.

The arts are for everyone's humanity, and in a democracy everyone's art must be respected as expressions of the "mutual cares, labors, and dangers" that President Washington, as an imperfect man and great leader, and as a President/General and humble citizen, trusted the American people to face. Our right to vote is also our obligation to recognize the value in another's voice. The training the arts offer to build a better life for ourselves, our community, and our country is at our fingertips. Whether as a maker or as an audience, we are all creatives in the collaboration. By making local arts a regular part of our lives we can find ways to better speak the same language as our neighbors, kids and parents, and write the next chapter in a colorful voice that resonates with the proudest moments of our contribution to the American story.

SHOW AND TELL

To commit an act of theatre a performer only needs three things - their self to commit an action that expresses a message, a space, and a witness sharing the space to experience the message. We are each the artist in our own lives and the witness to others. Our shared spaces are our homes, our communities, our country...the world. An independent theatre is an essential component of the public square. It requires dozens of individuals with years of training, and weeks of commitment in prep to create. Local artists who are often strangers at first, come together to do it for you every day.

LEAD AND FOLLOW

Dance is the most ancient storytelling device as it passed on the collective memory before the written word, and when you witness or perform it, you write yourself into it's story. Dancers prove that you can trust someone who agrees to catch you when you take a leap of faith, even after only a couple of minutes of rehearsal. Dancers contribute to the lifeblood of our economy, and they give their whole body to the effort.

GIVE AND TAKE

Music is sound organized in time and the Las Vegas valley is a mecca for people who can pick up and play a set in tune with another's heartbeat without conversation. Musicians display a natural gift for consensus which helps them agree in harmony and take turns center stage. Attend a concert and enter a world of endless variety where the people in the room naturally begin to breathe together.

REFLECT AND REVEAL

The story of film making is an American original, and our self-awareness is deepened by the experience we share through fleeting moments of truth captured in time. Today our true Vegas character is reflected by a community of artists dedicated to telling stories that scratch beneath the commercial surface that has long dominated our image from the outside.

DREAM AND DO

Through out the ages, visual artists have innovated with whatever is in arm's reach to create vessels that capture our lights of inspiration and transform them into something tangible to pass on as gifts that keep on giving. Explore the diverse creations of visual artists in our community and you will find work that reflects and honors your identity in it's own unique way.

CARE AND HEAL

The health benefits of the arts are now recognized by researchers around the world, and arts are even offered as prescriptions. Physical and emotional therapies involving the arts provide recovery and coping skills empowering our minds and bodies to relieve stress and develop resilience. From young children, to Veterans and retirees, there is no limit to the people who can thrive with the help of the arts.

COLLABORATE AND CONNECT

A little risk can go a long way toward success in the company of creatives. Find your way in to the world of local arts where everything can become "bigger on the inside."

EDUCATE AND EMPOWER

The power that art provides is equal to the number of individuals who pass on it's messages, techniques and traditions. You can play a meaningful part in helping the arts to thrive and improve lives in ways that are as simple as sharing the good news with anyone who wants to get more out of their community, their public programming, and their hard-earned money.

INVITE AND SHOW UP

We are what we eat. If we want to nourish our nation's or neighborhood's ability to dream, work, and thrive together we need to #EatMoreArt. Your seat at the table awaits.

Pictured from the top: A Public Fit & Cockroach Theatre Company, the Las Vegas Valley Theatre Awards (Vogue Robinson, poet), Contemporary West Dance Theatre (Bernard Gaddis), Sin City Opera, film maker Shahab Zargari, Visual Artist Gig Depio.

Sarah O'Connell is the Executive Director of Eat More Art Vegas and the Las Vegas Valley Theatre Awards as well as the Artistic Director of The Asylum Theatre in Las Vegas. sarahoconnelldirector.com

#OConnell #Theatre #Music #Dance #Poetry #film #VisualArts

Three ways to take a bite of The Nutcracker in Vegas

THE LAS VEGAS BALLET COMPANY AT SUMMERLIN PERFORMING ARTS CENTRE

Come and create memories and traditions!

Bring your family and friends and enjoy this holiday classic where we meet a beautiful little girl named Clara at her family's Christmas party. You'll quickly find out there's more to the story when everyone goes home.

Clara wakes up and finds out that her favorite Christmas toy has come to life. Follow her journey to a land of toy soldiers and larger than life mice, dancing snow flakes lead by their Snow Queen, and then to a magical land where treats come to life and Clara meets everyone's favorite fairy, The Sugarplum Fairy.

This is your chance to see our talented and dedicated company members in a full-length, pre-professional level production at the beautiful Summerlin Performing Arts Theatre.

Thursday, December 20, 2018 7:00pm

Friday, December 21, 2018 7:00pm

Saturday, December 22, 2018 2:00pm

Saturday, December 22, 2018 7:00pm

Sunday, December 23, 2018 2:00pm

Tickets are: $25

All ages welcome, must have a paid seat.

No sitting on lap.

All performances take place at:

Summerlin Library Performing Arts Center

1771 Inner Circle Drive

Las Vegas, NV 89134

TICKETS

NEVADA BALLET THEATRE AT THE SMITH CENTER

Experience Las Vegas’ favorite holiday tradition! Choreographed by James Canfield, NBT’s The Nutcracker is a magical journey through a larger than life world filled with waltzing flowers, nimble fairies, and moonlit snow. Glittering holiday cheer abounds as Clara and her handsome Prince travel from the warmth of her family home to a land of toy soldiers, mischievous rodents and exotic visitors from faraway lands.

Saturday, December 8, 2018 • 7:30pm* Sunday, December 9, 2018 • 2:00pm* Friday, December 14, 2018 • 7:30pm Saturday, December 15, 2018 • 2:00pm* Saturday, December 15, 2018 • 7:30pm* Sunday, December 16, 2018 • 2:00pm* Thursday, December 20, 2018 • 7:30pm Friday, December 21, 2018 • 7:30pm Saturday, December 22, 2018 • 2:00pm Saturday, December 22, 2018 • 7:30pm Sunday, December 23, 2018 • 2:00pm Monday, December 24, 2018 • 2:00pm For tickets and information visit nevadaballet.org

THE PINK TUTU BALLET COMPANY AT THE AMARGOSA OPERA HOUSE

Join The Pink Tutu as the holiday classic returns!

The wonder and merriment will be enjoyed at the stunning and historic Amargosa Opera House in Death Valley. An hour and 15 min drive from Las Vegas, just outside of Pahrump. THE exquisite cast will be glittering the stage with all your favorite Nutcracker characters and music, the whole family will love. Performing two nights: Friday the 21st at 7pm Saturday the 22nd at 7pm

Tickets are available pre paid at $25 per adult, and $10 per 12 and under child, by calling the opera house at (760) 852-4441. Enjoy the boutique holiday charm at the adjacent hotel and cafe as well, to make this a holiday destination to remember. www.amargosa-opera-house.com

#Listing #Dance #Theatre #NBT #PINKTUTU #LVBC #summerlin #SmithCenter

Winterreise @ CSN's Fall Dance Concert

“Winterreise” (Winter Journey) Friday November 30th at 7:00 PM and Saturday December 1st at 2:00 PM Choreographer Kelly Roth summarizes the theme of his new ballet set to Franz Schubert’s iconic song cycle, Winterreise as, “A wanderer, jilted and aging fast with backward glances of what was and what might have been.” For those familiar with this milestone of German art song, Roth’s curt description may seem shallow, cynical, and seriously inadequate considering the exalted place the work holds in the high art of western civilization. But Roth, the director of the College of Southern Nevada Dance Program, has been contemplating the work since he first encountered it in a high school music appreciation class some fifty years ago.

“After waiting so long to finally tackle this dance, the music has grown to nearly impossible grandness in my mind. Such reverence can lead to fears of artistic blasphemy for even attempting to weld movement to the poetic marriage the words and sound comprise. Reducing the overall concept to episodes relatable to my own experiences, both aesthetic and personal, seems to be doable and appropriate for our times.” The proof, it is said, will be in the pudding.

General Admission is $8.00, students and seniors $5.00. For more information or to purchase tickets, please call the CSN Ticket Office at 702-651-LIVE (5483) or buy tickets online at: www.csn.edu/pac. The CSN Performing Arts Center, provides quality artistic, cultural, educational, and entertainment opportunities for the college and the community. It is located at 3200 E. Cheyenne Avenue in North Las Vegas. For additional information and/or photos, please contact the CSN Dance Program at (702) 504-4578 or kelly.roth@csn.edu

#csn #Dance #Listing

EMAV 10 Bites: Glenn Heath, Actor

In every neighborhood, there is someone who makes the Arts a part of their life, and our community. You'd be surprised to discover how many different people use the arts to improve the quality of life in our hometown. EAT MORE ART! VEGAS will feature them regularly in our series "10 Bites."

What type(s) of art do you do?

I started in Comedy Improvisation and always find myself gravitated toward the thrill of instantaneous performances. However, most of my performances over the past five years have been in Musical Theater and Plays. I do dabble in film, TV, voice over, etc, but Live Theater is my jam.

Why do you do it?

Originally, it was for the escape. I found that jumping into characters and being "someone else" was incredibly cathartic for my depression. Improv was especially good for the rush of endorphins; since I never knew what scene would come next. In recent years, however, I've truly loved being able to tell a good story. I still escape into my roles, but not to hide. Now my performances are for the audience to escape with me and spend a couple of hours together on a journey. I love being able to give and share my talent. It's a great responsibility, and I'm very fortunate to all the directors in Las Vegas that have put their trust in me.

What’s your favorite project/performance so far?

Such a loaded question. I try to learn something from every production and performance and use it to hone my skills and make the next show better than the last. Yet, there are some shows that stay with me far longer. Some of my most memorable experiences include: Sweeney Todd, Ave Q, The Producers, Fiddler on the Roof, Oleanna, Cannibal the Musical, and Sudoku the Musical.

What jobs have you done other than being an artist?

Father, Barista, Teacher, IT Tech, Bookstore Manager, College Instructor, and Software Licensing and Contract Analyst for Nevada System of Higher Ed.

What memorable responses have you had to your work?

It's taken years for me to really pay attention to responses from patrons after a performance. As a young artist, I found myself being self-critical and as a result, I've missed the honestly and generosity of people who've come to my performances. I still have to work at it, but now I genuinely love hearing comments after a performance. My favorite is, "I didn't know that was you". Hearing that tells me I've transcended myself into a character and that my story was the focus; not Glenn farting about on stage in costume.

What would you be doing if you weren't performing your art?

I'd probably find myself in the other creative process of self-abuse called "Writing".

Name something you love about Las Vegas, and why.

The people here are amazing. I'm constantly meeting crazy-talented and passionate people here and their love for performing drives me to be a better actor. (Of course, these same people make me a better person too.)

What’s the best piece of advice you’ve been given?

Trust that you are good enough. Every Director wants to cast you. You just need to show them that you're the one they want to work with.

What superpower would you have and why?

Teleportation would certainly be a top contender. Being able to sleep in and then pop over to NY, LA, Chicago, London, would be wonderful. Not sure where my bed would be though......maybe an isolated cabin in the Rockies or a bungalow on the beach.

Current projects?

You can catch the final weekend of A Public Reading of an Unproduced Screenplay About the Death of Walt Disney at Majestic Repertory through Nov 25th!

Are you a local artist of any discipline? Do you work with a company as a designer, stagehand or administrative staff? We'd love to get your 10 Bites to share. Fill out a form here, and you might be featured in a post!

CHECK OUT OUR 10 BITES FEATURE GALLERY HERE

#Theatre #TenBites #Signature #Dance

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

#Bennett #NBT #SmithCenter #Review #Dance #Music

EMAV 10 Bites: Leslie Fotheringham, Director

In every neighborhood, there is someone who makes the Arts a part of their life, and our community. You'd be surprised to discover how many different people use the arts to improve the quality of life in our hometown. EAT MORE ART! VEGAS will feature them regularly in our series "10 Bites."

What performing art do you do?

I direct musical theater.

Why do you do it?

I do it because it brings me joy. It’s where I feel most like me. I like giving theater opportunities to local artists who need an outlet to share their talents.

What’s your favorite production/performance so far?

This is a tough question. I’m always very invested in whatever production I’m currently directing. If I had to choose I’d have to say I love “A Signature Christmas” for the spirit of the Season, “The Secret Garden” for the message of hope and “Thoroughly Modern Millie” for the joy and fun it brings to the stage.

What jobs have you done other than being an artist?

I’m always a mom first. I’ve also worked as a model, in a bookstore.

What memorable responses have you had to your work?

I always like to hear when someone I have worked with has had a positive experience. I have a patron who has followed my shows through the years. He travels around the world most of the time, but always manages to send me flowers on opening night and come back to see the show before it closes.

What would you be doing if you weren't performing your art?

I’m not quite sure. It does seem like my time is always filled with a variety of adventures. When I’m not directing I’m serving at church and community. I like to travel and hang out with my husband, family and friends.

Name something you love about Las Vegas, and why.

I love that Las Vegas is a 24 hour town. There’s always something to do, someplace to go anytime day or night. I also love that we have mild winters. I hate to be cold!

What’s the best piece of advice you’ve been given?

Always be kind.

What superpower would you have and why?

I’ve dreamed about flying since I was a little girl. Flying takes you beyond your limitations and allows your dreams to soar!

Any future projects?

I will be directing Disney’s NEWSIES for Signature Productions Spring of 2019. Auditions will be in December 2018. So calling all male dancers!

See Signature Production's latest project, 'Oh What a Night' now playing at Summerlin Library and Performing Arts Center

Are you a local artist of any discipline? Do you work with a company as a designer, stagehand or administrative staff? We'd love to get your 10 Bites to share. Fill out a form here, and you might be featured in a post!

CHECK OUT OUR 10 BITES FEATURE GALLERY HERE

#Theatre #TenBites #Music #Dance #Signature

Contemporary West Dance Theatre (CWDT) 2018 Fall Concert Series

Enjoy beautiful, choreographic works and ballets, including "The Fifth Season," an excerpt by Bernard H. Gaddis, "The Murder on Vehement Hill," by Matthew Palfeiner, "Happy Hour," by Marie-Joe Tabet and "Solitér," by Avree Walker, at the 2018 Contemporary West Dance Theatre's Fall Concert Series. Under the artistic direction of Contemporary West Dance Theatre's founder Bernard H. Gaddis, associate director emeritus Kevin C. Gibbs, and associate director Marie-Joe Tabet, their company of performance artists represent the elegance, grace, discipline, and dignity of dance for all classes, all cultures, and all walks of life.

11/9-10/18

7:30 pm

West Las Vegas Library

951 W. Lake Mead Blvd., Las Vegas, NV 89106

Admission is Free!

#CWDT #Dance #WestLasVegasLibrary #Listing

EMAV 10 Bites: Jane Walsh, Director

In every neighborhood, there is someone who makes the Arts a part of their life, and our community. You'd be surprised to discover how many different people use the arts to improve the quality of life in our hometown. EAT MORE ART! VEGAS will feature them regularly in our series "10 Bites."

What performing art do you do?

I have the great honor of directing Marcus Weiss in this one-person show, Every Brilliant Thing. This devised work was written by Duncan McMillan and the result of many workshops and several years of dedicated work. MacMillan responsibly addresses the subject of depression and suicide with great sensitivity and invites the audience to join in the journey: The magical thinking of a 7-year-old boy and his unwavering belief that he can heal his mother’s severe depression by creating a list of Every Brilliant Thing is the just beginning of a remarkable journey One rich in all the humor, love, passion and sorrow that life promises.

Why do you do it?

We open on September 13 and run for 3 weekends, Thursday-Saturday at 8 pm and Sunday Matinee at 2 pm.

What’s your favorite production/performance so far?

Working with Marcus and my Stage Manager, Nicole Killion. There is so much joy, love and laughter that happens in our rehearsals. We laugh alot. Don’t get me wrong, we challenge each other, discover, but we’re laughing along the way because it’s a delightfully funny script. That's what makes this work magical- it's like life, filled with both humor and pain.

What jobs have you done other than being an artist?

I teach at Theatre at The College of Southern Nevada and have worked as a voice over artist. I currently have the honor of working part-time for Dignity Health in their Palliative Care Department.

What memorable responses have you had to your work?

I've had the great privilege of audiences sharing how past performances have affected them. As a performance artist, my intention is to tell the story with honesty and integrity. It's my prayer that the work will create a new perspective or discovery, provide some kind of healing or just take them on an unexpected journey.

What would you be doing if you weren't performing your art?

Finding another way to bring art into my life.

Name something you love about Las Vegas, and why.

Taken from my personal list of Every Brilliant Thing: getting to walk my dogs in the wee hours of the morning and watching the sunrise and change colors- it's as if this moment is made just for me.

What’s the best piece of advice you’ve been given?

Show up. Show up on time. Show up on time and dressed to play.

What superpower would you have and why?

I would like to be Gill Girl because I have a great passion for the ocean and dream of swimming underwater with whales and dolphins.

Any future projects?

I'm delighted to share that I'lll be directing Henrik Ibsen's "A Doll's House" at the Las Vegas Little Theatre in February!

See Jane Walsh's latest project, Every Brilliant Thing now playing at Cockroach Theatre Company!

Are you a local artist of any discipline? Do you work with a company as a designer, stagehand or administrative staff? We'd love to get your 10 Bites to share. Fill out a form here, and you might be featured in a post!

CHECK OUT OUR 10 BITES FEATURE GALLERY HERE

#Theatre #TenBites #Music #Dance

The Pirates of Penzance @ Sin City Opera & SST is Valley Recommended

THE PIRATES OF PENZANCE

By Gilbert & Sullivan

Directed by Skip Anthony Galla

"...A delightful farce of a classic that is fun for all ages." - Ralph Stalter, Jr., EAT MORE ART! Vegas

8:05pm to 10:15pm, Doors open at 6:00pm through September 22nd

Super Summer Theatre

Spring Mountain Ranch State Park, 6375 Hwy. 159, Blue Diamond, NV 89004

Tickets: $15 (702-579-7529)

Tickets

#Theatre #ValleyAwards #ValleyRecommended #SuperSummerTheater #sincityopera #Music #Dance

EMAV Review: Sin City Opera's 'Penzance' is a rollicking romp ★★★★★

★★★★★ - Irresistible

Get your Pirate on, matey, and join the band of swashbuckling buccaneers, bumbling British Bobbies, frolicsome Victorian maidens, and the delightfully dotty “model of a modern Major-General” for a rollicking irresistible 5 star romp over the rocky coast of Cornwall. Beloved since its premiere in 1879, The Pirates of Penzance (or The Slave of Duty) is a delightful farce of a classic that is fun for all ages, which wraps up the 2018 Super Summer Season at Spring Mountain Ranch through September 22nd.

Sin City Opera presents this carefree, delightfully charming story of a young pirate-in-training, Frederic, who can’t wait for his 21st birthday, the day his accidental pirate apprenticeship ends….or does it? Born in a leap year, Frederic discovers he must remain with the raucous band of buccaneers and delay his future with the lovely Mabel who promises to wait, much to the chagrin of her father, the Major General. Bound by his own sense of duty and loyalty to the Pirate King, will Frederic be forced to sail away into the sunset alone or run off to fly high on the seas of love?

Producer Ginger Land-van Buuren and Artistic Director Skip Galla Katipunan have assembled an extremely talented cast of performers that are all “triple threats” – having the ability to sing, dance and act -- and having far too much fun onstage bringing this “ingenious, clever, wonderfully funny” piece of musical theatre to local audiences. Foremost among this gifted ensemble, in leading roles, are: Rebecca Morris (Ruth), Kayla Wilkens (Mabel), Karsten Pudwill (Frederic), and James McGoff (Pirate King). Notable in supporting roles are: Susan Easter (Police Chief),Kim Glover (Kate), Bonita Hunt (Edith), Kristina Wells (Isabel), Keith Dotson (Samuel), and Stephen Rinck (Major-General Stanley).

To that solid corps are added twenty-eight very capable chorus members – 11 swashbuckling buccaneers, 10 bumbling British Bobbies, and 7 frolicsome Victorian maidens. Under the guidance of musical director Dean Balan and choreographer Anastasia Weiss, they navigate this most riotous of comic operettas with ease, filling the Red Rock Canyon National Conservation Area with their joyous harmonies and rhythmically complex dance routines, accomplished with well-clipped military precision.

The design team has found a perfect balance in support of the overall artistic goals of the production: a simple yet flexible set (Steve Paladie); lighting which is almost imperceptible (Liz Kline), costumes (Ginger Land-van Buuren) that delightfully contrast pirates (swarthy nautical dress), police (ill-fitting, unkempt uniforms akin to Keystone Cops) with the more flamboyant and brightly colored pantaloons, petticoats and bobby socks of the Sisters.

The Pirates of Penzance is a comic operetta in two acts, with libretto by Sir W.S. Gilbert (1836-1911), playwright and humorist, and music by Arthur Sullivan (1842-1900). Sullivan was unofficial composer laureate of England and favorite of Queen Victoria. Gilbert and Sullivan (G&S) wrote a series of fourteen comic operettas which were wildly popular in their own time and are still widely performed by amateur and professional groups today, over a hundred years after their creation.

The operetta premiered on December 31, 1879 at the Fifth Avenue Theater in New York with Sullivan conducting -- though a single performance had been given on the previous day at the Royal Bijou Theatre, Paignton, England, to secure the British copyright. Finally, the operetta opened on April 30, 1880, at the Opéra Comique in London, where it ran for 363 performances, having already been playing successfully for over three months in New York.

It’s hard to find fault with Sullivan’s own appraisal about the operetta upon which he was hard at work in New York on December 10, 1879. He penned in a letter to his mother: "I think it will be a great success, for it is exquisitely funny, and the music is strikingly tuneful and catching."

True enough! The Pirates of Penzance was an immediate hit and takes its place today as one of the most popular and enduring works of musical theatre thanks to the efforts of Richard D'Oyly Carte, the impresario who turned Gilbert & Sullivan into big business, along with building the opera company and the Savoy Theatre which he built to produce them.

Sin City Opera “Is Las Vegas' premier contemporary opera company, dedicated to bringing affordable opera and classical music to our community in fresh and exciting new ways”. It is certainly our good fortune that they have brought Gilbert and Sullivan back to town! Let’s have more of it, please.

#sincityopera #SuperSummerTheater #Stalter #Review #Theatre #Music #Dance

The Pirates of Penzance @ Sin City Opera & SST

Sin City Opera brings to life the story of a young pirate-in-training, Frederic, who can’t wait for his 21st birthday, the day his accidental pirate apprenticeship ends….or does it? Born in a Leap Year, Frederic discovers he must remain with the raucous band of buccaneers and delay his future with the lovely Mabel who promises to wait, much to the chagrin of her father, the Major General. Bound by his own sense of duty and loyalty to the Pirate King, will Frederic be forced to sail away into the sunset alone or run off to fly high on the seas of love?

This traditional Gilbert and Sullivan presentation comes with a few Sin City Opera twists and includes one of the best patter songs of all time, along with swoon-fully, catchy tunes in this funny and hopeful operatic farce. You’ll be hooked on this swashbuckling favorite about love, laughter, and loyalty. The approximate run time is 2 hours and 20 minutes with no intermission.

September 6th - September 22nd, 2018

Event starts at 7:05pm Doors open at 6:00pm

Spring Mountain Ranch 6375 Nevada 159, Blue Diamond, NV 89004

General Admission: $15.00

Kicking off our ninth season, Las Vegas’ premier contemporary opera company, Sin City Opera is dedicated to bringing affordable opera and classical music to our community in fresh and exciting new ways.

” At the core of everything we do lies our mission to inspire, challenge, and uplift our audiences by celebrating with them the beauty and breadth of opera, opening the floor for dialogue about the relevance of the opera arts in our communities”.

• ASL Provided on the first Friday show IF RSVP made 2 days in advance.

• Super Summer Theatre does not offer advisories about subject matter, as sensitivities vary from person to person. If you have any questions about content, age-appropriateness or stage effects (such as strobe lights or theatrical fog) that might have a bearing on patron comfort, please contact our office at 702-579-7529.

Tickets

#sincityopera #SuperSummerTheater #Listing #Theatre #Music #Dance

Pics from the 5th Annual Las Vegas Valley Theatre Awards #showUP

Las Vegas Theatre Lovers #showUP for the Arts and the community they serve.

Thank you to our production team, presenters and performers for helping us celebrate the invaluable contribution of local Performing Artists!

Click here to download pics from the event.

Thank you to Jilliene Jaeger

for the fabulous images!

#EatMoreArt

#ValleyAwards #ValleyRecommended #Theatre #Poetry #Dance #Music #film

Las Vegas Theatre Directors nominated for Zelda Fichandler Award

The Stage Directors and Choreographers Foundation has notified local Theatre Directors Sarah O'Connell of The Asylum Theatre and EAT MORE ART! Vegas, and Kate St-Pierre of The Lab LV that they each have been nominated for the 2018 Zelda Fichandler Award.

Established in 2009, the Zelda Fichandler Award is SDC Foundation’s first award devoted to the regional theatre. With this award, SDC Foundation acknowledges the profound impact the founders of regional theatre have had on the field, honoring their legacy through the recognition of the extraordinary directors and choreographers who are transforming the national arts landscape with their unique, creative work and deep investment in a community outside of the New York City arena.

The Fichandler Award is given regionally on a rotating basis. In 2018, it will be given to a director or choreographer who has made, and who continues to make, a significant contribution to their community through extraordinary work in theatre in the Western region of the United States, defined by SDCF as Alaska, Arizona, California, Colorado, Hawaii, Idaho, Montana, Nevada, New Mexico, Oregon, Utah, Washington, and Wyoming.

The nominees were asked to submit an artist statement for final consideration upon receiving their nominations.

The Fichandler Award recipient will receive an unrestricted award of $5,000 from SDC Foundation. A decision is expected to be made in September and the Award will be presented at the annual SDC Foundation Awards in the Fall of 2018 in New York City.

Past recipients:

Western Region

Jonathan Moscone of California Shakespeare Theater in Orinda, California (2009)

Bill Rauch of Oregon Shakespeare Festival in Ashland, Oregon (2012)

Tim Dang of East West Players in Los Angeles, CA (2015)

Central Region

Michael Halberstam of Writer’s Theatre in Glencoe, Illinois (2010)

Charles Newell of Court Theatre in Chicago, Illinois (2013)

Lisa Portes of Chicago, Illinois (2016)

Eastern Region

Blanka Zizka of The Wilma Theater in Philadelphia, Pennsylvania (2011)

Joseph Haj of PlayMakers Repertory Company in Chapel Hill, NC (2014)

Vivienne Benesch of PlayMakers Repertory Company in Chapel Hill, NC (2017)

About Zelda Fichandler:

Zelda Fichandler (1924 -2016) dedicated her early career to the establishment of America’s regional theatre movement. In 1950 she founded Washington D.C.’s Arena Stage and in 1968 she produced The Great White Hope, which became the first production to transfer from a regional theatre to Broadway, winning the Tony and the Pulitzer Prize, and launching the careers of James Earl Jones and Jane Alexander. Her production of Inherit the Wind toured Soviet St. Petersburg and Moscow and Arena Stage was the first American theatre company sponsored by the State Department to do so. Like many other regional theatres afterward, Arena Stage cultivated an evolving but resident company over the decades that included some of America’s best actors: Robert Prosky, Frances Sternhagen, George Grizzard, Philip Bosco, Ned Beatty, Roy Scheider, Robert Foxworth, Jane Alexander, James Earl Jones, Melinda Dillon, Dianne Wiest, Max Wright, Marilyn Caskey, Harriet Harris, and Tom Hewitt. In 1975 it was the first regional theatre to be recognized by the American Theatre Wing and the Broadway League with the Regional Theatre Tony Award for outstanding achievement. When Ms. Fichandler retired as producing artistic director of Arena Stage in 1990, she had achieved the longest tenure of any non-commercial producer in the annals of the American theater. Before her passing in July of 2016, Ms. Fichandler was Chair Emeritus of New York University’s acclaimed graduate acting program where she personally taught, guided, and inspired more than 500 acting students, including Marcia Gay Harden, Rainn Wilson, Billy Crudup, Debra Messing, Peter Krause, and Michael C. Hall. Her honors include the SDC Foundation’s “Mr. Abbott” Award, The Acting Company’s John Houseman Award, the Margo Jones Award, and the National Medal of Arts, and in 1999 she became the first artistic leader outside of New York to be inducted into the Theatre Hall of Fame.

#Theatre #SarahOConnell #Dance #Music #Poetry

5th Annual Las Vegas Valley Theatre Awards - Performance Highlights

The 5th Annual Las Vegas Valley Theatre Awards was a fantastic evening of great performances and positive energy thanks to the incredible talent and generosity of our local performers, creators and production team!

Enjoy this original piece of poetry and music offered by Vogue Robinson who has served Clark County as our Poet Laureate and her collaborative partner, singer/songwriter Jaylen Green, THEN check out the rest of our clips on the EAT MORE ART! Vegas YouTube Channel here.

Thank you to Ben Rich Film for the generous donation of your services. You captured great memories for our community! Check them out here, Las Vegas, if you need a professional job with the help of great people.

#ValleyRecommended #ValleyAwards #Theatre #Music #Dance #Poetry