The Las Vegas Valley Theatre Awards will be back. Please, wear a mask!

The COVID -19 pandemic has forced the closure of theatres across the country as well as The Smith Center and independent companies here in Southern Nevada. The health and safety of our local theatre community, including artists and patrons, are of primary importance to us. Consequently, the 7th Annual Las Vegas Valley Theatre Awards will not be presented by Eat More Art Vegas this year.

We look forward to celebrating the excellence of our Las Vegas theatre industry with the cultural community when it is safe for local theatres to open once again.

Thank you to the artists, donors, partners, and patrons for your work and dedication. Thank you to the volunteer judges who attended each production and "Recommended" the following shows:

Super Summer Theatre &

Majestic Repertory Theatre

Chicago

Hynes-Sight Entertainment

First Date

Poor Richard's Players

Noises Off

Majestic Repertory Theatre

Green Day's American Idiot

Sweeney Todd: The Demon Barber of Fleet Street

Poor Richard's Players

LIZZIE

Vegas Theatre Company

Holmes and Watson

Las Vegas Little Theatre

Six Degrees of Separation

The 25th Annual Putnam County Spelling Bee

Godspell

William Shakespeare's Long Lost First Play (Abridged)

Signature Productions

West Side Story

The LAB LV

The Royale

A Midsummer Nights Dream Concert Fantastic!

Celebrate your favorite show with a donation to the producing company!

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EMAV 10 Bites: Dulce Valencia - Actor, Writer, and Visual Artist

Dulce Valencia in NYC with Lin-Manuel Miranda.

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."

Check out Dulce Valencia with Lin-Manuel Miranda in Episode 2 of "Dear..." now streaming on Apple TV+.

What kinds of art do you enjoy, create, or perform in?

I am an Actor, writer, and a painter but I practice art in any way I can. I've also in the last year or so gotten more involved in the tech side of theatre through school at UNLV so I've gotten to be involved as a crew member in shows and am set to Assistant Design a show next semester.

Why do you do it?

I do it because I love it and my soul craves art. I also do it because I think art and specifically story telling is crucial for survival. There's so much that we can do and say and I truly believe we can change the world through stories. I also, selfishly do it because I want to see stories that reflect me and my community at the forefront. Latinx people and specifically immigrant stories are still super under-represented in theatre and everywhere and I want to bring those stories to the forefront which is what I'm beginning to do with my writing.

What’s your favorite production/performance experience so far?

Last summer I moved to New York for a few months and a friend of mine was having one of his musicals being read at the Drama League. One of the characters was an undocumented immigrant so he called me in and asked if I'd talk to the production team about my experiences and do some basic dramaturgy. I came in and completely fell in love with the story and characters and then was fortunate enough to read her part for the reading which all just worked out so beautifully and happened over the course of less than a week. What was specifically so memorable about this, was that I got to play a role I identified with completely and the collaborative nature of it all. I would give him feedback or notes and he took them and everyone involved was absolutely wonderful and kind and it was the last thing I did in New York before coming back to Vegas so it felt like I had ended my time there with a golden bow.

Dulce Valencia behind the scenes,

What jobs have you done other than being an artist, or what do you do when you are "at work?"

Since I was 17 I've worked in the political/advocacy non-profit world, working on immigration advocacy and electoral outreach geared towards turning out immigrants and young people to elections. Last Legislative Session I worked in Carson City as the attache for Assemblyman Howard Watts. I am currently very fortunate to be the Deputy Director of Dream Big Nevada an organization that serves the immigrant and undocumented community in Nevada. We do a lot of work connecting people to resources available to them, encouraging those who have DACA (Deferred Action for Childhood Arrivals) to renew, and we also share stories.

What is an Arts experience that you will never forget or a memorable response to your work?

People are so kind! I've had really positive interactions from someone saying that I was their favorite part or one of my favorites is when I invite friends to see my performances who have never seen or been to a theatre and at the end they're like "I want to see more of this."

One of the most memorable is when I was in Middle School, I made a piece of art for class and one of the teachers at school loved it and wanted to buy it. At that point I wrongly thought that to be considered a "real" artist, you had to have people buying your work so to have someone see value in a class assignment I had done and want to buy it made me feel like a real artist for the first time.

What would you be doing if you weren't performing, creating, or enjoying the Arts in Las Vegas?

Even before I knew what theatre was, I was always telling stories. I truly can't imagine a world where I'm not creating or telling stories.

Name something you love about Las Vegas, and why.

I love the community! We have such a beautiful, vibrant, and kind community here which many people who don't live here are surprised to hear because they think of Vegas as a playground but we have the most amazing and supportive community. I've always said it takes a village to make dreams come true and to me, the Las Vegas community is that village.

Dulce Valencia (c.) with Gebrielle Harris (l.) and Tom Fullerton (r) in "The Grief Dialogues" with The Asylum Theatre.

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

I've been given a lot of really great advice over the years. One specifically is "your story deserves to be told." I used to, and sometimes still do, get into this really negative place where I think my story doesn't matter or that I shouldn't tell it because someone else can tell it better, but that's not true. Every story deserves to be told and receiving that advice really put me on a path to being more comfortable writing and sharing my story.

What superpower would you have and why?

Teleportation. Because currently, due to my immigration status I'm not able to leave and visit my family in Mexico and I would love to be able to do that and see them.

What future projects are you looking forward to?

Yes! I'm currently working with a group of Latinx performers during quarantine and we're devising a murder-mystery play. It's a super cool project I'm excited about that. I'm also going to be appearing in an episode of a new show called "Dear..." which premieres on Apple TV on June 5th. In the episode, I am one of the people who reads a letter to Lin-Manuel Miranda telling him how much he's inspired me as an immigrant and artist. I'm super excited about that and to see how the episode turned out and just to tell my story.

Check out Dulce Valencia with Lin-Manuel Miranda in Episode 2 of "Dear..." now streaming on Apple TV+.

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Molodi’s powerful ‘PAATI’ explores ancestral identity at Majestic Rep ★★★★

MOLODI takes a bow on the opening night of PAATI. Photo: Paloma Solamente.

★★★★☆ - Delicious

Who are you? This is the important question asked during body percussion group Molodi’s dynamic presentation of “Paati,” an exploration of one woman’s quest to connect with her African American identity, showing now through March 8th at Majestic Repertory Theatre.

Members of Molodi use the full body as an instrument of percussion to create rhythm and harmonies and tell stories through a coalescence of different dance types including step, gumboot, tap, hip hop, and contemporary, as well as through singing, beatbox, and spoken word. The immersive show has a story theatre-like format, with short dramatic scenes, parables, and poetic narration interspersed with dance sequences that take us along on Paati’s search for self-realization.

MOLODI shows the tools of their trade.

Paati—which means to abandon—is a young woman who is disillusioned with her soul-crushing career and seeks more meaning in her life. She feels that her African identity, which she might express through her hairstyle, for example, is oppressed by the constraints of the corporate world and by society in general. This has taken a toll on her psyche, so she embarks on a trip to the motherland and attends a music festival in hopes of finding her cultural and genetic roots.

When a tour guide asks “What are you looking for,” she replies with a simple “More.” She participates in an ecstatic, trance-like dance which triggers a spiritual awakening and a duality within herself that allows her to feel and experience the struggles of her forbearers. A heart-rending tour of a museum that explores the history of the slave trade further triggers her genetic memory and awareness of ancestral suffering. She is able to abandon her surface identity and tap into the depths of her true soul.

Kishema Pendu

Sublime actress/dancer Kishema Pendu abandons herself fully to the role of Paati as she takes her life-changing journey, and she and the rest of the cast are fully committed to the demands of the strenuous, high-energy dance pieces and the show’s emotional themes. Founders Jason Nious and Khalid Freeman, with dancers Malik Chunn, Yadiel Figueroa, Danielle Hicks, and Shamayne Young along with Pendu treat us to a stepping/clapping lesson at the beginning of the show to warm us up, and also to phenomenal dancing with the tribal-type rhythms and movement setting a hypnotic mood for the story. Each charismatic performer gets a solo and their moment to shine, and they even pull audience members on stage to take part.

On opening night a show program wasn’t offered so it’s not clear whether the direction, writing, choreography, and arrangement of the dance pieces are a collaboration of the cast members or a telling of Pendu’s personal experience or both. But the company uses the space well, there is beautiful and poignant poetry in the text, and a nice dramatic build to the tale with a moving climactic moment. The dialogue and narration could use more polish since it isn’t always clear how the dance sequences connect to the story, but the show is a very visceral experience and it’s good to go with the flow.

PAATI runs at Majestic Repertory Theatre through 3/8/2020.

Thick rope is used throughout the production and as part of the set as profound imagery that works thematically on many levels. It’s not only a symbol of the historical ties that bind and that must be cast off in order for Paati to find her true identity, but also is a symbol of the invisible threads that connect her intuitively to her spiritual, ancestral past. The African American tradition of body percussion—which developed as a means of secret communication after drums were outlawed by slave owners— along with ecstatic dance is a powerful way to awaken the collective unconscious to ancestral identity.

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EMAV Film Review: The Dam Short Film Festival displays a diversity of work

The 16th Annual Dam Short Film Festival. Photo by Tsvetelina Stefanova. 2020.

There were quite a few administrative changes behind the scenes before this year’s Dam Short Film Festival, but the result for film-goers was entirely seamless, reflected mainly in the more organized process for getting in and out of Boulder City’s historic Boulder Theatre (especially during the most crowded screenings). But little changes are important, and the leadership team at DSFF (including newly promoted executive director Tsvetelina Stefanova and returning co-founder Lee Lanier) proved that they’ve effectively positioned the still-growing festival (the largest in Nevada) for a strong future.

Logistics aside, this year’s 16th annual DSFF was also another wonderful showcase for the art of the short film, with many of the festival’s signature programs, including two separate spotlights on Nevada films. The winner of the festival’s Railroad Pass Best Nevada Filmmaker award was the documentary “Rainshadow,” Kari Barber’s film about a struggling Reno charter high school that focuses on art education. Although a little long at 37 minutes, “Rainshadow” is a good example of the kind of heartstring-tugging film that the DSFF audience (heavily skewed toward seniors) likes to award. It can be sentimental at times, but it also tells an important story with social relevance, and showcases the personalities of its subjects as much as the social commentary.

“Rainshadow” was part of the Nevada documentary program that opened the festival, and there was a separate program for Nevada narrative films that, as usual, proved to be one of the most popular. Brothers Mike and Jerry Thompson, longtime Vegas film fixtures, had three films in the festival, and their best was the offbeat supernatural comedy “Ghosts Don’t Cry” in the Nevada narrative program. The Thompsons’ amusing micro-short “A Cactus Story” played in one of the packed comedy programs, and their somewhat muddled horror-comedy short “Six Geese a Slaying” (part of the forthcoming “12 Deaths of Christmas” anthology that played in rough form at Sin City Horror Fest last year) played in the Underground program.

"Rainshadow"

There were other strong Nevada films outside the Nevada blocks, including Roberto Raad’s manic comedy “Alternative Therapy,” about a psychologist who gets a little too chummy with his patients, which played in the more adult-oriented of the two comedy programs (it also played at 2019’s Las Vegas Film Festival). Music videos from local artists Sabriel (“Dishes”) and Sonia Barcelona (“Violent Water”) played in the music video program, both demonstrating creative visions from the filmmakers in bringing the music to life. Megan Roe’s take on “Dishes” is a colorful explosion of stop-motion animation surrounding the singer, and Danny Chandia’s gorgeous clip for “Violent Water” pays tribute to the work of silent-movie master Georges Méliès, using minimal resources to create an immersive underwater wonderland (it deservedly won the award for Best Music Video).

“Maradona’s Legs”

Stefanova has talked a lot recently about how DSFF programs to the tastes of its audience, and some programs lean too heavily toward treacly, heavy-handed moral lessons. Those kinds of heartwarming stories can be told well, though, as I was reminded during one international-film program mostly filled with clumsy, didactic stories highlighting social injustice. Amid these was Firas Khoury’s “Maradona’s Legs,” a sweet story about two Palestinian brothers in 1990 trying to find one last sticker to complete their book of World Cup soccer players. In grounding the story in specific details (the sibling relationship, soccer fandom) and leaving the larger political landscape as background detail, Khoury creates an affecting story that reaches the audience much more directly than a manipulative lecture.

"Boo"

Programming this festival requires a delicate balance, and Stefanova, Lanier and the other staffers do a great job of providing diverse content for a diverse crowd. The Underground program, designed to showcase films too daring for the rest of the festival, featured Aiden Brezonick’s hilariously perverse “Jeff Drives You,” which ends up involving a man having sex with a self-aware self-driving car, along with the arch social commentary of Ilja Rautsi’s “Helsinki Mansplaining Massacre,” among other transgressive fare. The horror program, which has been uneven in past years, was spectacular from start to finish, with highlights ranging from the clever twist of Rakefet Abergel’s “Boo” (which had also played at Sin City Horror Fest), to Sarah Gurfield’s strangely romantic horror-comedy “Boy Eats Girl: A Zombie Love Story,” to the gross-out comedy of David Bornstein’s “Unholy ’Mole.”

"Demand Curve"

The festival also made room for a retrospective on the work of renowned experimental art-music collective The Residents, featuring band “associate” Homer Flynn (band members are all anonymous, and Flynn slipped up a few times in the Q&A, referring to “we” instead of “they”). More than anything else, the Residents program proved that DSFF organizers are still willing to occasionally confound the audience. They balanced that by doubling down on comedy, expanding it into two blocks, since comedy is always DSFF’s most successful program. At least this year’s audience award winner for comedy, Austin and Meredith Bragg’s “Demand Curve,” about an economics professor schooling his own kidnappers, was smart and creative, instead of lowbrow and obvious, as the comedy winners often are. As the festival programs to the audience, maybe the audience’s taste is improving a little.

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EMAV 10 Bites: Stanley Jackson, Playwright & Producer

Stanley Jackson, Playwright and Producer at SJM Productions LLC.

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 kinds of art do you enjoy, create, or perform in?

Live Stage Productions and Musical Theatre.

Why do you do it?

I love the arts and I love to tell stories visually and through music.

What’s your favorite production/performance experience so far?

My favorite stage play is Fences by August Wilson and A Raisin in the Sun. My favorite production of my own was produced in Vegas last year 2019 STRIVE THE MUSICAL.

What jobs have you done other than being an artist, or what do you do when you are "at work?"

Prior to theater, I was in Corporate America as a Business Development Manager and a retail business owner.

What is an Arts experience that you will never forget or a memorable response to your work?

I adapted a novel to the stage about domestic abuse. The response, the tears, etc we saw in the lobby after the show was very touching and served as confirmation that what we do in the art makes a difference.

What would you be doing if you weren't performing, creating, or enjoying the Arts in Las Vegas?

If I wasn't performing or creating I would be miserable if i could not at least attend a lot of productions. And, yeah, play golf lol!

Name something you love about Las Vegas, and why.

It is the most creative and vibrant city I have ever lived in. The arts are alive and well and I LOVE IT!

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

Do what you love and you'll never work again!

What superpower would you have and why?

To effortlessly draw people to the theater!!! I hate the marketing and business side of course. Would love to just do the art.

What future projects are you looking forward to?

April 11 2020 my production of "IT TAKES A VILLAGE" THE MUSICAL

Find out more about Stanley Jackson's new musical It Takes A Village, playing this April 11th, two shows only, here!

Champion the #vegasculture story! Support us on Patreon today!

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

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MOLODI's PAATI empowers us to write our own story

Only in Vegas...Theatre.

MOLODI at Festival International Danse Encore in Canada. 2018.

You may have seen the performers of MOLODI in shows like Stomp, The Lion King, and Hamilton but you will have to come to the indy Majestic Repertory Theatre on Main Street in Las Vegas to experience their newest percussive innovation PAATI. Like much of the local, independent arts scene, MOLODI is an ensemble of seasoned artists with international credits alongside emerging ones dedicated to taking their original work to the next level.

MOLODI is a favorite among convention visitors and corporate clients.

Founded in 2000 by Jason Nious, Antwan Davis, and Khalid Freeman, the company excels at inspiring audiences with rhythmic experiences including collegiate stepping, tap, gumboots, beatbox, poetry, and hip hop dance. For the past several years Nious and his team of multitalented artists have ushered "stepping and body percussion into the theatrical realm as a storytelling vehicle" both on the stage and in classrooms in Southern Nevada and across the United States as resident teaching artists for places like The Smith Center.

MOLODI regulary tours to CCSD schools teaching creativity, collaboratin, and dance through body percussion.

MOLODI's mission to revolutionize western theatrical storytelling with body percussion met with recent acclaim thanks to Nious' collaboration on The Royale by Marco Ramirez, produced by another innovative Las Vegas company The LAB LV. The story about an African American boxer who integrated the sport when he defeated the white heavywaight champion met with sold-out performances at The Playhouse in 2019. As critic Ralph Stalter, Jr described, incorporating body percussion elevated the artistry "to bring to life a high-energy pugilistic experience that literally puts the audience directly into the ring."

The stomps, claps, and snaps of performers brought the battle in the ring to life in "The Royale." 2019.

Their latest original work PAATI promises "to inspire a sense of unity among all people through rhythm, collaboration, and personal expression" when it opens on February 21st, 2020 at Majestic Repertory Theatre for a three-week run.

Described as "a heart-pumping, foot-stomping, hand clapping interactive story told through body percussion, poetry and dance about one woman’s search for the American dream in her African roots," PAATI tells the story of a woman "forced to unravel everything she’s ever been taught by her family, friends, society, even complete strangers" after a night at a party.

PAATI runs at Majestic Rep from 2/21/2020 - 3/8/2020.

Nious explains that "African Americans have often been called the lost children. Slavery erased any link to understanding a lineage that is layered with royalty and death, wealth and eradication, celebration and devastation," and he has led his company around the globe to forge new links to the past while creating a better future. The journey began early in his career working with Step Afrika and met a milestone when the troupe toured to Ghana for the International Body Music Festival in 2018.

MOLODI in Ghana. 2018.

In keeping with the PAATI's message that we must "Find the courage...to write our own narrative," MOLODI promises an "invigorating physical theatre production" that "invites the audience to participate in the storytelling, the rhythms, and the set and costume design from the moment they walk into the theatre. They’ll join PAATI’s party of energizing beats, rhythmic movement, and poetic exploration in this celebration of discovery of voice, purpose, and freedom."

The show's message is timely for members of the region's cultural community. MOLODI's story is a familiar one to many artists often overlooked by promotional campaigns and policymakers with a mandate to attract tourists and investment to Las Vegas. For any independent arts organization to survive in our valley, it must contend with the erasure of our cultural legacy from the map either by implosion or undocumented history which creates a blind spot at the top and undermines the evidence of their impact on our community and economy.

MOLODI was a hit on the set of Good Morning America showing what #vegasculture is all about.

When we say that our brand is "Only in Vegas," we must include local artists first and foremost among the ambassadors for our city. They are the one, unbroken link to our past that spends every day creating a new future for people from all walks of life. In many respects, MOLODI's story as a company reflects our own as "Vegas Culture" and we need to write our own narrative. This is why EatMoreArtVegas.com was founded and it is why the artists who walk among us must not only be cherished but invested in.

The story of the PAATI production begins with combining years of training and experience as an ensemble, hundreds of events for corporate business as the entertainment, thousands of miles traveled to innovate and promote, and many weeks in schools as a partner in education. The PAATI project would not have been possible without the support of other local, independent arts organizations like The Playhouse and Majestic Repertory, among others, who live their own version of this developmental history and sacrifice to keep the venues open so that the work can exist. Theirs is a gift that empowers our community at home and our image around the world. When you attend an independent production, invest in local artists, and champion their stories you become a part of the new narrative of who we are, where we come from, and where we intend to go as a people.

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EMAV Review: 'A Steady Rain' is flooded with emotion ★★★★★

Christopher Brown in 'A Steady Rain'.

★★★★★ - Irresistible

It’s raining in Chicago. Not hard, nor heavy, and not in the literal sense. Keith Huff’s drama “A Steady Rain” reveals the emotional rain (and pain) within two cops who’ve been lifelong friends and are now faced with confronting their flaws.

Directed for A Public Fit by Erik Amblad, this production sizzles as if lightning is striking the space. Amblad puts his actors into the atmosphere and keeps them there for the entire 90-minute storm. That is not to say there aren’t moments when the downpour doesn’t let up. He’s ensured the light moments breakthrough.

This is not your stereotypical good/cop/bad cop tale. Nothing feels pre-ordained, nothing feels contrived. Staged in the round, the characters break the fourth wall to take the audience on their slog through the emotional flood. Christopher Brown and Mark Gorman are both up to the task, with spades. Nothing feels forced, it all comes organically.

Brown inhabits the self-assured Denny with his entire instrument and his slide into self-realization is apparent in every movement, every expression, every vocalization. His smaller stature plays up in beautiful counter-point contrast to what might be typical expectations of the tough, bullying bad cop. One minor quibble hits after Denny is injured when the limp disappears and returns without justification.

The contrast Gorman, as Joey, provides with his good cop also plays against type. He’s brow-deep in unaware denial and wears his pain on his sleeve. Gorman brings an uncanny ability to waver when the bolt strikes with fury, leaving him in devastated turmoil.

The production values are superb. Though there is no rain curtain, the stage floor continues to get wet and forming small puddles, and wisps of steam rise from the street grates. Arles Estes’ sound establishes the atmosphere from the minute the audience arrives with a mixture of soul, rap, and blues broken up by intermittent police dispatches. At one point the sound of the rain ceases as Joey begins to think all is going to work out, then it crashes with a deluge to signal a final thunderstorm is at hand. Elizabeth Kline completes the immersion with lighting that brings the feel of damp days and foggy nights.

Amblad has brought his sensibilities as an actor to bear in directing this production. The cast and production team smartly followed like streams flow to the sea. Its subtleties inspire and linger long after the final light fade.

When: 7:30 p.m. Thursday - Saturday; 2 p.m. Sundays through Feb 23

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: Erik Amblad; Set Design: Eric A. Koger; Lighting Design: Elizabeth Kline; Sound Design: Arles Estes; Costume Design: Marlya Radeva-Nedyalkova; Production Stage Manager: Brandi Blackman

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'First Date' at Hynes-sight Entertainment and Super Summer Theatre Studio is Valley Recommended

FIRST DATE

Book by Austin Winsberg

Lyrics and Music by Alan Zachary and Michael Weiner

Directed by Joe Hynes Choreography by Teresa Isgriggs Musical Direction by Nancy West

"There's no better date than First Date the musical- funny and full of eHarmony!" - Eat More Art Vegas Super Summer Theatre Studios 4340 S Valley View Blvd., Suite 208, Las Vegas, NV, 89103

Through February 16th, 2020

supersummertheatre.org

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EMAV Film Review: Las Vegas Jewish Film Festival bears witness to history

Moment from 'Live to Bear Witness' by filmmaker and LVJFF festival director Joshua Abbey.

Although education has always been a big part of the mission of the Las Vegas Jewish Film Festival, in recent years the event has increased its focus on informative documentary content, in some cases at the expense of art. The lineup for this year’s 19th edition included only one narrative feature film (Isaac Cherem’s “Leona,” from Mexico) along with a program of documentaries highlighting important people and events from Jewish culture and history. Those documentaries were generally enlightening, with varying levels of cinematic quality, and they serve the festival’s mission of community outreach, even if they aren’t always fascinating films.

Israeli director Dani Menkin came to the festival with two documentaries, and his film “Picture of His Life,” about wildlife photographer Amos Nachoum, was the most visually striking documentary film in the festival, following Nachoum in his efforts to capture a photograph of a polar bear swimming in the wild, the culmination of his long career getting close to dangerous animals in order to preserve gorgeous images of them. Fittingly for a movie about an artist with an impeccable visual sense, “Picture of His Life” is full of striking images of the natural world, and Menkin and co-director Yonatan Nir keep all of their interview subjects (aside from Nachoum and the people with him on his expedition) offscreen, pairing their voices with more of the film’s stunning imagery.

It was interesting to learn about the lives of foreign correspondent Ruth Gruber (in “Ahead of Time”) and civil rights leader Rabbi Joachim Prinz (in “I Shall Not Be Silent”), but those documentaries were both the standard talking-heads-and-archival-footage productions that are often only slightly more engaging than reading a Wikipedia entry (and both have been available for several years already). Looking backward was more successful in the screening of landmark Jewish LGBT documentary “Trembling Before G-d,” which played at the very first Las Vegas Jewish Film Festival in 2001. Director Sandi DuBowski returned to the festival after visiting for the original screening, offering an update on his film’s subjects and a preview of his upcoming new documentary “Rabbi” (about an Israeli drag queen/rabbi). “Trembling” is still powerful and stirring, even with all the progress that has been made toward tolerance within the Orthodox Jewish community since it was first released.

Forbidden romantic relationships in the Jewish faith were also the subject of “Leona,” which played in a lavish luxury theater at Maya Cinemas in North Las Vegas, a new venue for the festival this year (screenings were also held at the Adelson Educational Campus, the Windmill Library, Brenden Theaters at the Palms and the Century South Point). Isaac Cherem’s film focuses on the close-knit Mexico City community of Syrian Jews, who live an insular existence, refusing to allow anyone into their faith via conversion, and shunning anyone from the community who marries outside the very specific faith (even to Jews from other sects). Co-writer Naian González Norvind plays Ariela, a young woman who’s already testing the conservative community’s boundaries with her career as an artist, and becomes further alienated from her family and friends when she starts dating a non-Jewish man.

A lot of “Leona”’s plot beats are familiar from other star-crossed-lovers stories, but Cherem and Norvind add extra dimensions by depicting the movie’s unique cultural context, and Norvind’s lead performance is sensitive and layered. Rather than demonizing everything about Ariela’s community and idealizing her relationship with Ivan (Christian Vazquez), the movie portrays both with complexity, ending on an ambiguous note that doesn’t provide easy answers. It’s the kind of challenging artistic production that LVJFF should program more of, and it’s just as educational as the blander documentaries on the festival bill (especially thanks to the post-screening context provided by local Rabbi Felipe Goodman, a Mexico City native).

The festival always draws heavily from the Vegas Jewish community for support, and the closing world premiere screening of locally produced documentary shorts “A Promise to Our Fathers” and “Live to Bear Witness” brought out that community in full force, completely filling the large auditorium at the Adelson Educational Campus. Produced by Vegas media veteran Gene Greenberg, “A Promise to Our Fathers” tells the story of Greenberg’s parents, Holocaust survivors who emigrated from Poland to the United States, as well as the father of Greenberg’s childhood friend Larry Pollard, a World War II veteran who’s involved in education about the Holocaust. It’s a slickly produced tribute to both men’s families, with affecting firsthand accounts of how wartime experiences shaped Greenberg’s and Pollard’s parents, and in turn shaped the two men themselves.

LVJFF director Joshua Abbey directed “Live to Bear Witness” himself, and like his documentary from last year’s festival, “Balabustas” (about influential local Jewish women), it’s more valuable as community-building than as cinema. It’s a little more polished than Abbey’s previous film, and it takes on a heavier subject, with local Holocaust survivors asking questions of local high school and college students, gauging the younger generation’s knowledge and reactions. Both “A Promise to Our Fathers” and “Live to Bear Witness” will be valuable classroom tools, and if LVJFF is going to be primarily devoted to education, these projects show the festival accomplishing that agenda effectively.

#EatMoreArt #vegasfilm #VegasIsVegasArts

Eat More Art Vegas savors The Smith Center's next season with KNPR's 'State of Nevada'

EMAV Executive Director, Sarah O'Connell chats with host Joe Schoenmann

Diversity, balance, originality, and relevancy: the best “Broadway Seasons" show a full range of what the theatre can do and that means including new work along with time-honored favorites. The Smith Center's 2020/2021 Broadway Las Vegas Series appears to have something for everyone to look forward to.

Check out our Executive Director Sarah O'Connell's take on the shows and their significance to our contemporary theatre and community with Nevada Public Radio.

Enjoy a peek at the productions headed to town starting in July 2020 with MY FAIR LADY followed by HAMILTON, A CHRISTMAS STORY, THE MUSICAL, AIN’T TOO PROUD, HADESTOWN, THE CHER SHOW, TOOTSIE, DISNEY'S FROZEN, and TO KILL A MOCKINGBIRD.

You don't have to wait to enjoy theatre that captures the imagination of our local audience! The more theatres produce, the greater the demand grows, and you'll find engaging and accessible local productions to enjoy all year long right here on EatMoreArtVegas.com.

#EatMoreArt #VegasIsVegasArts #vegastheatre

EMAV 10 Bites: Cassandra Krupp, Artistic Director

Cassandra Krupp, Artistic Director for Bard at the Bar.

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 kinds of art do you enjoy, create, or perform in?

I'm currently the co-founder and Artistic Director of 'Bard at the Bar' right here in Las Vegas. I'm the primary director of our productions (which I love), but I'm also the co-editor and writer of our scripts. Along with my mother, Ann (who's the acting President of the company and an all-around stupidly talented chemist who creates computer code by day and cuts Shakespearean text by night), we pare down Shakespeare's greatest works from roughly three hour pieces to one hour productions. With roughly ten characters and 9,000 words, Bard at the Bar manages to provide audiences with an up close and personal telling of the Bard's works in a manner that makes them accessible and relatable. We keep the language and the story, but perform Shakespeare's pieces in such a way that everyone can understand and enjoy them. Oh, and I'm an actress.

Why do you do it?

Growing up, my mother actually started a children's theater company back in New Hampshire simply so I could have a place to perform. She along with other members of the community managed to set up Kids' Coop Theater that emphasized giving children ages 8 to 18 from all backgrounds the chance to express themselves on and off stage regardless of pedigree, financial background, or performance training. I not only performed on stage, I learned the production side of theater ranging from running the box office to house managing. I even learned how to direct and choreograph simply by constantly being in the presence of artists and directors. I pursued a degree in advertising and public relations in college, but my heart was always in theater.

When I came out to Las Vegas four years ago with no plan or set job, I fell in with the Shakespeare Institute of Nevada and realized that there was a huge need to make the Bard's works accessible outside of the classroom. I loved Shakespeare and understood his works easily, but I knew that wasn't the case with mine and older generations. While SIN was pushing Shakespeare in the classroom (elementary to high school) I thought that we were missing a huge opportunity in catering to the older crowds that maybe didn't get that sort of education. These works are timeless for a reason and so embedded in our culture and I wanted to provide audiences outside of the classroom with the opportunity to see that. Along with Gregory Korin, we started Bard at the Bar in the summer of 2018 and premiered a shortened version of 'A Midsummer Night's Dream' at the Velveteen Rabbit. The response we got was insane and the rest is history.

What’s your favorite production/performance experience so far?

I have a special place in my heart for Mercutio, which I get to reprise this February in Bard at the Bar's 'Romeo and Juliet.' While he's this over the top happy go lucky seeming guy, there's this inherent sadness that comes from a lack of direction and purpose that really plagues him. He's such a deep character and makes an enormous impression with very little stage time and I love getting to play with that.

What jobs have you done other than being an artist, or what do you do when you are "at work?"

I actually have a degree and background in advertising and public relations (with accidental minors in french and theater because I took too many classes). Being from New Hampshire, I worked a lot of political campaigns as well as on AM radio. When I lived in Chicago, I worked at the PR firm 'Two By Four' and then moved on to working at the no-kill cat shelter 'Treehouse Humane Society.' Needless to say, I've had a lot of different experiences throughout my years.

What is an Arts experience that you will never forget or a memorable response to your work?

The most memorable response I've had to my work with Bard at the Bar has been the post-show response of complete strangers and non-theater people saying that not only did they fully understand the performance, but they also enjoyed it. For me, theater isn't just about the actors and artists, it's about the audience. That's why I do what I do.

What would you be doing if you weren't performing, creating, or enjoying the Arts in Las Vegas?

I'm such an animal person and I'd probably be back at my old job working at a no-kill shelter doing marketing and social media!

Name something you love about Las Vegas, and why.

Besides the strong arts community, I really love how there's the 'city' but then there's the mountains and all of this nature that you can easily explore. I'm from New Hampshire initially, so while I enjoy the hustle and bustle of the city experience, I need wide open spaces and fresh air to explore and enjoy.

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

The best piece of advice I've been given has probably been from my mother that no matter how good you are at something, there's always someone better out there. You can't worry about other people and being the best, you need to focus on yourself and doing the best that you can do.

What superpower would you have and why?

Is cloning a superpower? Because I'd definitely like to have multiples of me to get everything done that I want! If not, then could I request the use of a Timeturner?

What future projects are you looking forward to?

I'm all in with Bard at the Bar and I'm wicked excited about what we have in store for the 2020 season. Ten shows in ten months and we've got three new ones this season that I'm directing! I'm actually incredibly excited to get 'Caesar and Cleopatra' (a mashup of 'Julius Caesar' and 'Antony and Cleopatra') up and running since the cast is so amazing and it's going to be one of the best challenges I've ever had. That show goes up at the Velveteen Rabbit on the actual Ides of March, Sunday March 15th.

Find out more about Bard at the Bar on thebard-at-thebar.com.

Are you a local artist of any discipline? Do you work with a company as a designer, stagehand or administrative staff? Do you love to experience it as the audience? 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 #VisualArts #vegasdance #EatMoreArt #vegasculture #vegasmusic #VegasIsVegasArts

'Sweeney Todd' at Majestic Rep is Valley Recommended

SWEENEY TODD: THE DEMON BARBER OF FLEET STREET

Book by Hugh Wheeler

Lyrics and Music by Stephen Sondheim

Directed by Troy Heard Choreography by Jenna Szoke and Monica Johns Musical Direction by Andrew Tyler

"Inventive staging with a powerhouse ensemble!" - Sarah O'Connell, Eat More Art Vegas Majestic Repertory Theatre

1217 S. Main St., Las Vegas, Nevada 89104

Through February 9th, 2020

majesticrepertory.com

#EatMoreArt #vegastheatre #vegasvalleys #VegasIsVegasArts

New Orleans Square: The new hope for Vegas Arts facing unmitigated gentrification

By Pierson Brown

Mural by artist Nancy Good at New Orleans Square.

The visual arts culture in las vegas has been building its roots in the 18b arts district but many things are threatening poison that ground. In an attempt to keep their businesses alive and keep creating, some are finding solace in a new area. Fortunately, New Orleans Square has been spoken of as a new home. Do these claims have merit? Is this the next nexus of culture? Possibly.

First place winner of the 2019 "Mural Mecca" prize, by artist Sloane Siobhan. Mural Mecca: an opportunity for artists that has transformed New Orleans Square and raised funds for charity.

Currently housed within the Square, along with a few galleries, are 4 restaurants, 3 tattoo shops, 3 salon/barber shops, 1 florist, A violin fixer, 4 massage parlor/ spas, 2 spiritual healers, 3 multimedia groups, A comic book/ nerd mecca, 2 dance schools, 3 religious organizations or churches, 4 drug-free spaces/ addiction recovery spaces, and 1 bar. The area surrounding has a dubious reputation but could be worse.

New Orleans Square: 900 Karen Ave, Las Vegas, NV 89109

Let’s start off with all the great things about this area. The first positive is the parking situation. There are ample places to park, which means more people can go and will actually want to go there- a common complaint regarding large events in the downtown arts district. There is a lot of room for different galleries, seeing as the building has 2 floors. There is a solid diversity of businesses, which has its pros and cons. A few restaurants and an easily accessible corner store allow the New Orleans Square to be a place where you can have a full night, not just an event. The fact that it has multiple “sober spaces” invites people who aren’t just out for a drink but also solutions for those who are. However, for those who do wish to drink, The Las Vegas Lounge has you covered with very affordable drinks and an intimate atmosphere.

The building itself is well kept and accessible, with 2 elevators located within. They also have begun organizing building events, as the real estate manager wants to shift the clientele from shops and churches to something more involved.

There are a couple of galleries here already. Happy Earth Market isn’t a gallery per se but they do showings and are some of the oldest tenants in the building. It’s also a social and consignment space where they sell various creations and host outdoor markets. Core Contemporary is a modern art gallery and studio run by Nancy Good. Arguably the strongest case for the ability to shift vibes, Core Contemporary has monthly shows that heavily feature local artists, among others, and often underrepresented communities.

Artist and Vegas culture champion, Nancy Good with her work at Core Contemporary gallery and studio.

Not a gallery but a gem in its own right, The Sci-Fi Center is a comic shop that also hosts podcasts, film showings, and meetups. There were a few others that may have been galleries but I found very little information and were not open, so there is a possibility of more places containing unseen treasures.

William Powell, proprietor of the Sci-Fi Center.

This filters into one of the few issues I noticed with the development becoming what some people want it to. Several of the establishments within are appointment only or close at 5pm. With many venues currently only open in the evening on certain event nights, the ability to breathe artistic life into the center is hampered. Most people work day jobs and currently, the location is quiet on most nights. If they are going for a fancier client base, sure, this might work. But it seems like that’s a strange evolution for the area. How are average, working people supposed to see the work? Every establishment seems to do its own thing, a bit separated. However, this will most likely be solved by migration and time.

Artist Jeffrey Locke Lemert inside his Linear Space Gallery at New Orleans Square.

Overall, The New Orleans Square is an affordable opportunity for artist spaces. If you’re looking for workspace or a different kind of evening, this might quench your thirst.

#EatMoreArt #vegasculture #VegasIsVegasArts

EMAV Review: 'My Two Cents' at Core Contemporary Gallery

By Pierson Brown

"My Two Cents" at Core Contemporary Gallery, 2020.

In turbulent political times, artists yearn to speak truth to power. “My Two Cents” is a small pop up showing within the Core Contemporary Gallery (New Orleans Square, ​900 E. Karen Avenue, Suite D222​) that “... seeks to engage viewers with deeper dialogue prompted by emotional or intellectual responses to visual art.” Curated by Justin Favela, Izaac Zevalking (Recycled Propaganda), and gallery owner Nancy Good, they worked with nearly 25 artists known for their “strong artistic voices.”

"Eat Your Vegetables": artist Annie Wildbear, and "Disobey": artist Plastic Jesus.

The show’s purpose: to explore free speech. The mediums ranged from performance and sculpture to more traditional works, all connected by the string of “free speech.” Many pieces spoke out against the bad orange in chief or espoused body positivity. There was a wishing well with a woman inside of it that when you threw coins in, she would throw them back at you.

At the opening reception for "My Two Cents" at Core Contemporary.

A giant brain made of silk stockings, that proclaimed “if women are to be objectified then women should be objectified by their brains instead of their bodies”. A neon sign that said “girl” with the names of notable women behind it; like Eleanor Roosevelt, Nancy Pelosi, and Gloria Steinem. There were more abstract pieces that attempted the theme a bit more subtly. All works were well crafted and arranged plainly around the rectangular room.

"Naked Woman": artist Denise Duarte.

It should be noted that though this was a show about freedom of speech and exploring cultural, societal, or political observations, the work sat very comfortably within a narrow range of “ideas”, despite the diversity of artists. Centrist liberal ideologies were represented strongly throughout each piece. Every piece in there was one that the average gallery-goer would nod their head and go “yes. Exactly. agreed.” It is a perfectly agreeable show. If that’s what you are into, you’ll love it. But isn’t political art created to shake up and provoke the audience? I think the show would have a bit more edge if the audience were given more than just what they already believe, truly engaging viewers with deeper dialogue, forcing them to work through why they believe. Most everyone agrees that women are more than sex objects and Trump is a bad person. Give us something to really argue about.

"Blood Quantum": artist Fawn Douglas.

"My Two Cents," the free-speech pop-up exhibition shares the visual voice of nearly 25 invited artists:

Omayra Amador, Katrina Arevalo, Leo Bracamontes, Diane Bush, Zoe Camper, Sapira Cheuk, Fawn Douglas, Denise Duarte, Nancy Good, Ron Hauge, Jennifer Henry, Holly Lay, Lusky, Nova May, Mr. Morgellons, Plastic Jesus, Krystal Ramirez, Recycled Propaganda, Sierra Slentz, Lance Smith, Joel Spencer, Mikayla Whitmore, Annie Wildbear, Lucas Ybarra.

Pictures: Core Contemporary.

#EatMoreArt #vegasarts #VegasIsVegasArts

Vegas Arts Table: January Jump Start

Join us this Monday, January 13th for our 9th VEGAS ARTS TABLE Group meeting the first in 2020!

6:30pm

Art Square Theatre/Vegas Theatre Company

1025 S 1st St #110, Las Vegas, Nevada, 89101

They say hindsight is 2020, but let's make the year 2020 all about foresight with a chance for Shameless Plugs and sharing info about the latest local Arts news as we approach Spring.

- Bring your postcards and flyers to refresh the supply we share around town!

Did you miss one of the previous meetings? No worries! We all do what we can, and welcome you as you are able. If you run an organization, a representative is encouraged to attend to make the most of the opportunity to expand your reach and engage.

Take your seat at the table with #vegasculture. Don't miss your chance to give and receive an update!

#EatMoreArt #VegasIsVegasArts EatMoreArtVegas.com

EMAV Review: 'The Portugese Kid' is a detour of fun

★★★☆☆ - Satisfying

“The Portugese Kid” by John Patrick Shanley, now playing at Las Vegas Little Theatre (LVLT), finds the Oscar (“Moonstruck”), and Tony and Pulitzer Prize (“Doubt”) winning playwright smack dab back into the romantic comedy genre.

Directed by Chris Davies, this production doesn’t try to be more than it is. And that’s a good thing. It’s a script meant to be for simple fun. You won’t find any big, important underlying message. Much like “Moonlight,” it’s a case of people being with the wrong partner, in the wrong marriage. In other words, don’t expect anything really new.

Dave Elliott plays Barry Dragonetti, a fifty-cent lawyer, representing the twice widowed and very wealthy Atalanta Lagana, played by Kim Glover. Add in the overbearing mother, Fausta Dragnonetti, given full life by Charlene Moskal, and the fireworks kick off immediately. The pace is vigorous, almost relentless, and the jokes land with solid punch.

And then something happened. Maybe second-night letdown—a case where the nervous energy of opening night has dissipated. The well-executed transitions of the first scene disappeared and never returned. They feel rushed, perhaps in an effort to keep up the pacing.

Elliott’s portrayal of Barry brings to mind the actor Jason Alexander, who played the role in the short Broadway run. And that may be Elliott’s downfall. He doesn’t manage to make the role his own. While the dialogue of the first scene provides non-stop neurotic fun, the rest of the script puts the character on a bit of a back burner and it’s tough to keep the steamroller going.

Glover is having a blast with this character. She’s full of fire and her timing is mostly spot on, particularly when she spars with Moskal. The two bring the beat back to the lines each time they share dialogue, there’s a give and take which is fun to watch.

The two supporting roles of Freddie Imbrossi (Britton Crumley) and Patty Dragonetti (Diana Martinez) are the youngsters who really want to be together. Martinez slips easily into and out of Spanish, she’s brazen and pulls off the stereotypical Puerto Rican bimbo. Crumley mostly pulls off the dumb gigolo, but punch lines miss the landing because transitions are rushed.

Ron Lindblom’s sets and Ginny Adams’ lights do justice to the locales. Details matter and, while some may seem unimportant, a misstep can yank the audience out of the suspension of disbelief. Simply because a lid is on a cup doesn’t mean it should be obviously (by sight and sound) empty. Plastic glasses may look good under stage lights but the clinking doesn’t ring true in a toast. The egregiousness of that is compounded when the hostess is a millionaire.

Costumes are well done until Freddie enters in a new suit, purchased for him by Atalanta. The plaid jacket and ill-fitting beige pants may have been intended to play on the ignorance of the character, but doesn’t fit the arc of the story. Freddie may not be the brightest mind, but he would certainly know designer wear and Atalanta would never allow it to happen.

In the end, the play is a nice detour of fun amongst the stress of preparing for the holiday season.

When: 8 p.m. Thursday - Saturday; 2 p.m. Sunday through Dec 22

2 p.m. Saturday, Dec 14

Where: Las Vegas Little Theatre-Mainstage, 3920 Schiff drive

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

Producer: Las Vegas Little Theatre; Director: Chris Davies; Set Design: Ron Lindblom; Lighting Design: Ginny Adams; Sound Design: James Zamora; Costume Design: Alma Latecia Johnson, Eriahna Renee Coward; Stage Manager: Cindy Lee Stock

#EatMoreArt #vegastheatre #VegasIsVegasArts

EMAV Review: 'Long-lost Shakespeare (Abridged)' is a non-seasonal holiday treat ★★★★★

★★★★★ - Irresistible

It’s not seasonally themed, but Las Vegas Little Theatre (LVLT) is offering up a holiday treat in the Fischer Black Box: “William Shakespeare’s Long Lost First Play, (abridged)” by Reed Martin and Austin Tichenor.

It’s a mash-up of every play Shakespeare wrote and includes darn near every character you’re familiar with and some you may not recognize. The premise is like finding a playwright’s journal where simple ideas have been jotted down and deciding to present them as a single production. Here, it’s all tied together by having Puck and Ariel in the same play, feuding over characters and plot.

Any presentation of the Bard’s work is easily understandable if done well. But you don’t have to be a Shakespeare scholar to enjoy this play. In fact, quite the opposite.

As directed by David (Lep) Morey, this fast-paced piece will keep you engaged and laughing. He’s made excellent use of the entire space and has a fine collaborative cast in Kate Sirls, Marcus Martinez, and Chris Velho. All three are very comfortable on the stage, that close to an audience, and having tons of fun. The pace is frenetic and they move from character to character, play to play with ease. And, they obviously know their Shakespeare.

But, it’s a comedy so even the tragedy is funny. There are the usual bad puns well delivered. There are references to modern things. There are spots of improvisation to audience reaction. For instance, King Lear is leaving the stage, breaks wind and makes a comment. The audience groaned, and Martinez didn’t blink before breaking the fourth wall and tossing out, “Oh, come on, it’s a matinee. You get it.” And the audience laughed its approval.

There’s so much happening it's impossible to pick out any particular details. The acting is superb, the direction succinct. The production values spot on.

Chris Davies designed a beautiful set; brightly painted, tri-sided units which add to both the fun and the function. Under the lighting of Raphael Daniels-Devost, the colors change in intensity to carry us along on the ride. Add in Cooper Jones’ sound design, and execution of the same by Sammie Gonzalez, who. kept up with the action, and put Jones on the light board—well, they’d have to be geniuses, or octopi; maybe both. If a cue was missed, it sure wasn’t noticeable.

The theatre community hasn’t had this much fun with the Bard since the production of “The Compleat Works of Wllm. Shkspr (abridged)” a number of years ago. Give yourself a present this holiday season and see this. As one line of dialogue says, “Keep up if you can!” Even if you don’t, you’ll have fun.

Now I’m going to do something I’ve never done before. This ensemble of actors, designers, and this director could easily pull off a play I’ve long wanted to see performed: “Stand-up Shakespeare.” Maybe they’d sign up with LVLT to do that one next season.

When: 8 p.m. Thursday - Saturday; 2 p.m. Sunday through Dec 22

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

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

Producer: Las Vegas Little Theatre; Director: David (Lep) Morey; Set Design: Chris Davies; Lighting Design: Raphael Daniels-Devost; Sound Design: Cooper Jones; Costume Design: Loryanna Michalek; Stage Manager: Sammie Gonzalez

#EatMoreArt #vegastheatre #VegasIsVegasArts

'William Shakespeare's Long Lost First Play (Abridged)' at LVLT is Valley Recommended

William Shakespeare's Long Lost First Play (Abridged)

By Reed Martin & Austin Tichenor

Directed by David (Lep) Morey

"The acting is superb, the direction succinct. The production values spot on." - Paul Atreides, Eat More Art Vegas

Las Vegas Little Theatre

3920 Schiff Dr, Las Vegas, Nevada, 89103

Through12/22/2019

lvlt.org

#EatMoreArt #VegasIsVegasArts #vegastheatre