EMAV Review: 1940’s Radio Hour ****Delicious

A new (?) holiday classic

By Paul Atreide

Author, playwright paul-atreides.com Twitter: @ atreides_paul

Are you a bit weary of adaptation after adaptation of A Christmas Carol during the holiday season? Looking for something other than The Nutcracker or Handel’s Messiah? Those are all wonderful seasonal classics, but if you still want to see something else that enjoins the spirit look no further.

Las Vegas Little Theatre (LVLT) has the perfect solution with their Mainstage production of Walton Jones’ 1979 1940’s Radio Hour. Based on an idea by Jones and Carol Lees, it is about 90 minutes of pure fun as Radio Station WOV live-broadcasts its final presentation of the annual “Mutual Manhattan Variety Cavalcade” from the Hotel Astor’s Algonquin Room.

Director April Sauline has assembled a fine, talented cast and, using a live band, ushers in a genuinely fun show of the jukebox variety. But this is not your standard static jukebox play.

Set in 1942, the production brings a wonderful mix of music from the era, all songs that were popular at the time, from “Blue Moon” to “Boogie Woogie Bugle Boy.” There are even old commercials for things like Chiquita Bananas and Pepsi Cola. True to the era of live radio, we, the patrons, become the studio audience to witness the fun. There are plenty of antics to catch, too, as the actors embody and embrace their characters with all manner of stage business.

It’s a great ensemble cast, each with a quirky character, and they all work well together. The standouts: Steve McMillan, as the sometimes frantic station general manager, Clifton A. Feddington, chasing down and firing and rehiring performers at the drop of a hat; there’s Peter Losasso as the handsome and debonair Sinatra wannabe headliner vocalist, Johnny Cantone, uncovering his hidden stash of liquor; then we get Michael Blair as the eager-to-please errand boy begging for his chance at the microphone; the shady stage doorkeeper, Pops Bailey, played by James (JD) Smith running his bookie business during the entire affair.

What would a live radio broadcast be without the sound effects guy? Max Lardent, as station engineer Lou Cohn does a great job hitting all the right sound effects and bellowing instructions already given by Clifton.

If there were one complaint to be made, it would be the final scene. Whether scripted or a director choice, the exit of Pops Bailey simply plays out too long and drops and loses the sense of fun we’ve just experienced, especially given the humor in the final line.

Between Ron Linblom’s wonderful set, dressed in all manner of items to discover (right down to a coffee percolator, yet missing a stack of 78rpm records), Julie Horton’s costumes, and Music director Toby McEvoy’s perfect vocals blending, the period comes right to the forefront. All lit to beautiful effect by Ginny Adams.

It’s a well-done production of pure fun and deserves to become a new holiday season classic.

What: 1940’s Radio Hour

When: 8 p.m. Friday - Saturday; 2 p.m. Sundays through December 18

2 p.m. Saturday, December 10

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

Tickets: $30

702-362-7996; www.lvlt.org

Grade: **** Delicious

Producer: Las Vegas Little Theatre; Director-Choreographer: April Sauline; Music Director: Toby McEvoy; Set Design: Ron Lindblom; Lighting Design: Ginny Adams; Costume Design: Julie Horton; Sound Design: Mike Olsen; Stage Manager: Jim BraunKyra Shults

The 1940s Radio Hour to premiere at Las Vegas Little Theatre

Swinging sounds of big band music and hilarious backstage antics

This family-friendly musical opens with I Got a Gal in Kalamazoo and closes with I'll be Seeing You. It's December 1942, and broken down New York radio station WOV is prepping for the final broadcast of the Mutual Manhattan Variety Cavalcade, a seasonal treat for the troops overseas. This gem of a holiday musical is filled with colorful characters, big dance numbers, and lots of heart. Love is Here to Stay, Blue Moon, Strike Up the Band and Have Yourself a Merry Little Christmas are just a few of the chart-topping hits you'll be humming as you leave the theatre.

The 1940s RADIO HOUR is directed and choreographed by April Sauline, with Musical Director Toby McEvoy leading a live band and this ensemble cast of talented local actors (Michael Blair, Eli Carlin, Max Lardent, Peter Losasso, Ricky Lozano, Josh Meurer, Steve McMillan, James (JD) Smith, Sasha Smith, Mary Rose Stark, and Lindsay Wray). The set is designed by Vegas Valley Award Winner Ron Lindblom, with Lighting Design by Vegas Valley Award Winner Ginny Adams, Costume Design by Julie Horton, and Sound Design by Mike Olsen.

The 1940s RADIO HOUR will perform at the Las Vegas Little Theatre Mainstage, 3920 Schiff Drive, Dec. 2-18, with performances on Friday and Saturday at 8 p.m. and Sundays at 2 p.m. There will be one Saturday Matinee on December 10 at 2 p.m. Tickets are $30.

For tickets and information, visit www.LVLT.org or contact the Box Office at (702) 362-7996 during regular box office hours (Mondays 4-8 p.m., Wednesday and Friday 10 am to 1 p.m., and Saturdays 9 a.m. to noon).

EMAV Review: Misery Satisfying ***

Misery Onstage

by Paul Atreides

I am not one to critique a manuscript when I review it unless it’s an original, new work.

In the case of Misery, William Goldman adapted the Stephen King novel to the screen. He’s adapted other works to the screen, most notably All the President’s Men, and won an Oscar for the effort.

One of the toughest things to do–and do successfully–is to adapt a well-known, well-received book and film to the stage. That’s what Goldman has attempted here by adapting his own screenplay for the stage.

His stage adaptation for Misery, now playing on the Las Vegas Little Theatre (LVLT) mainstage, contains numerous very short scenes to move the action forward in time and poses challenges in the theatre. The playwright has let them down, yet director Walter Niejadlik does his best with the given material.

The script doesn’t provide an opportunity for the actors to establish and seal emotions before moving on. Gillen Brey must switch rapidly from Annie Wilkes’ happy “Number One Fan” and careful caretaker to demanding jailer and attempted murderer. The result is that much of Brey’s portrayal comes out on the same level. There’s no time for the menacing macabre to develop through the scenes.

Heath Robertson, as novelist Paul Sheldon, has it much easier: Invalid to the gracious patient to frightened invalid, and he can make that transformation across the 90-minute production. But given the time lapse from start to finish, Paul has issues, as well. A dislocated shoulder popped back in place before the action of the play begins, putting him in an arm sling for months on end. After Annie says Paul’s legs are getting stronger every day; he never once attempts to stand.

The set, designed by Ron Lindblom and dressed by Michael Blair, is positively gorgeous. Small details of the Wilkes rural farmhouse are everywhere, from the clapboard exterior to the knickknacks on tables and pictures stashed on shelves.

Ginny Adams’ lighting is excellent in more ways than simply adding atmosphere. During preshow, before the play starts, the sound and flickering of television wade onto the stage as Robertson lie comatose on the bed. Then, Adams takes the special effects up a level with a fire in a wastebasket, smoke and flame included. (Not to worry, it’s all an ingenious illusion.)

As Paul sits working on the manuscript Annie has demanded, the sound of his typing is overridden by sound effects, then back to life to indicate the passage of time. The two don’t segue smoothly. The issue with sound design stems from a line of dialogue describing all the snow still covering the ground and roads after there has been quite a storm and the sound FX brought a deluge of rain. Again, we probably have to blame the playwright.

Even if you’re a purist, this can still be a satisfying and fun Halloween treat for Misery film fans because the play stays loyal to the screen version.

What: Misery

When: 8 p.m. Friday - Saturday; 2 p.m. Sundays through November 6

2 p.m. Saturday, October 28

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

Tickets: $30 (702-362-7996; www.lvlt.org)

Grade: *** Satisfying

Producer: Las Vegas Little Theatre; Director: Walter Niejadlik; Asst. Director: Mark Hooker; Set Design: Ron Lindblom; Lighting Design: Ginny Adams; Sound: Lisa Tollefson; Stage Manager: Jim Braun