EMA Review: Don’t Talk to the Actors **1/2 Still Hungry

No Talking

By Paul Atreides

Author, Playwright, and Theatre Critic at EatMoreArtVegas.compaul-atreides.com

Have you ever read something that caused you to laugh out loud, then relayed it to someone and it wasn’t funny? One of those “guess you had to be there” moments? That happens in theatre, too. A script is funny as hell on the page. On the stage? Not so much. Having directed one like it, I can vouch for that.

Such is one of the issues with the Sin City Players production of Don’t Talk to the Actors, by Tom Dudzick, and directed by Jack Stroud. The premise is that a young playwright stumbles his way to Broadway and… There are plenty of inside theatre jokes that an average patron may not pick up. And the script goes on a few pages too long. When you think it’s over, it’s not; Dudzick has a couple more “situations” for you.

Perhaps blame the opening scene's low energy on tired actors. Eden Dingle plays the young writer, Jerry, accompanied by his girlfriend, Arlene, played by Cassidy Doherty. Neither seems particularly excited or enthusiastic, and the timing suffers. Doherty drags the energy down further, drowned out by the A/C and moving listlessly in ways that don’t match the situation. Especially when she’s supposed to be swooning over the big star she’s infatuated with. Doherty faints, and we’re left scratching our heads, wondering why, because she hasn’t made the connection or made any transition via vocal or facial expression.

Greg Van Cott is Mike, the director of Jerry’s play. Van Cott underplays the character, but it’s consistent and steady.

Everything improves the moment Alan Roberts walks onstage as Curt Logan, the heavy-duty star of stage and small screen. Roberts is perfectly larger than life, delivering a fully fleshed-out character with, as a line from the play goes, “highs, lows, and side to side.” If only that energy had been contagious.

When Ellen Richards saunters in as Beatrice, the loud, uninhibited, and brazen co-star of Jerry’s play, the energy drops again. Richards wanders, unsure where she should be or how she should carry herself at a time when she should be brassy and ballsy. Yet, in Act 2, when she’s sitting, she delivers her lines with intent. She gets on her feet, and everything disappears.

A second bright spot is Rhonda Beth as Lucinda, the stage manager for Jerry’s play. She provides comedy by bringing a three-dimensional character to life. Like Roberts, she uses her entire instrument. She gets laughs just by moving across the stage or quietly answering a phone call through earbuds.

In the end, the actors come across as if they’re in completely different plays.

The technical aspects are good. The table-read rehearsal room setting is sparse and fits the play. Lighting and sound are good, though the taped preshow could be louder; it’s funny and deserves to be heard. Ange Curza’s costumes are terrific; particularly Curt’s smoking jacket and scarf, Beatrice’s bohemian dresses and jewelry, and Lucinda’s thrift store outfits.

Speaking of things one shouldn’t do, audience members should never be allowed to wander onto the stage during an intermission to pick up props or set dressings. Yes, it’s enticing in a space like the Fischer Black Box, but where was the production stage manager or crew member to stop the woman who thought it was acceptable?

When:  8 p.m. Fridays – Saturdays through October 10; 2 p.m. Sunday, October 11

Where: LVLT’s Fischer Black Box, 3920 Schiff Drive

Tickets: $20* to $25; 702-362-7996 www.lvlt.org

*Students under 18 – call during Box Office hours

Grade:  **1/2 Still Hungry

Producer: Sin City Players; Producer: Shakien “Gabe” Smith; Director: Jack Stroud; Vocal Director: Ryan Gourley; Scenic, Lighting, Sound Design: Uncredited; Costume Design: Ange Curza; Stage Manager: Kipper Redmond