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New Works: An important process By Paul Atreides Author, playwright, and Theatre critic at EatMoreArtVegas.com paul-atreides.com Not From Around Here, by Jennifer Goff and Brian Scruggs, is Las Vegas Little Theatre’s (LVLT) 13th New Works Competition winner and is running now in the Fischer Black Box. It’s a true premier production for this light-hearted comedy. The script, about aliens infiltrating everyday life on planet Earth to study the culture and “drop seeds” of technological advancements, is entertaining. Goff and Scruggs have made alien visitors fun again. The character names are well-chosen for the story arc as the play unfolds. LVLT is to be highly commended for supplying this step in the process. It’s important for new plays to get this kind of recognition, but it’s also an opportunity for the authors to see what works and what might still need fine-tuning. Here, the script is good. The downfall is the flawed direction. If the New Works Competition's extended purpose is to utilize new directors, a seasoned one should assist. The playwrights have not been served well by putting a new play into the hands of such an inexperienced director. Kaleb Bustamante is a 2023 UNLV graduate with a Bachelor of Arts degree in Theatre Studies and one full-length production under his belt. That inexperience shows not only in the actors' performance choices but also in the technical errors of the director. As a result, the authors and actors have been let down. In one scene in particular, Jane and George Smith (played by Kimberly Arnold and Matthew Antonizick, respectively) supposedly sneak around the Jones’ house, where everyone is sleeping, yet Arnold is yelling lines. Arnold spends a great deal of her dialogue over-projecting, and the director should have pulled that back. In that same scene, when the Joneses wake, Bustamante has taken what could be a very funny cat-and-mouse situation and loses the focus with nonsensical blocking that doesn’t flow. In many other scenes, actors move to the edge of the performance area to deliver lines out to the audience rather than to the character(s) they’re supposed to be talking with. Bustamante also fell into the “line-up trap,” placing everyone in a straight line across the stage, instead of normal conversational groupings. Corina Monoran plays Mrs. Crabtree, the neighborhood busybody, with a put-on vocal quality that very quickly becomes annoying. The character is supposed to be an old woman, yet Monoran comes across as anything but. Perhaps due to instinct, Brian Diaz Alavez is much better than Greg Jones and Mandi Nieland as Judy Smith, the star-crossed-lover teens. Alavez has a great sense of timing and uses his ability for physical comedy to perfection. Nieland matches him in delivery, showing she’s reacting to each situation. Several scene changes leave the audience in the dark for too long, and the playwrights could have deleted one with a few added lines of dialogue as the alien family ties the neighbors to chairs. Props are a pet peeve, and the very obviously empty KFC bucket was a distraction. An audience doesn’t need to see fried chicken; they need to see the weight of its contents. Otherwise, the technical aspects are solid. While Skylar Doran’s overall sound design is good, portions of the alien transmissions are a bit too garbled to understand. Ginny Adams’ lighting is excellent, especially when the transmissions to the alien planet take place. Still, this is an entertaining play, and I urge you to support the overall process of the competition. Go see it and help the playwrights along this journey. What: Not From Around Here When: 8 p.m. Friday - Saturday; 2 p.m. Sundays through May 26 2 p.m. Saturday, May 18 and May 25 Where: Las Vegas Little Theatre – Fischer Black Box, 3920 Schiff Drive Tickets: $20 (702-362-7996; www.lvlt.org) Grade:  ** Still Hungry Producer: Las Vegas Little Theatre; Director: Kaleb Bustamonte; Set Design: Chris Davies; Lighting Design: Ginny Adams; Sound design: Skylar Doran; Costume Design: Julie Horton; Stage Manager: Emma Tamashiro

Day to Honor Annual Norwegian Constitution Day The Vegas Viking Lodge Sons of Norway invites the public to celebrate Syttende Mai, an annual commemoration of Norway’s constitution, from 11 a.m. to 2 p.m. on Saturday, May 18 at Boulder City Veteran’s Memorial Park, located at 1650 Buchanan Blvd. The event will showcase a festive procession, cultural costumes, delicious cuisine, lively music, and engaging games for attendees, along with a water play area and recreational area. The venue will supply meat, bread rolls, and beverages. Attendees are encouraged to bring friends, relatives, lawn chairs, Norwegian flags, traditional outfits, and homemade dishes. The entertainment will consist of Bingo, Cornhole, and Toss the Lutefisk. “Our Constitution Day is as important as Independence Day is to Americans,” said Vegas Viking Lodge Sons of Norway President Karen Holien Buehrer. “The annual celebration helps those of us with ancestors and relatives in Norway connect with our Norwegian heritage. As we did last year, we would like to share it with the community again this year.” Syttende Mai, or the Seventeenth of May in Norwegian, celebrates core Norwegian values and national identity. It marks the annual recognition of Norway’s constitution, which was signed in Eidsvoll, Norway, on May 17, 1814. The Vegas Viking Lodge of the Sons of Norway was organized in 1992 and has been involved in a wide variety of special events featuring traditional and contemporary programs ever since. The non-profit organization is a fraternal benefit and cultural society dedicated to preserving Norwegian and Scandinavian heritage and strengthening the ties between North America and Norway. The lodge is known for its popular annual lutefisk dinner, holiday bazaar and appearances at local parades and school functions. The group meets monthly and has provided more than $30,000 in scholarships to local Norwegian-Americans in recent years. To learn more about the Lodge and its activities, visit Vegasvikings.org or follow on Facebook @ VegasVikingLodgeofSonsofNorway

Did you know that the opera composers Mozart, Rossini, Offenbach, and Donizetti collaborated to write The Billy Goats Gruff? Neither did they! John Davies cleverly re-purposed music from world-famous operas to tell the familiar Grimm Brothers story of three billy goat friends whose after-school games are spoiled when a bully blocks the bridge, preventing them from going home. Using what they learned about bullies from their moms, dads, and teachers, the trio prevails and even teaches a lesson about forgiveness and friendship. Free performances include May 10 and May 12 at Whitney Library and Clark County Library. The three friends and their nemesis find ample opportunity to sing and cavort entertainingly, and in this production, Grimm’s familiar, humble characters are married to operatic singing of the highest order. These family-friendly performances appeal to children of all ages, and indeed, many regular opera patrons also show up in force for these adaptations. Young families learn about the operatic art form and its universal appeal by presenting classical music in such a delightful fashion, followed by an audience meet-and-greet. Along with the timeless music, The Billy Goats Gruff imparts an uplifting message. When the goat Lucy has seen her beloved doll, Lucie D. Lammermoor, snatched from a safe hiding place by the meanie, Osmin; she at first feels helpless to cross the bridge to retrieve her “friend.” But she refuses to abandon her and won’t leave her alone to go for help along with her friends, Ernesto and Dandini. Instead, she confronts the bully Osmin, and prevails by inadvertently pushing him into the creek below. Immediately concerned for his well-being, Lucy shows her would-be adversary kindness by asking if he’s okay. He responds in kind by asking if she’s okay. By the time Ernesto and Dandini return with help, Lucy is able to introduce a soggy, forlorn ex-bully as their new friend. The moral: Kindness is contagious. Adaptor Davies seized on an artistic opportunity to present the concept that acceptance of others unlike us is an important contemporary subject and, more importantly, that our attitude toward others who are “different” is a lesson we learn when we are young. Athena Mertes (Lucy) is well known by OLV audiences for such soprano roles as Zelda in Mack and McGuire’s The Ghosts of Gatsby, and Silvia in last fall’s World Premiere of Fowler and Flack’s Behold the Man. Soprano Lisa Elliott (Ernesto) has been heard as Barcarole the Dog in  Opera Las Vegas’ The Bremen Town Musicians, as well as a featured soloist in Linda Lister’s State of Grace at UNLV Opera Theater.  Baritone Chase Gutierrez (Dandini) is remembered for playing the jailer in OLV’s Tosca, and Marchese D’Obigny in last season’s La traviata. Bass Norman Espinoza (Osmin), was last seen by OLV audiences as a soloist in Holiday on Broadway, as well as Voices Raised for Vets. The Opera Las Vegas Youth chorus as the friendly Woodland Animals is rounding out the cast. The production is directed by Dr. Linda Lister, a renowned soprano, teacher, composer and author.  As a singer, she was featured in OLV’s West Coast Premiere of Mack and McGuire’s The Ghosts of Gatsby, and she has directed numerous successful productions as head of UNLV Opera Theater, such as Britten’s The Turn of the Screw, Poulenc’s Dialogues of the Carmelites, and most recently, Rossini’s Count Ory. Performances are scheduled for 6 p.m. May 10 at 6 p.m. at Whitney Library, 5175 E Tropicana Ave., and 3 p.m. Clark County Library, 1401 E. Flamingo Road. No tickets are required for the performances, and general seating is available on a first-come, first-served basis. For more information, visit  www.operalasvegas.com.

The Rotunda Gallery at the Clark County Government Center will host a free art exhibit and reception in recognition of Cinco de Mayo on Friday, May 3, from 5 to 8 p.m. with Mexican artists Olegario Hernández Mendoza, Alejandro Vera Guzman, and Isabel Mendoza. The event will feature cultural performances and food. While free to attend, one may RSVP by calling (702) 455-4259 or emailing DistrictD@ClarkCountyNV.gov. The event is sponsored by Clark County Commissioner William McCurdy II, the Federacion de Poblanos en Las Vegas, the Mexican Consulate, Escaramuza Charras Colibries de Nevada, and Federacion Hidalguense en Las Vegas. The gallery is free to visit and is located in downtown Las Vegas at 500 S. Grand Central Parkway. The exhibit will be open to the public only on Friday, May 3 from 5 to 8 p.m. Olegario Mendoza is from Pinotepa de Don Luis Distrito de Jamiltepec, Oaxaca. Dedicated to his craft, Mendoza began doing traditional designs on his gourds, but soon felt the need to give them his own label. So at age 19, he left Pinotepa to learn Spanish. He then entered an art school in Mexico City, where he learned printmaking, sculpture, oil painting, watercolor, and murals. Mendoza returned to his village to apply the techniques he learned with gourds, combining colors, inks, gold leaf, silver and copper. The iconography of Mendoza’s recreations features both flora and fauna in traditional and contemporary designs, mainly geometric. His work possesses great creativity and innovation and has even been turned into jewelry adorned with gold leaf, silver, and copper. He also produces napkin rings, cups, balls, key chains, necklaces, rattles, souvenirs for weddings, and more. Guzman will share his creative mask works, which reflect the traditions and culture of Santiago Juxtlahuaca in Oaxaca, Mexico. Isabel Mendoza creates enchanting works of art by painting with straws. Following the procedures developed by her grandfather, she uses natural wild straw to create scenes of Mexican life. Among the subjects of her paintings are bullfighters, mariachis, churches, and landscapes. Clark County is a dynamic and innovative organization dedicated to providing top-quality service with integrity, respect, and accountability.  With jurisdiction over the world-famous Las Vegas Strip and covering an area the size of New Jersey, Clark is the nation’s 11th-largest county. It provides extensive regional services to 2.4 million citizens and 45.6 million visitors a year (2023). Included are the nation’s 7th-busiest airport, air quality compliance, social services, and the state’s largest public hospital, University Medical Center. The County also provides municipal services that are traditionally provided by cities to 1 million residents in the unincorporated area. Those include fire protection, roads and other public works, parks and recreation, and planning and development.

Photos by Virginia Trudeau #virginiatrudeauphotography Nevada Ballet Theatre (NBT) will present Swan Lake, the enchanted fable of ill-fated love, at Reynolds Hall at The Smith Center for the Performing Arts from May 3-5. Timeless, iconic, and beloved, Swan Lake is arguably one of the greatest ballets of all time, an achingly beautiful fairytale that is a must-see for ballet fans and newcomers alike. Set to Peter Ilyich Tchaikovsky’s magnificent score, the choreography by Ben Stevenson O.B.E is classical ballet at its heartbreaking and glorious, a love story that is both symbolic and intimate, filled with emotion and humanity. Transfixed from the opening bars of Tchaikovsky’s score, audiences will treasure every majestic moment before them in a work that is as magnificent as it is unforgettable. For more information about The Smith Center for the Performing Arts, visit www.TheSmithCenter.com and follow on Facebook @ TheSmithCenter and Instagram @SmithCenterLV, X (Former Twitter) @ SmithCenterLV and YouTube. Nevada Ballet Theatre is a performing arts organization that has been a beloved community treasure in Las Vegas for over 50 years. NBT has a solid focus on dance education, a versatile company of professional dancers, and a growing repertoire of outstanding ballet and dance productions. With an eye on the future and a reverence for its past, NBT looks forward to continuing to present excellent performances to the Las Vegas community. For more info, visit nevadaballet.org, and follow on Facebook @ NevadaBalletTheatre, Instagram @ NVBallet and X (Formerly Twitter) @ NVBallet. Nevada Ballet Theatre will present Swan Lake at The Smith Center for the Performing Arts May 3-5. For tickets and more info, visit nevadaballet.org/swanlake. As a courtesy to our ticket holders, no children under 5 years of age are admitted to the performances.

This Jane Austen classic, adapted by Kate Hamill, runs through May 5 in the Judy Bayley Theatre. Nevada Conservatory Theatre is proud to present Pride and Prejudice, adapted by Kate Hamill, through May 5 in the Judy Bayley Theatre at the University of Nevada, Las Vegas. Finding your perfect match can be daunting and Elizabeth Bennett has no desire to attach herself to anyone, let alone the dashing and infuriating Mr. Darcy. Bold, surprising, and hilarious, Hamill’s highly theatrical adaptation of Jane Austin’s classic tale of latent love is absurdly delightful. “Jane Austen is so beloved today because her stories are relatable, recognizable, and filled with humor and love," said Director Valerie Rachelle. Austen gives us insight into our own human follies, failings, and triumphs in a way that allows us to laugh at ourselves and know that the human race offers hope, kindness, and generosity at the end of it all. It is always a joy to work on an Austen-inspired piece and experience the roller coaster ride she offers, from laughter to tears and everything in between, with a cast of performers.“ The cast includes Autumn Morgan as Lizzy, JoAnn Birt as Jane, DeVon William as Lydia, Cynthia Nesbit as Charlotte, Nyssa Newman as Lady Catherine, Kate Critchfield as Miss DeBourgh, Andrew Bullard as Mr. Darcy, Nick Case as Mr. Bingley, Drew Callahan as Mr. Collins, Andrew Trevino as Wickham, Kymberly Mellen as Mrs. Bennet, Taylor Hanes as Mr. Bennet,  Nico Lemus as Mary, Bridgett Contreras as Miss Bingley, Dylan Omori McCombs as Ensemble, Jonathan Esquivel, and Mahtab Zargari as understudies/swing. The production team includes Cecilia Fisher, scenic designer;  Leah Procita, costume designer; Paige Borak, lighting designer; Brianna Hughs, sound designer; Timothy Simon, technical director; and Lyndsey Wigand, stage manager Rachelle has been a professional director and choreographer for over 25 years. She attended California Institute of the Arts for her BFA in Acting and the University of California Irvine for her MFA in Directing. She has worked at theaters around the country including Oregon Shakespeare Festival, Utah Shakespeare Festival, Syracuse Opera, Eugene Opera, Fresno Grand Opera, Sierra Repertory Theatre, Glendale Center Theater, Performance Riverside, Lucid By Proxy, Oregon Cabaret Theater, Utah Festival Opera and Musical Theater, Southern Oregon University, El Camino College, Summer Repertory Theater, PCPA Theaterfest and many others. Rachelle is the artistic director of the Oregon Cabaret Theatre in Ashland, Oregon, which is in its 39th season. The College of Fine Arts educates, empowers, and engages creative people to become visionary change-makers in the arts through acts of imagination. At UNLV we believe the arts are an essential good for society. We make education relevant and accessible through our programs and outreach. We create new knowledge in the arts. We celebrate independent thought and the power of bringing people together to foster creativity. Tickets are $30 and can be purchased at the Performing Arts Center Box Office, online, or by calling 702-895-ARTS (2787).

Enable Me Theatre Pilot Program To Transform Dementia Care: For Caregivers By Caregivers Social Issues Theatre proudly unveils the Enable Me Theatre Pilot Program, a pioneering initiative aimed at revolutionizing dementia care. By employing innovative techniques such as role reversal, this program empowers caregivers and cultivates stronger connections between caregivers and dementia patients. Enable Me Theatre represents a paradigm shift in the approach to dementia care. It emphasizes role reversal as a means to empower both caregivers and patients. The program fosters mutual respect, dignity, and deeper relationships by encouraging caregivers to transition from care providers to care recipients. In the United States, approximately 6.7 million individuals are living with Alzheimer's and various forms of dementia, placing immense pressure on caregivers who often experience significant stress and burnout. The Enable Me Theatre Pilot Program offers a groundbreaking solution to provide much-needed support and respite to these caregivers. Utilizing the transformative power of theatre, the Enable Me Theatre Pilot Program incorporates interactive workshops, music and art therapy, and role-playing exercises to equip caregivers with invaluable insights and skills for their caregiving journey, whether they are providing care at home or in dementia communities. "We are excited to collaborate with local organizations to introduce the Enable Me Theatre Pilot Program to communities nationwide," said L.A Walker, Co-Executive Director of Social Issues Theatre. "Together, we have the opportunity to make a meaningful difference in the lives of caregivers and dementia patients, fostering compassion, understanding, and support." The concept of Enable Me Theatre was inspired by Social Issues Theatre Directors Marcia Norris and L. A. following the production of their musical dramedy, "The Wonderful World of Was." The show, which portrays how a chosen family navigates an unexpected dementia journey, sparked numerous requests from audience members seeking guidance in navigating their caregiver duties. Drawing from their personal experiences—Norris's ongoing care for her mother and Walker's journey alongside her late spouse's battle with Lewy Body Dementia—they are committed to addressing the holistic needs of the dementia community. They understand the importance of caregivers finding ways to connect with their loved ones daily. Social Issues Theatre has enlisted the expertise of Dr. Jason Flatt, Associate Professor of Social and Behavioral Health at UNLV School of Public Health, to provide guidance on the program's development. With expertise in LGBTQ health, gerontology, Alzheimer's disease and related dementias, and caregiving, Dr. Flatt brings invaluable knowledge to the initiative. The launch of the Enable Me Theatre Pilot Program marks a pivotal step forward in addressing the escalating challenge of dementia care. By harnessing the power of theatre, Social Issues Theatre aims to raise awareness, diminish stigma, and enhance the quality of life for individuals affected by dementia. Caregivers and others wanting details can sign up for the Enable Me Theatre Pilot Program and Social Issues Theatre by emailing lawalkerwrites@gmail.com and visiting www.thesit.org.

Lessons on Inventing By Paul Atreides Author, playwright Theatre critic at EatMoreArtVegas.com paul-atreides.com Aaron Sorkin is arguably a genius and the King of Dialogue. His dialogue is always breezy, crisp, and brisk. That is certainly the case with his play The Farnsworth Invention, now running on the mainstage at Las Vegas Little Theatre. Farnsworth began as a screenplay, but New Line Cinema shelved it. It was then rewritten for the stage and garnered a short Broadway run in 2009. Sorkin’s adaptation still feels like a film, moving swiftly from scene to scene and jumping time as it goes. The story follows the race between Philo Farnsworth, boy genius, and David Sarnoff, the young CEO of RCA, to invent television. By his own admission, Sorkin plays fast and loose with the expected patent lawsuits. It’s an ensemble piece, and director Lindsay Wray keeps all the parts and 17 cast members (playing 26 roles) moving from setting to setting with dexterity. Not an easy task. She has also kept an eye on and found the humor – especially for anyone old enough to remember things pre-internet. Tom Vernon Ford does a wonderful job playing the adult Philo Farnsworth. His command of the stage bolsters his confidence, and he manages to still elicit empathy when he’s struggling to make his invention actually work. He further lapses into despair when the patent is stolen. Dave Elliot plays the despicable David Sarnoff. He starts off well enough. However, many times throughout the performance, he speaks in the dark because he hasn’t timed the delivery to the blocking; he’s either jumping the cue or coming in too late. To be fair, it could have been the light board operator. Still, Elliot’s characterization remains solid from curtain to curtain. Natalie Sherwood as Pem Farnsworth and Hallie Lyons as Lizette Sarnoff both do an admirable job. Lyons brings disappointment and slow-burn anger toward her husband keeping the necessary sense of time passage intact. Sherwood transforms from a giddy young bride to a supportive wife. The two-level stage, designed by Ron Lindblom and Lindsay Wray, manages to cover a wide range of locations with ease, allowing the characters to walk from one to the next without missing a beat. Add in Michael Blair’s swiftly changed set dressings with the help of light design by Ginny Adams and the action never falters. The sound design by Lindsay Wray also assists in the changing time periods, though the volume level for the 1920 stock market crash, which triggered the Great Depression, overpowers the narration by Ford to keep us abreast. Special kudos must go to Julie Horton for dressing 26 different characters over a forty-year span and remaining true to each period. Despite any production flaws, this is a fascinating and fun history lesson on the 20th Century’s most impactful invention. What: The Farmsworth Invention When: 8 p.m. Friday - Saturday; 2 p.m. Sundays through May 5 2 p.m. Saturday, April 27 Where: Las Vegas Little Theatre - Mainstage, 3920 Schiff Drive Tickets: $30 702-362-7996 www.lvlt.org Grade:  **** Scrumptious Producer: Las Vegas Little Theatre; Director: Lindsay Wray; Set Design: Ron Lindblom, Lindsay Wray; Lighting Design: Ginny Adams; Sound: Lindsay Wray; Costume Design: Julie Horton; Stage Manager: Christy Cunningham

By Debbie Hall dhall@informermg.com Photo by Benjamin Balazs According to director Louie Schwartzberg, cinematography in movies can focus attention, create a visual story, and make "the invisible visible." His visually stunning film, Fantastic Fungi, has been remastered and re-released for fun and informative events. The 4k version of the award-winning documentary Fantastic Fungi will be screened at Galaxy Theaters Boulevard Mall on April 20, offering a unique opportunity afterward to engage in a Q&A session with the director. The movie delves into the awe-inspiring world of mycelium networks and their transformative impact on the environment. The film features renowned scientists and mycologists such as Paul Stamets and acclaimed authors like Michael Pollan, Eugenia Bone, and Andrew Weil. Through their expertise, the film offers profound insights into the mysteries of the Earth and how the underground mycelium network can heal and preserve the planet. Furthermore, the film illuminates the beauty, intelligence, and practical solutions offered by the fungi kingdom to address pressing medical, therapeutic, and environmental challenges. Louie helped pioneer time-lapse cinematography after graduating from the University of California, Los Angeles because it inspired a sense of wonder. “That led me to shoot things like flowers, which could take a month or more to shoot, like, a roll of film, 35-millimeter movie film. And then by getting entranced like watching a flower open, that opened me up to do the films I've done about nature, but more from a feminine perspective, looking at the foundation of life,” he explains. “So, for example, Wings of Life for Disney Nature, which is on Disney Plus now, is a story about how flowers seduce pollinators, bees, bats, hummingbirds, and butterflies, narrated by Meryl Streep. And then you think, what do plants need? Well, they need soil. Where does soil come from?” They come from fungi that break down organic matter into its component parts so that plants can have food. “That turned me on to making the film Fantastic Fungi. You find out that fungi not only break down things and recycle things for life to grow, but they can also sequester carbon for climate change. They can heal your body with Lion's Mane, for example, with Alzheimer's and Turkey Tail for immunity. Basically, I'm just trying to unveil life's mysteries.” The audience will experience many beautiful sequences in the movie, such as time-lapse mushrooms, which most people don't realize are like the largest organisms on the planet. The beauty and all that mushrooms can do will blow them away. “The mushrooms are a window into nature's intelligence, into nature's wisdom, and that's something we all want to reconnect,” says Louie. “One of the other benefits of having the film showing in theaters is that we want people to come together. After COVID, one of the biggest things we learned was that we were disconnected from each other, which was one of the most difficult things we had to encounter. So, having a live screening that has been remastered is gorgeous, with a beautiful soundtrack. It's going to be truly an immersive experience. People come out of the screening many times crying because the beauty of the film is so overwhelming.” Journalist Stacey Gualandi will moderate the Q&A with the director. Fantastic Fungi will be shown at Galaxy Theatres Boulevard Mall at 7 p.m. on April 20. For more information, visit www.fantasticfungi.com and click here to purchase tickets.

History in Dancing By Paul Atreides Author, playwright Theatre critic at EatMoreArtVegas.com paul-atreides.com How history repeats itself…or feels like it repeats. Brian Friel’s Tony Award winner, Dancing at Lughnasa, it’s 1936, around the time of the Lughnasa Harvest Festival. The Catholic has helped pass a law against dancing in public places. The Industrial Revolution was finding its way to the small villages of Ireland, and the Church supported Franco, a Nationalist, during the Spanish Civil War. The Mundy family is in disarray. Five spinster sisters are trying in vain to eke out an existence, fighting against religious repression, fighting against machinery taking over jobs, fighting to stay together and hold onto what little they have. Lest you think the play is all gloom and doom, director Barbara Brennan has deftly found lighthearted moments throughout, particularly in the scenic frivolity of dancing with complete freedom and abandon. Kate, the oldest sister and the most staid is played to the hilt by Tina Rice. Yet there are short moments when she allows herself to let go and join in the fun, only to turn in an instant. Though she has a tendency to soften her voice to the point where dialogue gets lost, Rice manages to bring those sudden changes to life with enough emotion to make them understandable and believable. Annette Houlihan Verdolino plays Maggie, the sister who finds ways to support every sister in the needed time. The changes are never forced and Verdolino knows how to turn a phrase and get the laugh. She is also the best at interacting with Michael – a very young nephew we don’t see – because we never lose sight of where he is or what he’s doing. The use of dialects is always risky business. While the cast was consistent in them, there were times they delivered dialogue so rapidly the words were muddled. The result was losing the laugh and feeling left out. The male cast fared better in that regard because their dialects were deliberately different. Timothy Cummings is Jack, an older brother and a priest who is home after 25 years in Uganda and now battling malaria. His halting speech is tinged with an English accent. Through the character’s struggle and eventual recovery, Cummings is always on point, telegraphing it all in movement and voice. The spinster sisters haven’t always been without suitors, and Jacob Moore portrays Gerry, a Welshman who has pursued Christina and is, in fact, the father of her young (unseen) son, Michael. Moore brings a savoir-faire to the role that imbues the character with fun and the sense of always seeking adventure. It’s the adult Michael we see and hear as he narrates the memories of that summer in 1936. Though the dialect occasionally overpowers bits of dialogue, William Fleming Tarris brings the perfect balance of fact versus reflectiveness. Production values are high. Eric A. Koger’s set uses a representative style to bring the interior of the country cabin and still show the County Donegal vista. Johanna Caley’s lighting manages to alternate the focus from inside to action in the yard without being obtrusive. And Kendra Faith’s period costumes are a wonder, right down to the footwear. The play is a peek into the past and how humanity manages to struggle through hard times. It’s timely. You certainly won’t be sorry if you go and take a glimpse. Take note of the venue change to Vegas Theatre Company’s facility. What: Dancing at Lughnasa When:  7 p.m. Friday – Saturday – Monday; 2 p.m. Sunday through April 29 2 p.m. Saturday, April 27 Where: 1025 S. 1st Street Tickets: $35 - $40 (www.apublicfit.org) Grade:  ****1/2 Delicious Producer: A Public Fit; Artistic Director: Ann-Marie Pereth; Producing Director: Joseph D. Kucan; Director: Barbara Brennan; Choreography: Ann-Marie Pereth; Set Design: Eric A. Koger; Lighting Design: Johanna Caley; Sound Design: Constance Taschner; Costume Design: Kendra Faith; Production Stage Manager: Rebecca Sass