Search Results

A Public Fit proudly presents Talley's Folly by Lanford Wilson Directed by Ann-Marie Pereth Set in an old boathouse near rural Lebanon, Missouri in 1944, it is a romantic comedy following the characters Matt Friedman and Sally Talley as they once and for all settle their feelings for each other. *Won the 1980 Pulitzer Prize for drama* Friday, January 29th Inspire theater 107 S Las Vegas Blvd, Las Vegas, Nevada 89101 Cocktails 6:30 p.m. / Performance 7:30 p.m. Free Admission #APublicFit #Listing

Did you get your copy in your email? Make sure to subscribe, so you don't miss a beat, and add admin@eatmoreartvegas.com to your address book so we don't end up in your spam folder! You don't want to miss out on updated show information, and chances to win prizes for our audience appreciation contests! #Theatre #Dance #Announcement

Poor Richard's Players is kicking off the new year with another round of their Best of Fringe award winning production of NEVER TIE YOUR SHOELACES IN PARIS featuring 30 ALL NEW and all original plays performed in 60 minutes or less! And, to make it harder still, the order of the plays will be chosen by you, the audience. Written and Directed by Poor Richard's Players. Starring: Anthony Barnaby Karalyn Clark Brenna Folger Maxim Lardent Benjamin Loewy Mark Valentin !!TWO NIGHTS ONLY!! Friday, Jan 7th @ 8pm Saturday, Jan 8th @ 8pm at The Baobab Stage - Town Square Tickets are $15 Challenge the artist. Challenge the audience. poorrichardsplayers.com 30 Plays In 60 Minutes© is the nationally registered trademark of Greg Allen. The license for the title and the intellectual rights for the format of these performances have been contracted through The Neo-Futurists, who perform "Too Much Light Makes The Baby Go Blind© (30 Plays in 60 Minutes©)" at The Neo-Futurarium in Chicago and at the Kraine Theater in Manhattan 50 weeks per year. For licensing information please contact Greg Allen at NEOFUT@gmail.com #Listing #PoorRichardsPlayers

Middletown explores the universe of a small American town... As a friendship develops between longtime resident John Dodge and new arrival Mary Swanson, the lives of the inhabitants of Middletown intersect in strange and compelling ways. A powerful and poignant meditation on birth, death and points between. Las Vegas Little Theatre 3920 Schiff Drive Las Vegas, NV 89103 Jan 15-31 Thursday – Saturday at 8pm Sunday at 2pm http://www.lvlt.org/Current_Season/Middletown.html EMAV Review CULTURE OF THE SENSES REVIEW Las Vegas Valley Award Review #LVLT

When Quentin Tarantino’s indie film debut Reservoir Dogs was released in 1992, audiences around the world were jolted. Here was an adrenaline- fueled modern gangster flick with sharp dialogue and powerful performances...with an all-male cast. Now the Onyx Theatre flips the script by giving the classic movie a bold shot of estrogen in Erika Soerensen’s Reservoir Dolls. “Gender parity is a hot button topic in theatre,” says director Troy Heard. “When planning the tenth anniversary season, I made sure we had shows with strong female roles and a fair representation of woman writers. Reservoir Dolls meets both those criteria in spades.” The story remains the same: a gangland mastermind pulls together a ragtag group of criminals to pull off a quick, in-and-out diamond heist. When one of them turns the scene into an old-school shoot ‘em up, and the cops just happen to be right outside, they realize that there’s a snitch among them...and they’re determined to find out who it is. Vegas actress Valerie Carpenter Bernstein plays Ms. White, one of the leads in the heist gone wrong. “It’s been refreshing and illuminating,” says Bernstein. “There’s a basic psychological difference between men and women, logic versus emotion. When you apply that to any stressful situation, you automatically heighten the stakes.” Heard agrees. “It’s definitely not a parody, unlike some of the other shows on our season. It’s a bad ass, straightforward, crime thriller. But it’s still very funny.” Performances of Reservoir Dolls will be January 14 through 31, Thursdays, Fridays and Saturdays at 8 pm. with Sunday matinees on January 24 and 31 at 5 pm. Tickets are $20 for General Admission. Tickets may be purchased online at www.onyxtheatre.com or at the Box Office an hour before show time. RESERVOIR DOLLS Written by Erika Soerensen From the film by Q.T. Directed by Troy Heard The Onyx Theatre is located at 953 E. Sahara Ave. #16B in Commercial Center, Las Vegas, NV 89104. Nearby dining options include Komol (Thai and vegetarian- friendly); Cornish Pasty Co.; and the world famous Lotus of Siam. Off-Strip Productions, the resident producing company of the Onyx, is a 501(c)3 not-for- profit company. EMAV REVIEW EDGE LAS VEGAS REVIEW LAS VEGAS VALLEY AWARD REVIEW #onyxtheatre #Listing

The Pulitzer Prize winning play Driving Miss Daisy is the powerful story of Daisy Werthan, a widowed, 72-year-old Jewish woman living in mid-century Atlanta, who is deemed too old to drive, and her son hires Hoke Colburn, an African American man, to serve as her chauffeur. What begins as a troubled and hostile pairing, soon blossoms into a profound, life-altering friendship that transcends all the societal boundaries placed between them. The Smith Center $34 Troesh Studio Theater Friday, January 15, 2016, 8:00p.m., Saturday, January 16, 2016, 3:00p.m., Saturday, January 16, 2016, 8:00p.m., Sunday, January 17, 2016, 3:00p.m., Sunday, January 17, 2016, 8:00p.m. http://www.thesmithcenter.com/events/driving-miss-daisy/ http://www.vegasnews.com/144318/the-stars-shine-bright-in-driving-miss-daisy-at-the-smith-center.html #BroadwayintheHood #SmithCenter

Winchester Headliners are proud to present James and the Giant Peach. Fun for all ages during this holiday season. Bring friends and family to any of our four shows December 17-19. Tickets can be purchased by phone to reserve 702-455-7340, or on-line at http://www.clarkcountynv.gov/parks/pages/default.aspx #winchester

When you get to a theater and open the program to find the play has been written (book, lyrics, and music), directed by, and stars the same people, well…there’s a tendency to groan and think you’re in for a night of sheer personal indulgence by said people. Such is the situation with The Blanche DeBris Emergency Xmas Broadcast now playing on the main stage of the Onyx Theatre. The play itself is silly, a bit like melodrama complete with the villain, the hero, and the damsel in distress. And you expect it to be full of eye-rolling schtick. But Blanche DeBris entered, and Eric “Travis” Wilson as Woody strode in, and…all we could do was sit back and enjoy the fun. The script is full of adult innuendo, political jabs, and politically incorrect bits. But don’t despair, the message of Christmas is delivered. This cast knows exactly how to give it all with the proper amount of over-the-top spice. All action takes place in a run-down, grime-filled television and radio station in the town of Slippery Crease, Nevada. Troy Heard has provided such detail, with a few surprises, that it’s almost impossible to catch every little piece. And the whole is complemented nicely by the lighting concept and design brought by ALIOS, with strings of party and holiday lights everywhere. Blanche DeBris is a delight. She takes the stage with absolute confidence. Everything about her, from vocal flair to the way she moves, is fully realized. When she sings about the ability to make friends, even with inanimate objects - like a pizza box, an empty Chinese take-out carton, and a condom - her true, and impressive, vocal range becomes apparent. And the woman is not shy in the least. In fact, one might call her fearless; a requirement for this type of role. Much like the guys of Forever Plaid and their “Entire Ed Sullivan Show in Six Minutes and Thirty-seven Seconds,” Blanche does them one better by delivering The Sound of Music in seven minutes flat - complete with costumes. Woody is a typical cowpoke with a bit too much interest in tending the sheep (he declares it’s consensual) and Wilson brings him to bear with the proper dull-minded drawl. In his attempts to save Blanche from ruin, bit by bit Wilson lets us see where his true love interest lies. He plays it in proper melodrama style, yet it isn’t overbearing. Stephen R. Sisson has double duty. In the role of Little Drama Boy, doomsayer yet faithful assistant, Sisson manages to find the right temperament to mine the laughs and his timing in delivery is great. But he really shines when he bursts onto stage as the villain, Mr. Averice. For me, he delivered the biggest laugh of the evening with a single-line homage to Whatever Happened to Baby Jane? In fact, there are so many pokes at film in this script, we kept waiting for him to find a way to give us a bellowing “Stella!” Lily Starr, Strawberry Tallcake, and Sugar Shagmore, make up the singing, tap-dancing troupe called the Three Queens of Orient R. And if you believe those are the real names of the cast members, well, you’ve got a lot to learn about having fun in producing a spoof such as this. The ladies do a terrific job in rounding out the cast, delivering the naughty along with the nice. We shouldn’t leave out the disembodied voice of Miss Wanda, the late owner of the station, provided by Dusty Summers. The eeriness segues into a voice fully understandable in the right quantity. Suspicions are it is Blanche DeBris herself, but we could be wrong. Yes, there are a few minor missteps by the cast; gaps due to missed cues, and some late entrances. Since the fourth wall is deliberately broken early on, with an axe no less! knowing looks to the audience would’ve covered nicely. So, what’s the big emergency? Go and find out. You never know, you may be able to help poor Blanche. When: 8 p.m. Thursday - Sunday through December 19 Where: Onyx Theatre, 953-16B E Sahara Avenue Tickets: $20 (702-732-7225; www.onyxtheatre.com) Grade: **** (Delicious) Producer: Off-Strip Productions; Directors: Blanche DeBris, Lily Starr; Scenic Designer: Troy Heard; Lighting Concept and Design: ALIOS; Stage Manager: Cory Covell; Assistant Stage Manager: Coral Benedetti #onyxtheatre #Atreides #Review

By Nina Raine Billy is the youngest of three adult children in a fairly dysfunctional middle class London family. His parents, his brother, and his sister are intellectuals and artists; critics and creators; they are counter culture and bourgeoisie. In other words, they are walking contradictions. In a family where the currency is discourse, Billy is quiet, isolated and thoughtful. Billy is deaf. Billy has lived among the noise of the hearing all of his life. One day he meets Sylvia, a woman about his own age, whose life mirrors his. Sylvia comes from parents with hearing loss. She is in the community, she is fluent in sign, and she herself is losing her hearing. Billy starts to realize that family is just one component that defines who we are and which “tribe” we choose to align ourselves. Tickets - $15 Adults, $14 Seniors / Students & $13 for LVLT Subscribers January 8 - 24, 2016 Performances: Thursday – Saturday at 8pm Sunday at 2pm Cast: Billy - Ace Gilliam Christopher - Glenn Heath Beth - Charlene Moskal Daniel - Josh Sigal Ruth - Sarah Spraker Sylvia - Jasmine Kojouri Directed by T. J. Larsen & Jacob Moore Set Design - Chris Davies L ighting Design - Kendra Harris Costume Design - Kim Glover http://www.lvlt.org/Current_Season/Tribes.html EMAV Review Las Vegas Weekly Review

Rainbow Company Youth Theatre is offering a delightful, wholesome presentation of “A Year with the Frog and Toad” just in time for the holidays. A full-length, live-orchestra musical that’s suitable for the entire family, at just five dollars a pop you get loads of entertainment for your buck. Based on the 1970’s “Frog and Toad” children’s books written and illustrated by Arnold Lobel, the 2002 musical was conceived for the stage by his daughter Adrianne and in 2003 was the first professional children’s theater production to make it to Broadway. With music by Robert Reale and book and lyrics by Willie Reale, the score is inspired by vaudeville and the Big Band jazz of the 1930’s, with Reale particularly inspired by the Hal Roach Orchestra and the musicals of Fred Astaire. Directed and choreographed with a gentle, organic feel by Karen McKenney, the almost all-kid production takes its cues from the Depression-era in looks and style, with dancers doing the Charleston and soft-shoe type shuffles. The earthy costumes of Mariya Radeva-Nedyalkova include plenty of period appropriate tweed breeches, bomber jackets, and silky flapper-style dresses. The marshy wetland set by Kristopher Van Riper is replete with toadstools and cattails and nicely evokes the muted green, brown, and yellow drawings of the original author. And the sound of Joel Ruud uses calming nature noises while the lights of Jody Caley feature seasonal rich colors which complement and flesh-out the enchanted scene. This is the home of our lovable heroes Frog, played with carefree whimsy by Keegan Nakano, and Toad, played with ornery charm by David “Billy” Tovar. Both being amphibians they are alike in some ways, but at the same time are also quite different. Frog is green, tall and thin, while Toad is brown, short and stocky. Frog is easy going and Toad is rather cranky. But opposites attract, and they are best friends who can’t live without each other. Since many creatures tend to inhabit outdoor places, they share their habitat with birds, a mouse, a snail, a turtle, a lizard, squirrels, and moles. We meet them all as we watch Frog and Toad’s short stories unfold, with the narrative mostly sung by the cast through catchy, jazzy tunes and framed by the four seasons of the year. The show opens as the buddies awaken in April from winter hibernation though the grumpy Toad would rather keep sleeping. In “Spring,” the lovely little flock of Birds return from their wintering grounds and flit around gracefully in their flapper dresses as they sing harmoniously “The sun is out, the sky is clear, so let’s begin another year.” Toad is sad and angry that he has never received any mail so Frog writes him a letter to cheer him up. The only problem is the postmaster happens to be Snail, played with showstopping elan by Deimoni Brewington, who moves very slowly so there’s no telling when the letter will arrive. Brewington displays masterful vocal ability and acting chops as he sings “I’m a snail with the mail” in his solo “The Letter,” which he carries hilariously in his poky way through the audience in a reprise to the delight of young and old alike. He finally delivers the letter near the end of Act II with the triumphant “I’m Coming Out of My Shell,” a fitting end to a long but very funny journey. When Autumn comes and the leaves fall, Frog and Toad separately wish to surprise each other by secretly raking the other’s yard. The mischievous Squirrels mess up their hard work, but the song “He’ll Never Know” proves to be a fun duet, with the two dancing a soft-shoe using the rakes as their canes. Both Nakano and Tovar create fully realized characters and camaraderie with their endearing portrayals, but seem shy when it’s time to sing. They become quiet during their songs, which might be too intricate and difficult for their young voices to carry. But it would be nice if they were a little louder, so we could better hear the lyrics. Vocal coach Andrea Shepherd otherwise coaxes excellent singing from her performers, especially from the beautifully harmonious Birds. Led by musical director/conductor/keyboardist Joseph L. Cottone, the nine piece band is impressive and a real treat in this day and age of taped music. “A Year With Frog and Toad” is a fun family outing for the holidays, and even has a Christmas Carol called “Merry Almost Christmas” to get you in the spirit. #rainbowcompany #Bennett #Review