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Farce is defined as a light dramatic work in which highly improbable plot situations, exaggerated characters, and often slapstick elements are used for humorous effect. The current production of “Love, Sex, and the I.R.S” at Las Vegas Little Theatre aptly fits that description with endless twists of fate, sight gags, and mistaken identities. This entertaining romp is running through December 20th, and deserves a satisfying 3 Stars! Jon Trachtman and Leslie Arthur are out of work musicians who room together in New York City. Though both roommates are men, Jon has been filing tax returns listing the pair as married -- to save money. The day of reckoning comes when the Internal Revenue Service informs the "couple" they're going to be investigated. Leslie masquerades as a housewife, aided by Jon's fiancée, Kate. Complicating matters further Leslie and Kate are having an affair behind Jon's back, Jon's mother drops in unexpectedly to meet her son's fiancée, and Leslie's ex-girlfriend shows up demanding to know why Leslie has changed and won't see her anymore. Joel Hengstler (Leslie) is appropriately uncomfortable throughout his cross-dressing, quick changes to masquerade as a woman -- one of the most unattractive you've ever seen! Susannah Smitherman (Kate) effectively transfers her admiration and affection between the roommates while even masquerading as the vamp to distract the IRS investigator (Floyd Spinner), commendably portrayed by David Ament. Harry Huff (Mr. Jansen) is commendably comfortable as the beer-guzzling, lecherous landlord who keeps an eye out for live-in females. Lee Myers is believable as the stereotypical nagging, loud, talkative, overprotective, smothering, and overbearing mother, Vivian Trachtman, who persists in interfering in her son’s life and makes him feel guilty for actions which have caused her to suffer. Director Emily Fagan-Baker keeps the entire acting ensemble on its toes throughout to deliver the high energy and dedication required of such tomfoolery – several getting staggering drunk, amorous men chasing frightened women, angry men chasing frightened men, people crawling out on window ledges, and the fiancée imploring "Jon, do something!" every 15 minutes. This past-paced action takes place in a beautiful, Manhattan bachelor apartment designed by Ron Lindblom with lighting designed by Ginny Adams. The Opening Night audience was most appreciative of this fun-filled production with a talented cast and fast paced direction. #LVLT #Stalter #Review

By Nick Payne Directed by Levi Fackrell One relationship. Infinite possibilities. In the beginning Marianne and Roland meet at a party. They go for a drink, or perhaps they don't. They fall madly in love and start dating, but eventually they break up. After a chance encounter in a supermarket they get back together, or maybe they run into each other and Marianne reveals that she's now engaged to someone else and that's that. Or perhaps Roland is engaged. Maybe they get married, or maybe their time together will be tragically short. Art Square Theatre Jan 14 - Jan 24 Thursdays - Saturdays 8pm Sundays 2pm Tickets $16-$20 http://www.cockroachtheatre.com EMAV Review Talking Broadway Review Edge Las Vegas Review #Cockroach #ArtSquare

Believe it or not, even Ebenezer Scrooge has a sense of humor. Nevada Conservatory Theatre presents a fresh, different version of Charles Dicken’s 1843 “A Christmas Carol” than the one they have given in the recent past, an adaptation by Joseph Hanreddy and Edward Morgan that sticks closely to the novella yet also opens it up, expanding on characters and scenes only touched on in the story. Evocative, traditional Christmas hymns sung by the cast frame Scrooge’s transformation from curmudgeon to generous soul, and attention to Dicken’s sometimes wry, tongue-in-cheek language often lightens the familiar, ghostly tale about charity, forgiveness, and redemption. In keeping with the duality of Scrooge’s personality and the themes of the play, director Brian Vaughn deftly achieves a vivid production that is both lush and spare. The staging and pacing is near perfect, the performances are polished, and technical effects are top-notch, though music levels tend to overwhelm singers. An atmosphere of festive nostalgia prevails, integral to Dicken’s idea about the Yuletide season highlighting humanitarian and familial love. And while there are moments of solemnity such as when the ensemble sings “In the Bleak Midwinter,” the show lacks an overall feeling of poverty. A sense of “the surplus population” is difficult to fully get across, perhaps because as in the novella, the play spends more time with the well-to-do than with the downtrodden. But this is essentially Scrooge’s story, and it’s wonderful to watch his rebirth with the actor Armin Shimerman forming a quiet, subtle arc in the part. In Shimerman’s taut, pinched face we see the man who has put up walls to protect himself from hurt and emotional interaction with others, even though he has been the architect of his own demise by embracing money over people. When his “dead as a doornail” partner Jacob Marley, played with wide-eyed, tormented regret by Jesse Bourque, appears to him as an apparition bound in the chains of a materialistic life and bringing a warning for him to change, Scrooge’s bitter resolve ever-so-slightly begins to fade. It’s a powerfully creepy scene enhanced especially by Spencer Haley’s ghostly projections of Marley’s gnarled face and the eerie sound effects of Cassie Smith and Alexis Lopez. Shimerman relaxes into the reawakening of Scrooge as he is visited by the Ghost of Christmas Past, portrayed by an angelic Madison Kisst. They take a trip to the buoyant Mr. Fezziwig’s annual Christmas Ball, where celebrants partake in a feast and perform an energetic social dance, choreographed with authenticity by Cathy Allen. Chris Edwards is a foppish Fezziwig and makes a funny duo with Kelly Hawes as his wife Mrs. Fezziwig. Scrooge’s emotions begin to swell as he travels with the Ghost of Christmas Present, portrayed with charming joviality by Stephon Pettway, to his nephew Fred’s Christmas dinner. Brandon Burk plays Fred as an everlasting optimist, a young man who loves his Uncle Scrooge and accepts him despite his miserly ways. Scrooge yearns to join the party and mingles invisibly with the crowd while games are played, and Edwards takes a turn as another silly fop in the form of Mr. Topper, who flirts with the amusing Stefanie Resnick as the ditzy Lucy. They have a nice rapport but take the hamminess a bit too far. When they arrive at the humble home of Bob Cratchit, portrayed by the sorrowful Jack Lafferty, Scrooge’s wall crumbles when he recognizes the dire illness of Tiny Tim, played sweetly by Will Haley. Lafferty is the emotional center of the play, the one with whom we most empathize. We can see the worry in his eyes, the grief in his shoulders, and the weariness in his sunken cheeks. He is a truly kind soul who deserves a better lot in life. Bernard Verhoeven cuts an imposing figure as the Ghost of Christmas Future, fully cloaked in black robe and pointing his bony finger to a grim world to come, giving Scrooge the final push he needs to seek redemption. The ensemble is strong and includes beautiful singing but others giving notable performances include Kayla Gaar, Sydney Peca Story, Sam Cordes, and Darek Riley. Christian Taylor’s set is woodsy, industrial, and aesthetic, with abstract windows set high above the stage. One central, large round window towers above the set with Haley’s gorgeous projections of clocks and snow displayed upon it, indicating locale. Daniella Toscano’s sumptuous costumes are harmonious and beautifully constructed and span different eras, though a bit less beauty might be more appropriate for characters of lesser means. And the lights of Manuel Ramirez are icy blue to capture the feeling of cold, with warm, flickering yellows to evoke gas lamps and candles. He has a gift for lighting faces. The transformed Scrooge plays a trick on poor Bob Cratchit when he makes him think he is goingto fire him for being late but gives him a raise instead. It’s a moving moment, proving that having a good heart, loyalty, and patience are sometimes rewarded in the end. #NCT #Bennett #Review

Oh, boy! Has Santa been bad, or what? Depends on which reindeer you believe. Jeff Goode has written eight very clever, adult monologues, and I suppose this is one reason the Onyx Theatre decided to schedule performances at 10:00pm. Regardless of the start time, the decision to present this in the Cabaret Room is the right one. The intimate venue is perfect and scenic designer Joy Demain wisely kept it simple. The proscenium stage, flanked by holiday-painted flats and presents, is bare except for a single stool. Yet, Director Troy Heard puts the entire room to use with the actors breaking the fourth wall to directly address audience members. It’s a fun play. There are serious moments but, then again, there are serious issues put forth. You see, Santa is being accused of all sorts of sordid behavior, and now The Eight, those elite members of reindeer society, are split into two camps: those who defend him and those who side with accuser Vixen. Lee Monson is Dasher, the oldest of the bunch, whose issue with flying into tall buildings is what gave Rudolf his chance on that foggy night. Monson’s nerves were apparent from the start and he never quite recovered. His Dasher is all defensive bluster, yet even those who adopt this attitude display various levels, but Monson didn’t find them. It turns out Cupid is gay. With the law of averages, it makes sense there would one in the family. Andrew Young plays it to the hilt with great effect. He’s all over the place in his fur coat - literally, a fur coat. Young tosses his head, bats his eyes, plays demure, and still manages to show not only his disgust with Santa but disappointment. There’s never a dull moment. Did you know that Rudolf isn’t the only reindeer with a film? It’s true. Prancer is quite the “Hollywood” guy and Michael Close does the role justice. His attitude of incense and jealousy over the film deal he sees in Vixen’s future bubbles to the surface in waves. The posturing Close finds within conveys the star image without coming off as imitation. As a result, he wrings both laughs and pathos from us. Olga Rios is Blitzen and, as the staunch defender of Vixen and protester complete with leaflets, does a nice job. She’s at once angry and defiant, moving from stage to house and back again. The sense of pride is mixed with suffering and belligerence in the proper doses to invoke laughter at the right times. On Comet! Well, he’s definitely in Santa’s camp. Shane Cullum is so thoroughly in character from start to finish, you can see the wheels turning. He hesitates, he forges on. The gratefulness of being rescued from a life of crime rings true, the “bad boy” image of a misspent youth, and absolute disbelief in Vixen’s accusations are all on display at the proper tone to invoke humor. When you’re on stage alone, there’s no one to rescue you. Anita Bean, as Dancer, stumbled with her lines at the beginning, recovered nicely, picked it up, and moved on. A victim of religious and sexist bigotry as a young doe, she does well relaying the sense of sadness and regret. With fluid grace, her body language always conveyed the origin of her name. Robert Langford had his work cut out for him. The role of Donner is a tough one. The overall is intended to be humorous, and there’s very little to be found in this monologue. But some different choices in delivery could’ve made all the difference. Even as Langford portrayed shame and guilt there were missed opportunities to mine and convey laughs. Evidently Vixen spent her life living up to the name. Kady Heard embodied the accuser being vilified and victimized to perfection. Her sense of indignation comes through not only in the vocal choices but in body language as well. When she takes the stand in a mockumentary-type trial, she shows no remorse for life choices, yet Heard allows us to see the tragic results. With holiday fun, and a good swift kick in the keister, this production puts a mirror to the face of society pretty much as Goode intended. Decide for yourself which camp you’d be in. What: The Eight: Reindeer Monologues When: 10 p.m. Fridays and Saturdays through December 19 Where: Onyx Theatre, 953-16B E Sahara Avenue Tickets: $15 (702-732-7225; www.onyxtheatre.com) Producer: Off-Strip Productions; Director: Troy Heard; Scenic Designer: Joy Deman; Lighting Designers: Corey Covell, Coral Benedetti; Stage Manager: Cory Covell #onyxtheatre #Atreides #Review

There are a lot of great shows in December. It's time to go out and see them! Let's have a fun contest to celebrate! For the next three weeks (12/1-12/22), take a selfie in the theatre with the program of a show you attend that is listed on our site and include a piece of paper that says ‪#‎eatmoreartvegas‬. Post them to our Facebook page. Every Monday there will be a drawing of the entries from the previous weekend. The weekly winner will be announced and receive a gift from Edible Arrangements so you can EAT MORE ART literally! On your mark, get set, click on the calendar and GO! https://www.facebook.com/eatmoreartvegas/

You may have heard on our recent interview on KNPR's State of Nevada that we were excited to add another trusted, independent voice to the Eat More Art Vegas team! Lisa Bennett has offered her insights on local Las Vegas theatre in the Las Vegas Review-Journal in the past, and we are so pleased to add her voice to our site. Be on the lookout for her first reviews out in December. There are so many great shows opening in the coming days, and we are doing our best to share them with you. Thank you for coming on board Lisa! #Review #Bennett #Announcement

Thanks to Carrie Kaufman and KNPR's State of Nevada team, we had a fabulous opportnity to reach out to the KNPR audience, and spread the word about our thriving theatre scene. Take a few minutes to listen to why theatre is important to Vegas, and what this site is all about from the Founding Editor! New Website Aims to Promote Las Vegas Theatre - Interview aired 12/1/15 #KNPR

Cockroach Theatre Company has attacked a challenging, politically charged drama and come through again with flying colors. “Grounded,” a play by George Brant, won the Smith Prize for Political Theatre in 2012, and is running at the intimate Art Square Theatre through December 13th. This rousing evening of theatre merits a well-deserved and delicious 4 Stars! This is the story of an ace fighter pilot whose high-flying career is ended early due to an unexpected pregnancy. Reassigned to operate military drones from a windowless trailer outside Las Vegas, she hunts terrorists by day and returns to her family each night. As the pressure to track a high-profile target mounts, the boundaries begin to blur between the desert in which she lives and the one she patrols half a world away -- wrestling with what it means to nurture a new life at home while hunting other lives abroad. The heroine soars onto the stage at the opening of the play with boundless energy and wastes no time convincing us how pumped up she is about her job as a fighter pilot in the Air Force. In this one-woman tour de force, Mindy Woodhead’s thoroughly engrossing, cocky portrayal of the nameless protagonist leaves no doubt about why she loves everything about her job. The audience senses her intoxication when she’s up in “the blue,” flying alone, searching out bad guys. It’s the suit, the speed, the danger, the respect. She describes the rush she gets in flight, and the solidarity she shares with her fellow pilots, exuding such pride and excitement that we fully expect her to burst right out of her flight suit. She comes back to earth to join her colleagues for some well-deserved celebrating, and reveals a bit of her feminine side when she unexpectedly finds herself attracted to a man at the bar. The charm only increases when she finds that her tough-guy job doesn’t intimidate him in the least. “First time I’m sad leave is over,” she says, and jests about the role reversal: “Like some ’50s movie. I’ve got my little woman at home, know who I’m fighting for. All that true corn, true cheese.” When she discovers she’s pregnant, she’s abruptly taken out of “the blue,” heady sky because pregnant women are prohibited from flying. Reality hits hard, as she is “Grounded… The pilot’s nightmare.” Andrew Paul’s thoughtful direction combines the picture-perfect projections and wonderfully explicit audio-visual elements of Will Adamson, Brett Bolton and Pat Ferguson, with the vibrant sound design of James Boldt and the dynamic lighting by Ellen Bone, to effectively underscore our heroine’s difficult transition to her new life. She returns to work after her baby is born. But now she’s assigned to the “Chair Force… the Bermuda Triangle” for fighter pilots, because “no one ever comes back.” She will be piloting a drone flying over unnamed territory while she sits at Creech Air Force Base outside Las Vegas. This is a searing, thought provoking, and thoroughly engrossing production. The layer of gender politics, the inability to fly free in “the blue,” and watching a grey screen to fly remote-controlled drones over deserts far away would be enough to cause any of us to spiral out of control into confusion and guilt. SHOW INFO PAGE #Cockroach #ArtSquare #Downtown #Review

The trouble with many original scripts is that they’re prematurely put into full production. They haven’t gone through the tedious process of table reads, workshops, and public readings. But, you’ve got to give props to anyone who promotes original works - it’s how we get new plays. And you never know… the next Doubt or Book of Mormon could be in the offing. The new musical comedy Mister Wives, with book and (we’re assuming) lyrics by Natalie Shipman (who also directed), and music by Mark Wherry, is a parody of the cable television show “Sister Wives” — with a twist ending. It has a lot of potential but, unfortunately, isn’t ready for the stage. The show opens in present day with a 27-year old man who is not familiar with a major, well-known plot arc of Star Wars…well, it’s just not realistic. There are plenty of other instances, and more believable “what ifs” should be mined. The play is brought down by slow pacing. Musical comedy needs to be sharply timed, with quick pacing, or jokes fall flat. There’s a fine-line balance that needs to be walked in order for parody to work. The overall cannot be too silly nor too serious. The cast needs to telegraph a wink to the audience while everything is delivered with proper believability. If we don’t believe the characters or situations are real, we can’t connect and we can’t care what happens. Ryan Hess as Marty, husband No. 1, has moments when he hits the mark. He delivers a quick expression, sometimes a single word at the audience that lets us know this is all silliness. He’s enjoying the role but at the same time the true emotion of character is present. His football player machismo is delicately underlined with hints of homoerotic interest in his fellow “brobands,” adding layers for a three-dimensional character. Husband Christopher is a pot-head and Eric Angell has fun with the role but doesn’t remain consistent. In musical numbers the slow-moving, sluggish, and drug-addled character is suddenly replaced with quick wit and perfectly coordinated steps. Realistically he’d be a beat behind and bumping into things. When Mick Axelrod, as John, has his numerous breakdowns as the downtrodden rock star are over the top and seem to come from nowhere. The frustration doesn’t build over time. As Rob, the newest husband in the collection, Gerald Hallowell looks completely lost. Dialogue is rarely delivered with emotion. When he declares he’s angry and jealous there are no vocal inflections or body language to support the claim. The pathos we’re meant to experience for his plight never materializes. Shana Brouwers plays the role of matriarch and wife, Kady Abraham, and presents the majority of her songs front and center, while the man (or men) she is supposed to be connecting with are upstage and behind her. The emotional impact is lost because she’s not directing the lyrics toward the intended character. The perfectly designed and decorated set by Stephen R. Sisson feels homey and warm, yet the masculine touches fit the theme of husbands dealing with all things household. The program notes don’t credit choreography. The stage of the Onyx is small but doesn’t explain the clichéd and stilted movements given to the cast. While un-credited costumes brought smiles and even a few laughs, details are important and we wish the same attention had been paid elsewhere. Skimping on production values, particularly in an intimate venue, is never good. For instance, Chris is the only husband without a wedding ring, and the honeymoon photo album contains no pictures. Pretending to eat ice cream from an obviously empty carton, empty-looking and hollow-sounding roasting pans, and eating non-existent food from an empty plate only serve to yank an audience out of the moment. If playwright Shipman goes back to the keyboard, and puts a tightened script into more capable directorial hands, Mister Wives could find itself in the company of shows like Nunsense and Menopause: The Musical. What: Mister Wives When: 8 p.m. Fridays-Saturdays and through November 28 5 p.m. Sunday November 22 Where: Onyx Theatre, 953-16B E Sahara Avenue Tickets: $21 - $24 (702) 732-7225; www.onyxtheatre.com Producer: Off-Strip Productions; Producing Director: Troy Heard; Director: Natalie Shipman; Musical Director: Mark Wherry; Scenic designer: Stephen R. Sisson; Lighting Designer: Derek Shipman; Stage Manager: Cory Covell; Floor Crew: Max Dalvey, Amanda Gaston SHOW INFO AND AUDIENCE REVIEWS #Review #onyxtheatre #Atreides

We are pleased to introduce to you our new "Taste Testers" for eatmoreartvegas.com. Paul Atreides and Ralph Stalter, Jr. have the independence, the training and the passion required to serve as critics for the Vegas public. So subscribe, "Like," and "Follow" us to read their reviews, and see what's cooking on the Vegas stage! You can learn morea bout the EMAV team on our "About" page here #Atreides #Stalter