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Las Vegas Little Theatre presents a wild and timely comedic satire about cultural identity involving family politics, international intrigue and Senate investigators. This thought-provoking production of "Yellow Face" runs in the intimate Fischer Black Box through November 22nd. Cast members are kept on their toes yet smoothly transition across multiple roles in this inventive slice of theatre about misconception and false impression. Stimulating, thought-provoking, worth seeing… and deserving of a satisfying 3 Stars! The playwright, David Henry Hwang, became the first -- and only -- Asian American dramatist to reach Broadway with his 1988 Tony Award-winning M. Butterfly. With a nod to reality television, Hwang playfully inserts himself among the Yellow Face cast of characters as DHH -- skillfully portrayed by Kris Mayeshiro -- teasing the audience to decipher fact from fiction in this satirical examination of racial identity in America. Yellow Face begins with the real-life fuss over the casting of Welsh actor Jonathan Pryce as a Eurasian in the New York production of Miss Saigon in 1990. Pryce had originated and played the role for 10 years in West End, London, wearing bronze makeup and facial prosthetics. Hwang lead a group of Asian-Americans to protest the “yellowface” casting (a reference to its cousin, “blackface”, which has similarly permeated the history of performance in western culture). Two years later, Hwang uses the Miss Saigon casting controversy as the basis for a Broadway-bound farce about race called Face Value. Hwang unwittingly casts Marcus Dahlman, a non-Asian actor, as his Asian leading man. The role of Marcus is effectively and unflappably played by Shane Cullum. Hwang learns that his lead actor is actually 100% white, which forces Hwang to become the architect of a charade to make the actor “appear” Asian to the public, suggesting “Marcus Gee” as a more Asian-sounding stage name. To Hwang’s increasing frustration, he and “Gee” repeatedly cross paths — most notably when Gee is questioned in an investigation of Asian-American donations to presidential campaign funds and Hwang is implicated in an overseas money-laundering scandal related to his father’s bank. These events, coupled with the trial of Wen Ho Lee, an Asian-American scientist wrongfully accused of espionage, generate tremendous media attention, casting a suspicious eye on the Asian-American community, from an arguably racist perspective. The play is a free-wheeling mix of playwriting forms. On one level, it works as political satire, mocking social and political institutions for the sake of comedy. On another, it presents a serious “documentary drama,” chronicling real events with real people’s real words. In addition, the playwright explains, “In Yellow Face, the audience may believe they are watching a stage documentary [but] … begin to doubt whether the events portrayed actually happened.” Hwang’s intention is to blur the lines between fact and fiction in the same way that stereotypes blur the truth in matters of race, personal identity and cultural authenticity. This soul searching romp is commendably embraced throughout the direction by Rommel Pacson. By using minimal scenery and lighting, setting the production in the round, and having the acting ensemble always present (and visible) as audience members, Pacson ensures that the audience focus remains on the issues (and the dialog) – racial identity, profiling and America’s relations with its minorities. SHOW INFO PAGE #LVLT #Review #Stalter

Wednesday, November 18th, 2015 is international #LoveTheatreDay. Join the world community in sharing and learning about all things theatre! Let's make sure Las Vegas is part of the conversation. You can follow us @eatmoreartvegas - add your voic! #Announcement

CSN’s current presentation of “The Adding Machine” smoothly integrates all production elements, and a well-rounded ensemble cast, to effectively transport the audience away from their handheld devices back to the 1920’s. The entire cast is exceptionally polished, comfortable and consistent in their performances during this thoroughly enjoyable theatrical experience in the intimate Backstage Theatre -- deserving of a delicious 4 Stars! Written by Pulitzer-Prize winner Elmer Rice, “The Adding Machine” is a 1923 landmark of American Expressionism, which takes us through the firing, murder trial, execution, and journey to the afterlife of Mr. Zero – an accountant who is replaced by a machine. Upon entering the theatre, we are stopped by three workers holding clipboards and standing on a platform. They look down on us to assign a rating then point us to seats apportioned to our respective “grade”. Everyone becomes a number. The set pieces and backdrop include shapes that are triangles, quadrilaterals, and parallelograms in muted colors. The stage floor is painted in similar geometric patterns -- no circles or squares, just straight lines and sharp angles! Visiting artist Will Lowry served in a multidisciplinary design capacity. As a veteran Broadway designer, these scenic elements and his lighting truly enhance the expressionism of the play. The whistle blows loudly signaling the start of the first shift (and the play). The ensemble handles the scene change swiftly and efficiently by moving the geometric platforms into position, constructing a bed in the home of Mr. and Mrs. Zero. Mr. Zero lies on the bed with his eyes open. Mrs. Zero goes on endlessly about her trials, tribulations, and expectations of rewards that should acknowledge today as her husband’s 25th anniversary on the job. Beckie Lookingbill energetically introduces us to cranky Mrs. Zero in this lengthy opening monologue. Her bedtime chatter ultimately succeeds in getting under everyone’s skin. Mr. Zero never speaks or acknowledges her monologue. There is no human connection between them. Sean Craig Stuart marvelously depicts his emotional disengagement as Mr. Zero throughout. Even as we move into the next scene -- his bleak office at a large, impersonal company -- he tirelessly registers figures by hand, lightly sparring with his nagging but devoted his assistant, Daisy Devore. Ariana Jeter magnificently carries off this sympathetic role as Zero’s would-be mistress. The lights change and the ensemble executes the scene change as mechanically as before. The marvelously expressionistic format drives both action and dialog in fragmented and unrealistic ways. Instead of rewarding Mr. Zero for 25 years of service, The Boss delights in telling him that he’s being replaced by an adding machine -- the latest technology. Mr. Zero snaps and kills his boss, is tried and found guilty, then hanged. We learn from the dramaturgical note “Turn Off The Real, Part 2”: Expressionistic drama is often free-form in its storytelling, and does not tell a logical story. It depends on sharp contrast and distinctions between light and shadow, “us and them”, “man and machine”, “good and evil”. This element of extremism -- consistent throughout the perfect design elements and across the performances – is even more overstated when Mr. Zero awakens in the “Elysian Fields”, in the afterlife. There is absolute freedom, potential for true love, and few restrictions in this newfound Utopia. Here we are also introduced to two new, rather humorous characters that leave us hanging on their every word and exaggerated gesture. Adam Yeager truly wins us over. His adolescent reflection on killing his own mother is so impishly innocent and physically portrayed as to catch us off guard. Sega Shines, also doubling as The Boss and Young Man, easily morphs the personality of Charles from a meditative yogi to a hypnotic psychic who mesmerizes Mr. Zero by foretelling of Zero’s regeneration. We are also treated to a most delightful “second coming” of Daisy Devore. Her unrequited love drives her to take her own life and follow Mr. Zero in desperation into the afterlife, where she unsuccessfully exposes him to her more sensual side with a warm kiss -- a short-lived romantic fling. Mr. Zero falls back into his comfortable rut as an “adding machine”, a function that Charles reveals he has been and will be repeating ad infinitum – even as he makes his final exit with a girl named “Hope”! Aaron Tuttle is to be commended on his directing and sound design, his selection of an impressive creative team, and for introducing CSN students and local audiences to this groundbreaking piece of American dramatic literature. Period costume designs were splendidly fashioned by Sherandra Owen, currently a CSN psychology major who took her first theater class last semester. Voice-and-movement instructor, Kris Pruett, did an excellent job with the expressionistic movement and character-based regionalisms evident across the ensemble voices. The audience responded most enthusiastically, which bodes well for this production as a participatory entry in the Kennedy Center American College Theatre Festival. The production continues at the CSN Backstage Theatre, on the Cheyenne campus, through Nov. 15th. **Editor's note: this review was corrected for roles mis-identified as played by Sega Shines and Adam Yeager on 11/18/2015 at 6:48pm. #csn #Review #Stalter

Vegas’s favorite burlesque host Blanche DeBris searches for her roots in a rural Nevada brothel. When a freak blizzard hits, Blanche finds refuge in a low-wattage radio station. She uses the powers of glitter and imagination to create an “X”mas to remember…complete with surprise celebrity guests and glitzy musical numbers! Onyx Theatre Thu Dec 10, 2015 - Sat Dec 19, 2015

We’re excited to present the Onyx’s very first show for kids!!! ELF U.: A Crash Course in Christmas An interactive comedy, ELF U. sends you back to Elf University. Under the direction of holiday experts Mrs. Claus and Mary Christmas, you’ll learn everything you ever wanted to know about your favorite holiday season…and a few things you didn’t! ELF U. is designed for the entire family, and particularly for young audiences ages five to ninety! And if you’re lucky, you might graduate with your very own Elf Diploma! Saturdays at 11 a.m. and 1 p.m. Tickets: $10 for General Admission. Group rates available! http://onyxtheatre.com #onyxtheatre

Synopsis: This radio station covering the North Pole community has a new station manager, Nell Meano, who arrives with her personal lawyer in tow. Her plans to turn the station into a profitable enterprise run head-first into the station’s holiday traditions creating havoc all around. (A musical-comedy in the style of an old-time radio production studio.) Theatre in the Valley December 4 – 27 Fridays at 8pm, Saturday and Sunday at 2pm Rated: [G] – General Audiences Performances will be at Theatre In The Valley’s Playhouse 10 West Pacific Avenue, Henderson NV. 89015-7383 TICKET PRICES $15 Adults, $12 Seniors & $10 Children (Ages 4- to – 14) For reservations call 558-7275 or email us at: tivrsvp@gmail.com #TITV #Hendersom

adapted from the tale by Charles Dickens The classic holiday tale of Ebenezer Scrooge who thinks Christmas is a "humbug" until the spirits of Christmas Past, Present, and Future remind him (and us) of what Christmas is truly all about. Section A: $33; Section B: $27.50 Discounted tickets are available for seniors, military members, the differently abled, all students, UNLV faculty and staff, and UNLV alumni. UNLV students may purchase one $10 ticket in Section B with valid ID. ORDER YOUR TICKETS At the UNLV Performing Arts Center Box Office - Conveniently located on the north-east end of campus attached to the south face of the parking garage; view maps and directions for more information Over the Phone - Call (702) 895-ARTS (2787) Online - Buy here. ​Please note: Additional fees apply to phone and internet purchases. Contact Information Performing Arts Center Box Office 702-895-2787 pacboxoffice@unlv.edu

Watch this space for reviews coming soon!

Based on the Frog and Toad children’s book, this delightful musical follows the adventures of worry-wart Toad and perky Frog over the course of a year. The story of a friendship that weathers all seasons, this enchanting musical is a must see for the whole family. Rainbow Youth Theatre Company Charleston Heights Arts Center 800 Brush St, Las Vegas, NV 89107 December 4, 5, 11, and 12 at 7 p.m. December 6, 12 and 13 at 2 p.m. Admission $5.00 http://www.rainbowcompany.org #rainbowcompany #CharlestonHeights

Love, Sex and the IRS by Billy Van Zandt and Jane Milmore Directed by Emily Fagan-Baker December 4 - 20, 2015 New York City, 1978. Jon Trachtman and Leslie Arthur are out of work musicians who room together in New York City. To save money, Jon has been filing tax returns listing the pair as a married. 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 fiancee, 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 fiancee, and Leslie's ex girlfriend shows up demanding to know why Leslie has changed and won't see her anymore. Like a cross between I Love Lucy and Some Like it Hot! http://www.lvlt.org