Thursday, May 31, 2012

Theater festival brings on-the-fringe shows to the main stage

By NOLAN LISTER
VIEW STAFF WRITER
photo by Richard Brusky
The Vegas Fringe Festival, the valley's two-weekend live theater festival, is scheduled to return to the Las Vegas Little Theatre for its third year.

Las Vegas Little Theatre President Walter Niejadlik said the festival provides a rare opportunity for people to experience a variety of what the valley's live theater scene has to offer in one setting.
"It's an outlet that is maybe more accessible to folks," he said, "an economically friendly way to fulfill that artistic need."

The festival also provides an opportunity for local artists to network. "It gives some of us exposure to new audiences," said Troy Heard of Table 8 Productions. "We're trying to get our name out to the community, and this is a good way to do it." Isolation can be a problem for some Las Vegas artists, according to local theater producer and director Timothy Burris.

"There's tons of stuff going on here, but we don't always know what the other artists are doing," he said. "From the start, (the festival) has been a band of different groups working together as a community, which helps everyone understand that there is a bigger scene in Las Vegas."

The Vegas Fringe Festival, scheduled for the first two weekends of June, will feature local theater production companies performing established works and new plays written by local playwrights.
Heard is directing the original play "Roles for Women" written by local playwright Erica Griffin.
A number of the companies are performing original works from local playwrights, which speaks to the experimental nature of fringe festivals.

"I often tell friends Las Vegas is the Wild West of theater - anything goes," Heard said. "It is very dynamic and eclectic." The past two festivals netted the Las Vegas Little Theatre approximately $4,000, according to Niejadlik, and each of the participating companies receives 50 percent of their respective ticket sales.
"We'd like to see attendance grow a little bit each year," Niejadlik said. This week, the nine groups will descend on the theater in a last-minute attempt to iron out any technical problems. "The urgency comes (in) wanting everything to go OK with tech work, media stuff and making sure the actors are doing what they're supposed to," said Burris, who has participated in the festival since its inception. "It builds into a fever pitch around this time." All nine productions will be performed five times over the course of two weekends and on only two stages, posing a hectic schedule for performers.
Only 10 minutes is scheduled between performances, so the technical aspect has to be minimal. Sets, lighting and sound constitute the bare minimum, Burris added.

"It's truly a unique experience," he said. "We're used to moving into a theater space and staying for a while." The excitement around the theater has been growing, Burris said.
"Doing a play is something bigger than you already," he said. "But being a part of a festival like this is something else entirely."

Contact Southwest/Spring Valley View reporter Nolan Lister at nlister@viewnews.com or 383-0492.

VegasFringe 2012: City Life Picks


FRIDAY-SUNDAY, JUNE 1-3; THURSDAY-SUNDAY, JUNE 7-10

A
utoerotic asphyxiation! Suspicious religions! Einstein! That's one third of the subject matter at the third annual VegasFringe Festival, setting up shop at the Las Vegas Little Theatre. The festival takes place over two weekends, offering plenty of opportunity to see all nine of the shows presented by eight production companies: Chaos Theatre, Las Vegas Little Theatre, Poor Richard's Players, Found Door, Endless Productions, Olde English Productions, Table 8 Productions and TSTMRKT.

If you only have time to see a couple performances, here are our votes:

A.R. Gurney's Open Meeting (Las Vegas Little Theatre), about a mysterious meeting that devolves into an Oedipal ritual; Erica Griffin's Roles for Women (Table 8 Productions), about a bizarre stage manager pushing the lengths five actresses will go to become stars; and the double-feature Fringe Shorts, including James Huber's "Kissing Hank's Ass" (Found Door) about a couple trying to coax a room-rental candidate into joining their religion, and "Maranatha" (Chaos Theatre), about a reporter trying to prove a man who thinks he's Jesus is anything but.

In the end, four of the theater companies battle it out during The Final Four by Deanne Grace to establish who wins Best Actor, Best Supporting Actor, Best in Fringe and Most Fringy. No play is longer than 90 minutes, so there's no excuse for not experiencing at least half of your represented local theater troupes in action.

Las Vegas Little Theatre, 3920 Schiff Dr., 362-7996.www.lvlt.org/fringe2012home.htm for tickets and show times.

Thursday, May 3, 2012

Opposites attract



Beauty, in two brand-new plays, is in the eye of the beholder
"Las Vegans" sound like the inhabitants of some alien planet where extreme vegetarianism reigns. Erica Griffin's Spearminted (Las Vegas Little Theatre) stars the two most visible subspecies of Las Vegan: 11 (Mario Mendez), a street-corner sign twirler, and Piph (Erin Marie Sullivan), a stripper. They meet not-so-cute when 11 wanders onto Maryland Parkway into the path of Piph's car, late one Thanksgiving. He's been reduced to living with his grandmother and Piph, having turned 35, has been demoted to the Spearmint Rhino morning shift. Ah, the glamour of life in Sin City.

Since 11 can't seem to recall his identity, Piph -- short for (metaphor alert!) "epiphany" -- takes over as his primary caregiver. Smitten, 11 moves in, hoping to graduate from her couch to the bedroom. But since Piph hasn't come clean about her day job, he's heading for a rude shock ... as is she.

After two prior disappointments, LVLT's New Works Competition has a legitimately good play in Spearminted. Griffin not only sustains interest in just two characters for 130 minutes, she's devised an intriguing structure that entwines their destiny from the start. When not together, 11 and Piph engage in conversations (sometimes heard in voice-over) with unseen and unheard interlocutors, but seem to obliquely answer each other. These are, to borrow a Stephen Sondheim lyric, parallel lines that meet.

Griffin seems to have invented a new genre: screwball tragedy. Her literate but outrageous sense of humor once again enables her to slip ambitious themes (for instance, whether personal identity is innate or constructed; the importance of fantasy) into one's intellectual bloodstream virtually without notice. This ability to be both cosmic and individually specific is a rare gift, although her protagonists sometimes deliver too-sophisticated witticisms that betray authorial ventriloquism. Also, whether intended or not, 11's self-righteous male feminism just seems like patriarchy in drag.

Director/designer Shawn Hackler's affectionate, flowingly paced, impeccably produced staging enhances the contrapuntal weave of Griffin's writing, but he's also destabilized it. Rail-thin and angular, Sullivan contrasts sharply with Mendez's teddy-bearish "lovable loser" slump. But it's like the mating dance of an egret and a turtle: Piph's an airhead, with ditzy mannerisms and a helium-fueled voice to match. So extraordinarily bizarre is Sullivan's "tour de farce," you can't take your eyes off her. Thankfully, Mendez doesn't try to match her quirk for quirk, but he's overshadowed until 11's emotional defenses ultimately collapse, to gut-wrenching effect. The real scene-stealer is Thomas Chrastka, bringing deadpan humor to several background roles, which include a corpse and a macaw.

Another premiere, Ernest Hemmings' Bro (TSTMRKT), like Spearminted, deals with how we're conditioned to perceive beauty. At its center are two emotionally infantile pals, Cosmo (Alex Olson) and Craig (Shane Cullum). Cosmo has drunkenly bedded his XXL friend Rebecca (Sue McNulty) and the damage to his self-esteem is worse than the hangover. A subsequent "friends with benefits" arrangement might become more serious were it not for the harsh peer pressure represented by Craig.

Dropping a Scarface-sized quotient of F-bombs, Hemmings mercilessly, hilariously, flawlessly captures "bromance" dynamics, his dialogue not sounding "written" but as though overheard from the next barstool. Zingers like "you're harder than Chinese algebra" feel perfectly off the cuff. (Cullum nails them like nobody's business.) It's ribald, bruisingly real and almost unrelentingly funny, even if director Hemmings is clearly too close to his script to do it full justice.

The first act is a daring success: a slow buildup to Rebecca's entrance. Act 2, however, settles into a familiar rom-com path and even finds Hemmings employing awkward monologues to advance the plot. The men's casual nastiness toward Rebecca would seem to dictate an unhappy ending. But where Spearminted sticks to its guns, concluding very ambiguously, Bro panders. We buy the pro forma final clinch only because of Rebecca's likeable personality and the vulnerability of McNulty's performance.

It's her best work yet: deeply felt, unusually casual and sweet, even sexy. We feel Rebecca's pain. But there's guy trouble: One believes Cullum completely and Olson not at all. The straight man gets the laughs because Cullum plays the situation while Olson goes for the joke, heavily overworking Cosmo's dorkiness along the way. Olson does comedy; Cullum just is, especially in the second act, where the breathtaking cruelty that underlies his incorrigibly inappropriate behavior emerges with a vengeance.

Like Hemmings' direction, the lighting is patchy and the sets have to be taken on faith. However, you'll probably enjoy three-fourths of Bro and grant papal indulgence to the rest.

Spearminted Thursday-Saturday, 8 p.m., Sunday, 2 p.m., through May 13; Las Vegas Little Theatre, 3920 Schiff Drive, 362-7996, $14-$15. Bro Thursday-Saturday, 8 p.m., through May 5; Onyx Theatre, 953 E. Sahara Ave. No. 16, 732-7225, $15-$20

Wednesday, May 2, 2012

Las Vegas Review Journal Review: Spearminted

 

By ANTHONY DEL VALLE
LAS VEGAS REVIEW-JOURNAL

"Spearminted" - an original play by Erica Griffin now at Las Vegas Little Theatre's Fischer Black Box - had me intrigued during much of the first act. The author and director Shawn Hackler get us immediately interested with some hard-edged DJing and two people onstage who don't seem a part of each other's worlds. One is a woman who's a Vegas stripper about to be exiled into the morning slot at a sleazy club. The other is a man whose job involves twirling a sign advertising 69-cent tacos.
A car crash connects their lives. After a long period in a coma, the man comes to, and the woman - mostly out of guilt for causing his injuries - spends a lot of time with him.

Griffin and Hackler nicely package the first act: plenty of fast pacing, unexpected visual beauty and varied rhythms. What I liked best is Griffin's ability to slowly establish a romantic relationship with two very different people. Her dialogue is often clever, but better yet, she knows when to stop being clever and just let her characters talk. She also has created a nifty dramatic device: The man has amnesia, and the aging stripper feels she's losing her identity. It's obvious that this is a story about two people who don't know who they are.

But in the second act, the more I learned about them, the less I cared. The two analyze their feelings so often - and so melodramatically - that I felt Griffin was just repeating herself. The audience is way ahead of her.

Erin Marie Sullivan plays the woman with the stereotypical high-pitched squealy voice of the dumb blonde. She's tough to listen to. Mario Mendez as the man gives an extraordinarily natural performance in the first act. You can feel his amusement at getting to know such an eccentric, and you sense a genuine growing sexual attraction. But in the second act, he falls victim to histrionics. He has one too many nervous breakdowns.

I hope Griffin loses her tendency to overexplain and overfeel. Her first act is rich in suggestion. I wish the second were equally complete and ambiguous.

Anthony Del Valle can be reached at vegastheaterchat@aol.com. You can write him c/o Las Vegas Review-Journal, P.O. Box 70, Las Vegas, NV 89125.

Theater review: Las Vegas Little Theatre’s ‘Spearminted’
Jacob Coakley

Wed, May 2, 2012 (4:54 p.m.)
Erin Marie Sullivan inhabits her character with absolute commitment.

The Details

Spearminted
Through May 13; Thursday-Saturday, 8 p.m.; Sunday, 2 p.m.; $15; 18+
Las Vegas Little Theatre’s Fischer Black Box, 362-7996
Three stars
Spearminted, by Erica Griffin—winner of the Las Vegas Little Theatre’s New Works Competition, and playing there through May 13—starts promisingly, but ultimately feels unfinished and manipulative.
An opening dance number introduces us to our main characters: Stripper Piph (short for Epiphany, played by Erin Marie Sullivan) swings on a pole and grinds on an audience member while Eleven, played by Mario Mendez, twirls a taco sign. And both work it hard. Sullivan is amazing on the pole, and Mendez has definitely been practicing his sign-twirling tricks. It’s exciting, energetic and a unique vision … and then all that energy melts away in an overlong, overlapping monologue scene in which the actors talk with unseen characters. This pattern repeats throughout the play—flashes of a genuine quirky sensibility get buried in scenes that take too long to hit their mark and meander too far afield. At one point Eleven mutters about “digressing again,” and I have to agree.
In the second act, things get more intense as Piph and Eleven get closer—but the emotional fireworks don’t add up the way Griffin wants them to. Character turns seem disjointed and unmotivated, even as they’re played with absolute commitment by Sullivan and Mendez. Sullivan, in particular, does a great job with the left turns the play takes, inhabiting her character with vulnerability and absolute commitment. The problem—for both actors—is a final, sudden, shocking twist, that strips off layers of Eleven to reveal a new, almost entirely different character underneath. But this reveal, while written for maximum dramatic effect, doesn’t feel surprising or inevitable. It feels manipulative, the work of an author tweaking things for maximum “twist” impact. Rather than coming as a surprising but inevitable destiny, the twist robs the play of the tension that had been building.
There’s much to applaud in this play: vivid characters, a genuine Las Vegas vibe, off-kilter humor. But the promise and menace of the story get lost along the way.