The inaugural Fallout Fringe Festival is providing participants with a unique glimpse into the Las Vegas theater scene, showcasing an assortment of original and genre-defying works.
While this festival sets a promising tone, it is essential to note that such experiences are not the norm across all of Las Vegas’ small studio spaces.
For those eager to discover the thriving creative landscape beyond the festival, we turned to three key figures in the local theater community for their recommendations on noteworthy companies and productions.
Ernest Hemmings, a significant voice in the industry, strongly advocates for the Vegas Theater Company (VTC).
“I absolutely love everything that they stand for and they do,” Hemmings states with conviction.
He singles out their recent productions, including “The House on Watch Hill,” which is a world-premiere musical by local talents Richard Oberacker and Robert Taylor, creators of the Tony-winning show, “Bandstand.”
Additionally, Hemmings praises VTC’s daring original work, “Abandon,” which explores the life of the Marquis de Sade.
Hemmings appreciates the risks that VTC is willing to take: “They’re like, ‘This hasn’t been tested at all, and we’re going to dump a budget into it.’”
Daz Weller, executive artistic director of Vegas Theatre Company, echoes Hemmings’ sentiments, valuing the boldness and creativity evident in local productions.
Weller also commends Ernest Hemmings for his subversive voice and applauds the work being done by Troy Heard at Majestic.
He highlights the encouraging trend of recent UNLV graduates staging immersive, site-specific performances that capture audience attention for a limited time.
“It’s really encouraging that young people are kind of self-producing and writing, creating their own works and making them happen,” Weller remarks.
Outside of the Fallout Fringe Festival, Vegas Theatre Company diversifies its offerings with burlesque showcases and a collaborative project where Cirque du Soleil clowns develop new material, culminating in pop-up shows every few months.
As part of First Friday events, Weller mentions the “Cockroach Cabaret,” a vibrant variety show showcasing the talent emerging from the local scene.
Looking ahead, Weller divulges plans for a multipurpose space in the Arts District to support the growing demand for mid-sized venues for local productions.
“There’s definitely a need for more midsize spaces in town as this robust community that has a strong voice and wants to be able to tell our stories builds new works,” he emphasizes.
Troy Heard, the artistic director of Majestic Repertory Theatre, shares insights into the local talent landscape.
He encourages audiences to catch performances featuring Erik Amblad, a standout actor within the community.
Heard also highlights Cirque du Soleil veteran Jason Nious, who leads the Las Vegas-based body percussion ensemble Molodi.
He notes the upward momentum of Majestic’s stage manager Ana Gudino, who is directing and developing new projects around town.
Heard recommends the Nevada Conservatory Theatre at UNLV, directed by Kirsten Brandt, praising the impressive student-developed works he has encountered over the past year.
As Fallout Fringe concludes, Majestic Repertory will reintroduce Adam Szymkowicz’s “Clown Bar,” which had a successful run in the past.
Heard also announces plans for “Clown Bar 2,” which debuted in 2022, and a refreshed version of “The Craft’d: An Unauthorized Musical Parody,” aimed at capitalizing on the success of earlier productions.
“I’ve rewritten the script. We’re tightening up the music. It’s going to be a brand-new staging,” Heard expresses his excitement to dive back into this creative world, heralding an energetic future for Las Vegas theater.
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