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Regional Reviews: Las Vegas The House on Watch Hill
Set in 1984 Cincinnati, the story follows the efforts of 14-year-old Patrick and his devoted friends (the self-described "weird little kids," bonded by their love of horror films, Star Wars, and, in some cases, musical theatre) to create a haunted house impressive enough to help Patrick achieve his goal of succeeding the outgoing director of the local YMCA's annual haunted house event. The show's greatest strength is in its score. Written by Richard Oberacker and Robert Taylor, the musical duo behind Broadway's Bandstand, the songs combine catchy, memorable tunes with pleasing lyrics. They are performed well by the sharp ensemble, accompanied by a live band hidden somewhere in the theater's attic. (Both the Vegas Theatre Company and the Majestic Repertory Theatre set an example for other producers who use recorded tracks because they have "no room" for live musicians.) Daz Weller's direction is flawless and crisp. The show is perfectly paced, the scene transitions smooth and seamless, and the energy levels consistently high. Inevitably, the older, more experienced performers (Jason Collins and Christine Hudman, playing an array of adult characters) exude a polish and magnetism that outstrip most of their younger counterparts. While Weller extracts good performances even from the less experienced members of his cast, the show is elevated each time Collins or Hudman makes an entrance. Another of the more seasoned performers, Rashida Makeda as Joy, raises the roof with her outstanding vocals. Among the younger performers, Nick Katopodis as the nerdy Tim and understudy Khloe Judd, stepping in as goth girl Jen, both show strong potential, delivering seemingly effortless performances. The production boasts some impressive visuals as well, although they take some time to appear. Initially, and throughout most of the show, the set is largely bare, with just a few props and furniture pieces indicating changes of scene. A colorful video panel on the downstage deck offers kinetic displays to accompany the livelier numbers. Among the best design elements, however, are the creative and colorful props (including puppets by Skylar Meek) featured in "A Cultural Institution," a musical homage to the eclectic and delightfully tasteless Spencer Gifts (a fun reference, though possibly too dated for modern audiences). Talking edible undies, anyone? This sequence is surpassed only by the grand finale, a visual extravaganza of outrageous costumes and puppetry. As this is still a work in progress, the authors might want to consider some improvements to their storyline and character development. For example, several dramatic conflicts are resolved so quickly and so easily that they barely register. (Mass defection to the high school musical? Nah. Destructive rampage? Instant forgiveness. Huge budget shortfall? Dad writes a check.) Some of these could be escalated to present more serious challenges for the characters; at least one could be omitted altogether. A crucial plot point turns on a 14-year-old girl's petulant act of betrayal, but the teen's motivation (payback for hurting a friend's feelings) seems rather slight, especially when a more plausible motive (revenge for stealing a friend's affections) is presented earlier but inexplicably dismissed. (The touching song, "Fine With It," soulfully performed by Ashlee Grubbs, sets up this motive nicely; it seems a shame to waste its powerful implications.) When the cadre of friends are first introduced, each reveals a brief snippet of their problems at home. But those problems, and their impact on each of the friends, are rarely mentioned again, and are easily forgotten. This is a missed opportunity to add depth to the characters, explore their motivations, raise the dramatic stakes, and get the audience more emotionally invested. (For example, why does young Patrick feel compelled to lie to his father?) Although this omission affects all of the teen characters, it is especially problematic for the group's newcomer, Jason. His mother is fighting cancer, but she seems wonderfully open, accepting, warm and loving; so why does Jason engage in reckless behavior that places his future at risk? One of the featured teens, Joy, is not originally part of the friends group, but is drafted later to serve as the art director for their haunted house. Introduced as the only African-American child in the school, as well as a gifted visual artist, this youngster probably feels as much a "weird little kid" as the rest of them, making it odd that the plot initially sets her apart from them. This leaves the unfortunate impression that they welcome her only because she serves a critical need, not because she is a worthy friend herself (although they certainly treat her as such once she joins their enterprise). Some of the young people's dialogue needs attention as well. In several instances, the younger characters voice attitudes or thoughts that seem incongruous for their age and generation. When Jason asks Joy where she's from, and she replies "Cincinnati," Jason follows up with "No, where are you from originally?" Later, wrestling with whether to lose his virginity to his first crush, Patrick explains that he's worried about AIDS. Is this really what 14- and 15-year- olds were thinking about in the mid-1980s? After the high-flying finale, the show ends with an epilogue about the friends' futures. Unfortunately, the message is mixed and confusing. Adult Patrick tells his younger self that the teens will achieve their dreams if young Patrick wants them to. If the story ended on this Disney-esque note, the audience could float out of the theater on a fantasy bubble. However, having inflated the bubble, the writers immediately puncture it, revealing that some dreams did not come true. (Does this mean Patrick did not want them to?) Indeed, one character dies far too young, for reasons unstated but obvious to all. If the play is going to reference the AIDs crisis, surely it deserves more than an oblique coda. The House on Watch Hill runs through November 17, 2024, at Vegas Theatre Company, 1025 S. 1st St., #110, Las Vegas NV. Performances Sundays at 5 pm, November 13 and 15 at 7pm, November 9 at 2 pm. For tickets ($28-$45) and information, please visit www.theatre.vegas. Cast: Additional Creative: |
