Actor shares emotions through autobiographical trilogy
Last time union actor Steven Fales played these parts he performed in September at the Onyx in "The Missionary Position," the second installment of his autobiographical trilogy, and part of a national tour. It made for a funny, upbeat and poignant look at how this ex-Mormon spent his adult years trying to find some kind of spiritual fulfillment.
In April of last year he kicked off the series with "Confessions of a Mormon Boy," which chronicled his traumatic break from the church and his split from wife and children. What had me riveted during these one-man shows was Fales' ability, as writer and performer, to share the details of emotional events without sentiment. He offers such specificities in character and situation that you feel a part of his experiences. And while his shows are emotional, they never settle for the obvious tears.
The former University of Nevada, Las Vegas student is working now at completing the third section, "Who's Your Daddy?," which will be given a benefit reading March 22 at the Commercial Center's Lesbian, Gay, Bisexual and Transgender Community Center (953 E. Sahara Ave., B-31). This chapter deals with Fales' attempts to come to terms with his failings as a son. His other plays tended to put more blame on his parents for the way things were, so it will be interesting to see how the author balances this all out.
Fales is hoping the audience will offer feedback on his unfinished script. He'll have a conversation with playgoers immediately following the 7 p.m. reading. Tickets are $10 at the door (733-9800).
I complained in a review last week that "Matt & Ben" director Justy Hutchins didn't show much respect for set design in her Las Vegas Little Theatre Studio production. She created an (uncredited) realistic living room set for a very unrealistic play. The few articles of furniture were thrown into a tiny space without any sense of esthetics. I received a few e-mails pointing out that Hutchins was dealing with a tiny stage area and had little choice.
I say hogwash.
Spectacle on giant stages can be fun, but some of the sets I've admired most have been in small spaces (I'm not talking about shows that demand no set, which is a whole different subject). The lack of budget and footage often brings out an extra spark of creativity in designers. I've seen productions decorated with little more than plain chairs and foliage, and yet the placement, the particular objects and the colors managed to expertly suggest the psychology of the play.
I often think directors don't understand what sets are all about. They're not mere physical representations of a place. They're our initial "in" to the story and need to tell us something about the kind of experience we're about to have. You don't need realism for that.
It's sometimes foolhardy to attempt realism when you're working on a stage that won't allow it. Too many directors seem to feel sets are about nothing more than throwing couches wherever they're needed. There's a reason some people spend their lives studying design. Too bad the nature of their expertise is often not appreciated.
Anthony Del Valle can be reached at vegas
theaterchat@aol.com. You can write him c/o Las Vegas Review-Journal, P.O. Box 70, Las Vegas, NV 89125.
