Derek Phelps, playing Brad, sings a solo during rehearsal for the upcoming play Vampire Cowboy Trilogy Monday. — Photo by Jennifer Parker

Chadron State College’s fast-approaching production of Vampire Cowboy Trilogy brings about excitement for culture-savvy comedy.  Vampire Cowboy Trilogy is guaranteed to satisfy the demands of today’s growing interest in geek culture.

This innovative, three-part production blends comic book humor with endless action while following the adventures of a paranormal detective, a comic book superhero duo during the Cold War era, and a teenage warrior princess.   As the love for shows like “The Walking Dead” and “True Blood” cultivate, it is exciting to learn that CSC’s Theatre Department will produce this “Geek Theatre” play filled with vampires, zombie cheerleaders, and cowboys.

According to director, Scott Cavin, “Geek theatre is about bringing in culture and poking fun at stereotypes while using a lot of what people geek out about as a means to tell a story.”  This three-act, 90-minute production was created by a New York theatre group known as the Vampire Cowboys.   The Vampire Cowboys created this unique genre in which comedy is combined with a large amount of physical action.

According to Cavin, the audience will remember things that, as they were growing up, they truly enjoyed doing, watching, and seeing.  What entertained and excited us as children still has the capacity to entertain us.

Perhaps the most appealing touch is the minimalist stage design.  Cavin maintains that the show is centered on the physical comedy rather than the stage design.  Since each scene occurs in a different setting, the design must maintain an aspect of consistency and simplicity.

“There’s a lot of stuff within the directing of this play that I’ve never been involved with before. Like the idea of combat within rehearsal,” Cavin said. “Nearly half of rehearsal time has been spent on stage combat rehearsal.” Cavin describes one of these fight scenes as a mix between “Glee” and “Buffy the Vampire Slayer.”

This is Cavin’s first time directing a Chadron State production in years.  “I’m very happy to be back in the directing game.  It’s a lot of fun to step out of your comfort zone and try something different” Cavin said. He’s been familiar with the Vampire Cowboy Trilogy for many years.  “It just seemed perfect.  My type of humor is weird and off-the-wall, so this play just seemed natural. “

Cavin depicts Vampire Cowboy Trilogies as an “ultimate geek-gasm,” certain to ignite laughter. “The audience will enjoy themselves immensely.”

Intended for mature audiences, Vampire Cowboy Trilogy will run Feb. 7-Feb. 10 in the Memorial Hall’s Black Box Theatre.  To purchase tickets, contact boxoffice@csc.edu or call (308) 432-6207. CSC student admission is free.

Select cast members from the Theatre Department’s 2013 “Vampire Cowboy Trilogy” production speak about their involvement in the play.

James Steele, 18, freshman of Lincoln, as Michael Novak, puts his finger up to silence his wife, Veronica, Monday evening in the Black Box Theatre. — Photo by T.J. Thomson

Hannah Clark, 19, sophomore of Littleton, Colo., as Annette Raleigh, rests her hands against each other while trying to gain composure Monday evening. — Photo by T.J. Thomson

James Steele, 18, of Lincoln, as Michael Novak, and Erin Neal, 21, senior of Crawford, as Veronica Novak, interact during an argument Monday. — Photo by T.J. Thomson

“God of Carnage,” the Theatre department’s newest show, opens tonight leaving carnage across the stage, along with vomit.

The play starts off as an innocent meeting between two sets of parents to discuss their sons. Quickly, their meeting descends into drunken madness with discussions about marriage, children, and political issues.

James Steele, playing Michael Novak, seems to find a niche as the awkward, stuttering husband trying to please everyone (although mostly his wife.) However, as the play moves along, he begins to fit into his skin better, learning to stand up for himself. It is at Novak’s breaking point, when he is accused of murdering a hamster, that Steele shows his most realistic side. His objectives move from being cordial to being strong and straightforward. It is at this point that Steele finds his element, and perhaps at this point that the play begins to move in a more interesting direction.

Michael Kruger, senior of Gordon, as Alan Raleigh, holds Erin Neal, 21, senior of Crawford, as Veronica Novak, Monday evening during “God of Carnage.” — Photo by T.J. Thomson

Alan Raleigh, played by Michael Kruger, was a pleasantly surprising character. Perhaps the only one of the characters in the play who wasn’t intentionally trying to piss people off, Kruger’s portrayal of the bluntly honest and straightforward Alan was excellent.

The show, however, was stolen by Hannah Clark, who portrayed Annette Raleigh. While, at first, Annette seems to be the mirror image of Novak, trying her best to smooth everything over in a polite manner, she quickly turns into the problem, from pointing out Michael’s murder of the hamster, to pointing out the problems of the Novak’s marriage. Clark’s poise makes Annette one of the most entertaining characters to watch. As she loses her poise and falls apart, it’s hard not to be drawn into her struggle.

One of the best moments of the show was after Annette finally becomes fed up with her husband’s cell phone. “There’s nothing worse than a shoulder bag,” Annette says, in reference to men, “except a cell phone.” Throughout her monologue, I found myself holding my breath in anticipation for every move she made. Annette moves from being the phony she is accused of, to being the most sympathetic character on stage.

Erin Neal, who plays Veronica Novak, finds her niche in a flat delivery of angry lines. From the beginning when Neal tensely asks if the Raleigh’s son will apologize, to the point when she jumps on her husband, there is little transition. Her constant want is to dominate the conversation. In trying to dominate the conversation, however, Veronica merely throws herself into the gutter, becoming flat and predictable.

It’s unclear whether this is part of the script or merely Neal’s choice. Veronica, however, has little change, unlike the other characters. Alan seems like a jerk until you realize that he is not trying to be a jerk, he’s just being who he is. Annette seems like a perfectly friendly wife, until you realize that she is more of a fireball than she lets on. Michael appears as a cordial, loving husband, until he shows his darker, hamster-killing side. Veronica even says about Annette, “She’s a phony!” In actuality, everyone in this play is a phony. Except Veronica.

The simple set design, done by Scott Cavin, assistant professor of visual and performing arts, reflected the show well. The small and intimate area with limited seating managed to seem smaller and smaller throughout the play; as emotions rose, the characters got closer, which heightened emotions even more.

On the whole, the play isn’t fantastic, but it isn’t terrible either. There are definite tender and beautiful moments, but there are also moments of unrelatable confusion.

Although the play is a valiant effort, it shows that the Theatre Department seems to have reached a plateau as it is the same dramatic comedy that the Black Box has witnessed over the past few years. Much like “How I Learned to Drive,” performed in 2011, and “Dead Man’s Cell Phone,” performed in 2012, there are funny moments, and heart wrenching moments. “God of Carnage,” however, did not manage to captivate me the entire way through, unlike other Black Box productions, and it leaves us little in the way of a resolution.

Despite the lack of a resolution, I left the theater deep in thought. “God of Carnage” may have had its ups and downs, but there is no doubt that the final lines will leave you thinking.

Chadron State’s Theatre department always picks dark or edgy plays for the Black Box Theatre. These sordid, but often funny shows do more than entertain. They hold up a mirror to the audience and show us things about ourselves and our society that we may otherwise choose to ignore.

This semester’s production of Yasmina Reza’s “God of Carnage” is no exception. “Carnage” is a transliteration of Reza’s original French play “Le Dieu du carnage” which Americanizes the script and transports the scene to an upscale area of Brooklyn.

Actors Erin Neal, senior of Crawford, James Steele, freshman of Lincoln, Hannah Clark, sophomore of Littleton, Colo., and Michael Kruger, senior of Gordon, bring to life the type of living room comedy that the New York Times places somewhere between television’s “The Honeymooners” and “Who’s Afraid of Virginia Woolf?” Edward Albee’s famous drama.

Indeed, “Carnage” runs the gamut between the slapstick mayhem of “Honeymooners” and the high-minded, back and forths of “Woolf.”

“Carnage” revolves around the interactions between two couples. Alan (Kruger), a corporate lawyer, and Annette (Clark), a wealth manager, visit the apartment of Michael (Steele), a wholesaler, and Veronica (Neal), a writer, to discuss how to deal with a quarrel between their sons.

Hannah Clark, 19, sophomore of Littleton, Colo., as Annette Raleigh, gestures Monday evening in the Black Box Theatre during a “God of Carnage” rehearsal. — Photo by T.J. Thomson

We quickly learn that Alan and Annette’s son Benjamin allegedly hit the other couple’s son Henry with a stick. (The boys never feature on stage.) The play opens with Veronica reading a statement claiming Benjamin was “armed” with a stick. Alan and Annette object to such a loaded term; Veronica suggests “furnished” instead.

Neal’s Veronica is a terrific nag, and a woman after my own heart with her character’s persnickety insistence on using precise and accurate wording. While Veronica’s take on the boys’ schoolyard quarrel is a bit over the top, Neal sells her concern as believable.

Veronica concludes the reading of the statement by remarking that at least the four parents know there’s “such a thing as the art of coexistence.” All the characters nod agreeably, but the story couldn’t be further from artful coexistence. From the first semantic squabble, the fur never stops flying.

What’s unusual about “Carnage” is the play does not stick to its plot’s expected trajectory. As the actors hurl barbed phrases and accusations at one another, alliances dissolve and reform.

Couple argues with couple, the men fall in cahoots against the women, and later the spouses break from their matrimonial alliances, baring the deeper problems in their marriages and finding support from each other’s spouses.

Kruger’s portrayal of Alan is a spot-on disinterested corporate lawyer, taking a call about a serious legal matter every 10 minutes.

The production’s sound designer, HeatherAnn  Hicks, deserves a nod for Alan’s cellphone’s excellently annoying ringtone.

One of Alan’s fiery retorts gives the play its name. Kruger growls, “I believe in the God of Carnage, he’s ruled without interruption since the dawn of time,” in response to the others’ questions of morality and controlling one’s impulses.

Steele’s Michael is a well-matched buddy to Alan despite a few jibes about being a meagre peddler of wholesale goods. Despite being so affable, Michael can’t seem to help siding with his wife every time she puts her foot down.

However, Michael is the real voice of reason in the show (despite what Veronica thinks of herself). He works to pacify his wife and the other couple—a feat Steele sells as genuine rather than conniving.

Rounding out the cast is Clark’s Annette. Clark imbues Annette with an aplomb that seems unshakable—until it is shattered.

Though Annette is the only character who doesn’t join the endless barrage of curse words, she does utter “another f-word” in reference to Henry as the snivelling victim who snitched on her Benjamin. Also, while Annette remains the least vocally outrageous, she has the most violent physical outbursts.

The production’s quartet of actors is a well-matched set who move collectively and individually in seamless transitions between cool and collected ego, to their unrestrained ids.

At one point, Alan says “we’re all neanderthals!” To which Veronica vehemently objects, “I’m standing up for civilization.” The show portrays both sides of this argument without taking a final stance.

“God of Carnage” is definitely one of Chadron State Theatre’s best productions, and a must-see for Chadron’s theatregoers.

James Steele, 18, freshman of Lincoln, who plays Michael Novak, cowers as his wife Veronica, played by Erin Neal, 22, senior of Crawford, yells at him. — Photo by Ashley Swanson

The second production of this year’s Chadron State College’s theatre season is rapidly approaching. “God of Carnage,” opens just a week from today.

“God of Carnage” is a drama about two sets of parents who meet to discuss their sons. Michael and Veronica, played by James Steele, freshman of Lincoln, and Erin Neal, senior of Crawford, ask Alan and Annette, played by Michael Kruger, senior of Gordon, and Hannah Clark, sophomore of Littleton, Colo. to their home to discuss how Alan and Annette’s son has attacked theirs. Though the meeting starts in a civilized manner, it quickly dissolves into irrational arguments about misogyny, racial prejudice, and homophobia.

“God of Carnage,” originally a French production by Yasmina Reza, has been successful in both its original French as well as English. In 2011, it was adapted into a movie “Carnage” directed by Roman Polanski.

The play opens Thursday, Nov. 15, and plays through Sunday, Nov. 18. To reserve tickets to the show, call 432-6360, or email boxoffice@csc.edu.

Left, Lauren Morris, sophomore of Centennial, Colo., as Crystal, Derek Phelps, sophomore of Sidney, as Seymour, and Becci French, senior of Alliance, sing with the Audrey II plant. — Photo by T.J. Thomson

Chadron State Theatre aims high and soars with “Little Shop of Horrors.” This production is visually, musically, and dramatically great and includes a healthy dose of black comedy.

“Little Shop” plays like the upbeat musical version of an Edgar Allan Poe story. Fans of “Repo! The Genetic Opera” will find similar ethical conflicts, but none of the gore here.

The show features a simple but serviceable set, live orchestration, and a three-part Greek chorus, played by Lauren Morris,  sophomore of Centennial, Colo., Becci French, senior of Alliance, and Rian Mamula, junior of Box Elder, S.D. The ladies’ songs and dance frame the narrative, while they also serve as urchins for the other characters to grumble at and fawn over.

“Little Shop” centers on bumbling nobody Seymour Krelbourne, played by Derek Phelps, sophomore of Sidney. Phelps recalls all the nasal nerdiness of Rick Moranis, without being annoying.

Seymour is hopelessly in love with his co-worker Audrey, played by Ashley Rushman, senior of Gurley. It’s never clear whether Seymour loves Audrey for her magical blond unicorn-lady hair or her apparent penchant for handcuffs.

Rushman plays Audrey as a self-consciously wilting woman who knows better, but can’t help sticking with her boyfriend even if he gifts her the occasional shiner or calls her a stupid dame. Her boyfriend is none other than the motorcycle-riding dentist, straight out of “Grease.” The protean Willis Miller, senior of Deer Trail, Colo., plays the likably loathsome Orin Scravello, D.D.S.

Scravello’s tendency toward sadism recalls many painful childhood trips to the dentist and contrasts with Audrey II’s inhumanity.

In fact, Miller makes up the balance of the play’s extraneous characters, shifting seamlessly from old to young, businessman to bum. In one scene he even appears hilariously in drag. He’d have likely stolen the show given more stage time. However, the script keeps the action moving at a fairly rapid pace.

A musical merely about a lovesick underdog who can’t compete with his lady’s sadistic alpha-male boyfriend wouldn’t be very interesting.

“Little Shop” doesn’t let us down once the story dispenses with Seymour and Audrey’s conniving boss, the unctuous Mr. Mushnik, played by Zachary Henderson, sophomore of Douglas, Wyo. Henderson’s New Yorkesque accent is my favorite and his bearing recalls Jackie Gleason on “The Honeymooners.”

But Mushnik’s a nogoodnik and he must give way to the show’s true botanical genius—and I don’t mean George Washington Carver or even Seymour Krelbourne.

Audrey II is the diabolical flytrap with a taste for blood, and the real star of the show. Audrey II is voiced masterfully by James Steele, freshman of Lincoln, and brought to life by the untiring efforts of Michael Kruger, senior of Gordon, as puppeteer.

A particularly nice touch is the use of several different puppets to trace Audrey II’s growth from a small potted nuisance to a leviathan menace to society. The medium-sized puppet, which was more of a flytrap bodysuit, is the most life-like. The enormous puppet used toward the end was versatile enough to make the eating scenes believable, if not realistic.

While Audrey II’s unending cries of “feed me” are chilling, and Seymour’s increasingly immoral methods of getting its food disturbing, the show stays pretty light. The laughs keep coming, the actors are great, and the music fun.

“Little Shop of Horrors” is a delightfully dark, hilarious romp through foam rubber carnage.

Derek Phelps, sophomore of Sidney, holds two telephones at his workplace Monday. — Photo by T.J. Thomson

Parents be warned, if you bring your children to CSC’s production of  “Little Shop of Horrors,” they will never want to go to the dentist again.

Despite that little insight, the play is over-filled with different emotions, and takes the viewer on a wild, yet pleasantly enjoyable ride. It’s interesting to see a play with such a heavy, dark, and cynical plot line turn into something that makes the audience laugh.

Many of those laughs came due to Willis Miller’s multiple personality syndrome. Miller played seven different characters, but he never mingled their different personalities. For example, when he played the different contractors, all vying for plant cuttings, each one had his own voice and mannerisms without being redundant. Miller’s not too bad at playing a woman, either.

Other cast members, like Derek Phelp’s Seymour and Zachary Henderson’s old and greedy, Mr. Mushnik, played their character well, never once breaking the trance of being someone else. Ashley Rushman,  who plays Audrey, the play’s heroine, who skims over her abusive situation. Rushman excels at portraying the multi-faceted character, a woman who believes she deserves her punishment of being with a man who constantly abuses her.

James Steele, the voice of the plant, was so great that despite the evil nature of the plant I was often laughing when it spoke. He was truly a villain you love to hate. Michael Kruger, “Little Shop’s” puppeteer, kept in sync with Steele excellently. The pair makes the audience believe they are one person, or rather plant.

The set was well thought, well placed, and built the perfect scene for both Skid Row and the Flower Shop. Costume design reinforced these scenes, with thoughtful, period designs that reflected each character.

Despite “Little Shop’s” dark plot, most lines left audience members with belly laughs, which dimmed down the oppressive darkness.

The ending, however, was discouraging compared to the rest of the show. Along with a disappointing fourth-wall break, I felt that the play dragged on far too long. There were many times when the play could have ended, but instead, more unnecessary parts kept coming about. For instance, at the very end, I felt like I was in the middle of a disco while watching an old child’s cartoon running in the background. It didn’t go along with the plot line, and the dance-show lights distracted viewers from the actual drama, which had intrigue and conspiracy.

In regards to discrepancies, a couple of times the flower shop’s door wasn’t used, and characters just walked in through the invisible wall. Also, during the shop-remodeling song, Mushnik and Seymour hang a “re-opening” sign on the storefront window, but it’s faced away from the glass. There it stays, for the rest of the show, which distracted this OCD reviewer into thinking, “are they constantly re-opening?”

Despite these small cavities, CSC’s production of “Little Shop of Horrors” will still make the audience smile. As Dr. Orin, the evil dentist says, “This is going to be a pleasure.”

Sarah Kingsbury, 21, senior of Winner, S.D., paints a sign Wednesday afternoon in Memorial Hall. Kingsbury is one of several students doing production and set work for the upcoming Theatre Department’s “Little Shop of Horrors” production. – Photo by T.J. Thomson

As the opening date approaches for Chadron State College’s production of “Little Shop of Horrors,” the real horror is preparing for such a huge musical.

However, the cast and crew are eager for a good show. With the set prepared and an excited cast, it’s hard not to look forward to the second musical the theatre program has put on in two years.

“Little Shop of Horrors” is a musical based on the 1960 movie by Roger Corman. The off-Broadway show, with music and lyrics by Alan Menken and Howard Ashman, was first performed in 1982. The musical was then adapted into a movie directed by Frank Oz in 1986.

“Little Shop” is the story of Seymour Krelborn, a young man working on “Skid-Row” in a flower shop. One day, Seymour happens upon an interesting plant, who attracts customers, but happens to prefer a diet of blood and flesh. The plant promises Seymour fame and fortune in return for human bodies to feed on.

Perhaps the most interesting thing about the play is that it is a comedy, but a very dark one.

“It’s definitely different from the movie,” Rebecca French, senior of Alliance, who plays Chiffon, said. “It’s a family-friendly show in that it has the love story and the music and toward the end it gets dark.”

“The doo-wop girls are singing about murder and it’s ridiculous. The music lightens it up,” Lauren Morris, sophomore of Denver, who plays Crystal, said.

The play is also interesting for the plant itself, known as Audrey II. There are four puppets used for the plant, rented from Intermission Productions and Puppet Factory out of Tracy, Calif., according to Scott Cavin, assistant professor of visual and performing arts.

“You have to create an atmosphere and a mood that the puppet can thrive in, but it also has to be in a place where it doesn’t hinder anything,” Cavin said.

James Steele, freshman of Lincoln, provides the plant’s voice. Rather than being on stage, Steele voices the plant from the booth.

“I want to do voices for characters in animated movies, so it’s kind of prepping me for it,” Steele said.

“If I had to choose a favorite character, it would probably be the plant and James’ impact on the plant,” French said. “He’s done a really great job.”

Meanwhile onstage, Michael Kruger, senior of Gordon, controls Audrey II. “It’s different from other shows in the fact that I’m not actually onstage, I’m inside a puppet onstage, so it’s completely different acting. I have to act and move in ways to make the plant believable.”

“One of the things that’s nice with the company is that the puppets are built to be expressive,” Cavin said.

Bo Decker played by Willis Miller, 23, (left), senior of Deer Trail, Colo., talks to one of his castmates during a rehearsal in Memorial Hall, Monday night. — Photo by T.J. Thomson

The CSC Theatre production of William Inge’s “Bus Stop” is a slow-but-sometimes-funny romp through the dated social mores of the 1950s.

While many of CSC Theatre’s big spring productions feature intricate sets and larger-than-life characters, “Bus Stop” is more of a sedentary examination of the vicissitudes of human relationships.

An early quip from Grace Hoylard, owner of the diner where the action occurs, sets the tone for the rest of the play.

“Maybe you’d have more boyfriends if you didn’t get such good grades,” Grace tells her waitress Elma Duckworth. After all, a man don’t want a woman who’s smarter than he is!

From here, the females play relationship poker with decreasing deftness until the males are left holding most of the cards.

Overbearing improprieties are forgiven, handshakes are extended, and women’s wills are subjugated to the approval of men who behave like fools.

What bothers me about “Bus Stop” is its casual parade of misogyny and the enforcement of patriarchy over women who at first seemed to be in charge. This is unsurprising in a show that debuted in 1955.

And by that rosy-lensed standard, “Bus Stop” plays as an over-the-top liberal production where sexual freedom runs rampant!

One couple admits to being “familiar” out of wedlock, while another is chagrined when the man’s boots are found on the woman’s doorstep.

Bravo for admitting that sex exists and that men and women tend to engage in it when the feelin’ strikes ‘em!

All that aside, CSC Theatre puts on a great show—as they most-often do.

Becci French and HeatherAnn Hicks make picture perfect 1950s diner gals, as Elma and Grace. Ryan Helton is fun as the lovable but stern Sheriff Will Masters. Josh Hoffman is polite and understated as the shyly smiling bus driver Carl.

Evan Torkelsen’s portrayal of the dubious drunkard Dr. Gerald Lyman is abundantly likable yet creepy.

Despite several breathy quotes from Shakespeare’s sonnets and Sir Walter Scott’s “Young Lochinvar,” Lyman’s best line is, “I shall seek the icy comfort of the restroom!”

Jacob Smiley’s wise and grizzled Virgil Blessing is the cast’s guide through the labyrinthine byways of courtin’, hatin’, and lovin’. I particularly enjoyed his singing during the impromptu variety show in Act II.

The heart and soul of the show is the unrequited love Willis Miller’s rough and tumble cowboy Bo Decker has for Ashley Rushman’s Cherie.

Miller captures the bewilderment and frustration of Bo’s first time off the ranch. He bursts on the scene, overflowing with love for Cherie, whom he calls “Cherry” in his twangy accent.

Rushman’s Cherie is a beautifully nuanced damsel in distress. Her portrayal evokes genuine worry for her well-being.

Though I was disappointed with the play’s resolution, I was delighted by the  wonderful set and the cast’s performance.

“Bus Stop” is a top-notch CSC Theatre production well-worth seeing.