Vegas-set ‘Hacienda’ a work in progress

Cockroach Theatre’s premiere presentation of resident playwright Ernie Curcio’s “Corner of Hacienda” drew a packed house. And rightly so, as it’s about time we have a play set in Las Vegas featuring the quirky people who live here.

As we step into the theater, we are greeted by a video screen flashing pictures of old Vegas, including showgirls and the Strip. We then walk through the front door and into the living room of the Debanari family, and the spot-on design (by Chad Burn) reminds us of a 1970s wood veneer, terra cotta, ranch-style Vegas home. Add warm lighting (by Josh Lentner and Elizabeth Kline) and old Vegas commercials mixed with crooner-style music in the sound design (by Arles Estes), and the scene is nicely set, and especially for Vegas natives, flashbacks are probably triggered.

The time is 1994, and Elliot and Francis are two slacker brothers trying to survive after the death of their grandma, Mama. Francis is sensitive, remains paralyzed with grief and always wears her robe. He refuses to shower or even leave the house and has become a hermit of sorts. Elliot, with childhood friend Carlitos, has turned to petty crime to pay the bills. Vegas is rapidly changing, and he refuses to conform to corporate soul-sucking by getting a job in a massive new casino.

On this Thanksgiving Day, Francis is concerned about appearances, though not his own. They are expecting guests — their bitter aunt Carol, cowboy uncle Bilp and somber cousin Penny — for dinner. Unfortunately, they don’t have a turkey. Throw in the arrival of rave girl Tuzza and a visit by ghostly Mama, made possible through a cathartic psychedelic substance, and it’s a bizarre family party.

Curcio’s script is often symbolic, with metaphorical, Sam Shepard-like monologues. The characters work on one level as archetypes but are also strongly written with depth and individual, interior lives. It’s a complex piece that goes in many directions and follows different ideas but could use more polish to home in more specifically on certain themes. Surely longtime Las Vegans can relate to the idea of mourning the death of old Vegas in favor of one that is shiny and new and displaces its residents.

But like the characters in the play, it seems a work in progress, and Curcio and director Bryan Todd clearly collaborated on refinement of the script. It’s sharply written, and through the precise, character-driven work of a hilarious, outstanding ensemble cast, the dialogue snaps and the one-liners zing. The laughs come at us rapid-fire, as do the quiet, intense emotional moments.

As the flummoxed Francis, Brandon Alan McClenahan hits all the right notes and is the consummate straight man, all bewildered second takes at the chaos unfolding around him. Ryan Reason gives Elliot a punk attitude yet also finds nuances of one who feels he has no options. As flower child Tuzza, Felicia Taylor provides a spiritual presence, the calm amid the storm.

Kim Glover reveals much about Carol as she finds the balance between feelings of bitterness and ultimately acceptance and release. As Bilp, Scott McAdam transforms out of close-minded crassness into understanding redemption. Jason Nino is a charming standout as Carlitos, squeezing every bit of ironic humor out of his lovable thug. Maria Militair steals the show as Mama, the perfectly bossy Mafia donna whom no one dares defy.

Like a Thanksgiving dinner, “Corner of Hacienda” takes time to digest but provides sustenance in the end.