Women on the Verge of a Nervous Breakdown @ Mainstage Irving-Las Colinas

—Jan Farrington

What can put smart, successful, good-looking women “on the edge”? Plenty of life’s “stuff” (big and small) can send us reeling toward the drop-off. But let’s be frank: in more cases than not….

It’s men.

Leastwise, that’s the central point of Women on the Verge of a Nervous Breakdown, the 2010 musical the prolific David Yazbeck (songs) and Jeffrey Lane (script) made from Spanish director Pedro Almodóvar’s hit movie of 1988. Set in Madrid, it follows the ups and downs of a group of lightly connected women and their lovers, husbands, taxi drivers, and (just for variety) international terrorist boyfriends.

Director B.J. Cleveland does this show proud at Mainstage Irving-Las Colinas. There’s a definite quorum of fine singing voices—some of them spectacular—and a great blend of comedy mixed with moments of sadness and self-reflection. Kelly McCain’s imaginative Latin-infused choreography enhances scene after scene, moving the large cast around the multi-level Pop Art stage space (from Wendy Searcy-Woode) in ways that keep us watching. And live music from the band in the pit, led by Kelly Poché Rodriguez, is a constant pleasure to hear. (Especially loved the drums!)

At first thought, the plot (full of ‘80s touches like answering machines w/ out-loud messages, dial phones, and vengeful ex-wives) might seem a little dated. But somehow, it doesn’t feel tired. After all, who can say these women’s “issues” (an unexpected pregnancy, for instance) are old hat? The movie and musical predate the #MeToo movement, but that’s the look in these ladies’ eyes as they’re put through the love wringer by their significant others: Me Too—can you believe it?

The central story follows Madrid actress Pepa (a terrific Molly Robinson), whose lover Ivan (Daniel Evan Memmott Jr.) has left a smooth-voiced “bye-bye, mi vida” message on her machine, for reasons she doesn’t understand. But Ivan’s a player. Who is he seeing now? How much of his baggage will he leave behind for Pepa to sort out? She knows about Ivan’s crazy-jealous ex-wife Lucia (Sara Shelby-Martin), but not about his grown son Carlos (Robert Mata). What she doesn’t know is that Lucia is on the loose after years of confinement, and has a gun.

Jason Philip Solis plays a connecting character, the Taxi Driver—who shuttles Pepa around Madrid, and sings love songs to the city he calls his “mama.” Solis’ angel voice fills the theater, and his gentle comic timing makes us happy. Also notable in a good cast are: Kimberly Smith as the caring, religious Concierge of Pepa’s building, whose prayers and advice are a true comfort; Jackie Peck Gibbons as a memorably awful fiancée (until she transforms); and Kelly Holmes as a crafty, lusty lawyer.

And then there’s dynamic Lexi Nieto as Pepa’s BFF Candela, who steals every scene she’s in—whether babbling a string of panicked phone messages, crying as if nobody’s watching, or tottering around in fishnet stockings on her improbable stiletto heels. She’s a hoot.

I won’t even try to give you a sense of the plot: it would take a book, and/or a village of writers. In the end, some surprising new connections are made—and some choices we might not have expected. I love the way the multi-level set gives the whole cast places to perch and keep an eye on the story: this really is about a community of women, all looking out for each other.

Women on the Verge is a cool, tuneful (and indoor) option for a hot stretch of Texas summer—and these ladies are worth getting to know.

WHEN: Through July 30

WHERE: Dupree Theater, Irving Arts Center

WEB: mainstageirving.com