Review: NUTS at The Weekend Theater in Little Rock - Part Two

Surprise, friends! I didn't see the Blue cast, but we have a wonderful theatrical community, and my friend offered to write the review! So, here is part two of the NUTS review at The Weekend Theater in Little Rock by the amazing Taijee!

Although I didn’t get the chance to catch the Purple Cast, if the Blue Cast is any indication, I can only imagine they delivered just as fiercely—because what I witnessed was nothing short of gripping.

NUTS by Tom Topor, directed by Byron Taylor, is a three-act courtroom drama that does not let you go—and trust me, it warns you upfront. Taylor opened the evening with two simple instructions: this is a three-act play with two intermissions, and turn your phones off. Both proved necessary. Blink, scroll, or mentally check out for even a second, and you risk missing something vital. But honestly? That’s nearly impossible when the storytelling is this magnetic.

I had the privilege of experiencing the Blue Cast: Jamie Partain as Rose Kirk, Matthew Maguire as Aaron Levinsky, and Katie Choate as Claudia Draper—supported by a powerhouse group of actors who meet the moment at every turn, including Drew Ellis, Tyler Berg, Paul Bowling, Alan Malcom, and Kenneth Gaddie. Together, they didn’t just perform a story—they unfolded it, layer by layer, with precision and intensity.

In a play this heavy, moments of relief are gold, and Bowling and Gaddie understood the assignment. As the judge and bailiff, they became our surrogates—watching, reacting, and occasionally giving us permission to breathe. Their subtle humor felt like a pressure valve in an otherwise tightly wound room.

Then come the emotional heavyweights. Malcom and Partain, portraying Claudia’s parents, deliver performances that don’t just land—they linger. Partain’s vulnerability is almost too real, her tears echoing what the audience feels but can’t quite express. And Malcom… his performance simmers. What starts controlled slowly unravels into something shocking, adding a whole new dimension to the narrative just when you think you’ve got it figured out. Berg, as the prosecution’s psychiatrist, is the kind of character that makes your blood boil—in the best way. There were moments I genuinely wanted to jump out of my seat and shout, “Objection!” His performance taps into something uncomfortably familiar, reminding us how systems can fail the very people they’re meant to protect. Ellis and Maguire, our legal gladiators, keep the courtroom electric. Ellis enters strong, confident, seemingly in control—but as testimony unfolds, the ground begins to shift beneath him in fascinating ways.

Meanwhile, Maguire plays the long game. There’s a quiet confidence in his approach, a sense that he’s always a step ahead. By the time he fully reveals his hand, it’s clear: he’s been steering the room all along.

And then there’s Katie Choate. Choate’s Claudia begins almost deceptively—quiet, observant, even a bit playful in her early exchanges. But when she finally takes the stand, everything changes. The room stills. Time slows. With nothing but her voice, she commands complete attention. It’s raw, it’s honest, it’s uncomfortable—and it’s unforgettable. She doesn’t just tell Claudia’s story; she forces us to sit with it.

The Weekend Theatre continues to prove why it’s such a vital part of the community, producing work that challenges, engages, and lingers long after the curtain falls. NUTs isn’t just a play you watch—it’s one you experience. And don’t be surprised if it earns serious recognition down the line.

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