Review: NUTS at The Weekend Theater in Little Rock

What is the definition of crazy? Are you nuts? And perhaps the most unsettling question of all—would you be able to defend yourself in court if your sanity were put on trial? To be honest, I’m not entirely sure how successful I would be at convincing a judge to deem me fit for a regular trial… and that uneasy thought is exactly what lingered with me as I walked into Tom Toper's NUTS at The Weekend Theater, which ran March 6–22 in Little Rock. Under the direction of Byron Taylor, audiences were invited into an intense, emotionally charged exploration of justice, autonomy, and mental health.

Originally premiering in 1979, NUTS centers on Claudia Draper, a high-class call girl accused of manslaughter who must prove her mental competency to stand trial rather than be institutionalized. What unfolds is a riveting courtroom battle layered with psychological complexity, as deeply buried truths about Claudia’s past begin to surface. It's intense and grabs you from the beginning! I loved every moment of it, even the cringy, awkward parts.

Taylor’s direction leans into the claustrophobic tension of the piece, allowing the courtroom setting to become a pressure cooker of emotion. The pacing is deliberate, giving each moment room to breathe while never losing the underlying urgency. What makes this production particularly compelling is its refusal to simplify its characters; everyone exists in shades of gray, and Taylor ensures those complexities are fully realized onstage.

This production also featured a double cast for three of its most pivotal roles—Claudia Draper, Aaron Levinsky, and Rose Kirk—an ambitious choice that speaks to the depth of talent within The Weekend Theater community. At the performance I attended, Madison Wolff took on the formidable role of Claudia Draper, delivering a performance that was both defiant and deeply vulnerable. Wolff navigated Claudia’s emotional highs and lows with remarkable control, allowing the audience to see both the armor she wears and the fractures beneath it.

Opposite her, Joshua Lanham as Aaron Levinsky brought a grounded, steady presence to the courtroom, but what made his performance especially compelling was the underlying sweetness he carried throughout. Even in moments of legal strategy and intensity, Lanham infused Aaron with a quiet compassion that made his advocacy feel deeply personal. His sincerity created a beautiful emotional counterbalance to the harsher elements of the trial. His scenes with Wolff were particularly engaging, built on patience, and an unspoken understanding that gave their dynamic a realism to it.

Julie Schlesinger as Rose Kirk added another layer of complexity, portraying Claudia’s mother with a mix of composure and underlying tension that hinted at deeper family wounds. Her performance helped illuminate the personal history that fuels much of the play’s conflict, making the courtroom drama feel all the more intimate. I admit I grow tired of all the plays with mommy issues, but alas, at the end she turns it around to try to right the wrongs. 

Adding even more authenticity to the courtroom was Drew Ellis as lawyer Frank Macmillan, and honestly, you could not ask for more perfect casting. As someone who is a lawyer in real life, Ellis brought credibility to the role that simply cannot be taught. His command of the legal language, his confidence in the courtroom, and his natural delivery made every moment feel completely genuine. 

One of the most touching connections onstage came from the interaction between Wolff’s Claudia and Kenneth Gaddie as Harry. When Claudia expressed her trust in him, the shared smiles between the two felt completely natural and earned. It was a small moment, but one that spoke volumes, giving the audience a glimpse of Claudia’s ability to connect, even in the midst of chaos. 

And then came one of the most jarring shifts of the evening was when Alan Malcolm as Arthur Kirk delivered his testimony. The weight of that moment didn’t end when he finished speaking; in many ways, it had only just begun. The silence that followed was thick with discomfort, and the awkwardness that settled over the courtroom was palpable. You could feel the entire room, both onstage and in the audience, processing what had just been revealed. 

Equally unsettling was Tyler Berg as Dr. Rosenthal, whose eagerness to label Claudia as mentally unfit created a sense of unease that was hard to shake. There was something almost chilling in how quickly he seemed ready to administer treatment. I found myself genuinely nervous in those moments, watching how easily Claudia’s autonomy could be stripped away under the guise of medical authority. 

Even the stillest figures onstage told a story. Paul Bowling as Judge Murdoch and Jessica Miller as the Court Recorder maintained a strong sense of professionalism and composure throughout, grounding the courtroom in authority and order. But what made their performances especially compelling were those fleeting moments when that composure cracked—just slightly. When particularly shocking testimony or revelations unfolded, you could catch subtle shifts in their facial expressions, small but powerful reactions that reminded us they were not immune to what they were hearing. 

Truly, the ensemble as a whole was such so fascinating to watch. Every actor on that stage was fully alive in the moment, crafting fascinating character details that made the world feel rich and real. Every time a line landed or a revelation dropped, I found myself scanning the rest of the stage just to see how everyone else reacted. The subtle glances, the physical ticks, the shifting postures, their distinct personalities and reactions kept the entire audience on edge. I felt like I was part of the story.

Unfortunately, I was not able to catch the alternate cast featuring Katie Choate as Claudia Draper, Matthew Maguire as Aaron Levinsky, and Jamie as Rose Kirk, but I heard nothing but glowing praise. From what I was told, their interpretations brought entirely new shades to the characters, offering a fresh lens on the story and making it feel like a completely different play. I wish I could have seen them.

Coming up next is A GENTLEMAN'S GUIDE TO LOVE AND MURDER, directed by David Weatherly. I love this musical and already have my tickets. To get yours before the run out, visit their website at weekendtheater.org. 

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