The Book of Will—Oregon Shakespeare Festival—Ashland, OR

Kate Hurster, David Kelly, Kevin Kenerly, Jefferey King.
Photo by Jenny Graham

A Legacy of Loyalty

     This revealing look at Shakespeare’s times is a West Coast Premiere by Lauren Gunderson and directed by Christopher Liam Moore.  It is playing at the outdoor Allen Elizabethan Theatre in repertory, through October 13^th.  For more information, go to their site at           www.osfashland.org

    Fame may be fleeting but friends are forever!  When the Final Judgement is rendered, who will stand by our sides and attest for us?  It will be, I believe, our actions and deeds, our own words and thoughts, and our friends.  “We are such stuff as dreams are made on…” and so, this life, too, will pass into obscurity…save this, the words we writ and utter as to the human condition, preserved by those who believed in us, are the most precious gifts we can offer future generations, and thus, such as it is with this tale….

    It seems that several months after the Bard’s death, his plays have been scattered as so much seed being blown about randomly by the wind.  His words misconstrued, scenes missing and whole sections rewritten.  And so, it is up to a few of his most loyal companions, Heminges (Jeffrey King), and his wife Rebecca (Kate Mulligan) and daughter, Alice (Kate Hurster), Condell (David Kelly) and his wife, Elizabeth (Catherine Castellanos) and, for a time, Richard Burbage (Kevin Kenerly), the lead actor of this acting troupe, The King’s Men, to put right what is being torn asunder.  And so, amongst much drink and little money, they attempt the impossible.

    How to assemble such a feat, with bits and pieces strewn here and there.  But, where there’s a “Will,” there’s a way.  They find Crane (Cristofer Jean), a lover of his words, who has his own secret stash.  Then there is the matter of printing it all, which involves, perhaps, hiring the self-same printer, the blind, William (Kenerly, again) and his son, Isaac (Jordan Barbour), who had pirated much of the Bard’s work in the first place.  And then financing must be secured to finish such a massive undertaking, and so they seek out the “Dark Lady (Castellanos, again),” now a published poet, the Muse of Will’s Sonnets, and his admirer and rival, Ben Jonson (Daniel T. Parker), a rather famous author in his own right.

    After some false starts, a couple of deaths of important members, doubts and bitter conflicts, they trudge ahead to preserve, perhaps the greatest writer the world has known.  It is a trek, inspired by love and loyalty, which will raise high the flag of friendship and will forever seal beauty on the written page and stage.

This is an epic story by Gunderson and one little known to the general public.  And so, bringing it to light, is a monumental task and one that deserves being extended into two or three parts, rather than trying to condense it into a couple hour show.  What is there is terrific but I feel it needs to be expanded to show the full force of this tale and Gunderson’s loving treatment of it and its characters.

    Moore has done a first-rate job of keeping the story coherent and staging it in a sparse setting so that the plot and characters take center stage.  The cast is quite impressive in this show (as they always are at OSF) “…and each [person], in [their] time, plays many parts.”  It is truly an amazing story.

    I recommend this play.  If you do see it, tell them Dennis sent you.

--DJS

Romeo and Juliet—Oregon Shakespeare Festival—Ashland, OR

William Thomas Hodgson and Emily Ota
Photo by Jenny Graham

The Death of Innocence

    This classic, romantic tragedy by Shakespeare, is directed by Dámaso Rodriguez (Artistic Director of Artists Rep in Portland, OR).  It is playing, in repertory, at the outdoor Allen Elizabethan Theatre through October 12^th.  For more information, go to their site at www.osfashland.org

    Our teen years are a tricky period.  We are unaware that we are not the center of the universe, nor do other people in our secluded realm have any importance, nor do we sense they believe differently than we do.  We do not connect, yet, older people with us at a later age.  We believe we are fearless and will live forever, this we surmise in our Youth.  Not yet aware of the shackles of adulthood, nor have we completely shed the feathers of our innocent childhoods.  We, as teens, are at a vulnerable and dangerous age.

    Such was the plight of Romeo (William Thomas Hodgson) and Juliet (Emily Ota), barely into their teens in Verona in the 1600’s.  Their two wealthy families, the Capulet’s and Montague’s, have been warring for many years, although neither can recall when it all got started, nor why.  Dad (Greg Watanabe) & Mom (Amy Newman) Capulet, keep a tether on their headstrong daughter, relying on her Nurse (Robin Goodrin Nordli), to keep a trained eye on her, as they have her promised to Paris (Armando McClain), a noble, as a future husband.

    Likewise, Dad (Richard Elmore) & Mom (Monique Holt) Montague have an equally rebellious son, as he runs around with a pretty rough crowd, mostly consisting of his cousin, Benvolio (Julian Remulla) and his best friend, Mercutio (Sara Bruner), who always seem to be getting in scrapes with Tybalt (Derek Garza), the mean-tempered cousin of Juliet, and his mates.  Not even the potent power of the Prince (Christiana Clark) of the region, nor the calming influence of Friar Laurence (Michael J. Hume), can sooth these savage beasts.

I doubt that there are more than two people left in the world that have not read or seen the story and outcome of this tale of “star-crossed lovers,” as it does not end happily.  The world is full of tales of stubborn parents and mis-guided youth, but this is probably the most pronounced, as the Bard is justly considered the greatest of playwrights because of the universal and timeless appeal of his tales.  From poetic prose, to rap, to ballet, to a full-blow, award-winning musical, proves the power of that statement. 

    And why is this incarnation, of this oft-produced play, special?  Rodriguez, of course, at the helm, who has proven himself a worthy director many times over at Artists Rep and has provided us with a more “traditional” view of this story, with a fuller script of the play, I believe, than often seen, and a keen eye for casting the best person for the role, regardless of gender or ethnicity, the much-preferred way of casting a play, as far as I’m concerned.  The costumes by Leah Piehl are quite amazing, too.

    Both Hume and Nordli, in two of the best characters roles of any of his plays, can wear proudly the mantel of doing these parts proud.  But the stunner of the evening is Bruner, unforgettable as Mercutio, as she owns the stage whenever she is on it!  Her bravado and swagger give us the view of a Youth, doomed almost from the beginning…a character out of place and step with her times.  A person thwarted before she has begun to show her metal.  Her Queen Mab speech is the best I’ve seen and her death scene is remarkable, as she fights to preserve her life’s blood from draining and yet has her wits about her to rail against the fading of the light.  Bravo!

    I recommend this show.  If you do choose to see it, tell them Dennis sent you.

Ashland Springs/Hills

    As always, we again stayed at one of these two places, this time the Ashland Hills, their resort location about three miles South of the downtown area.  It has a number of varieties of rooms and suites, as well as a swimming pool, hot tub, deli, et. al. amenities.  They also have a super buffet breakfast, including sausage patties, waffles, cereals (hot & cold), bagels, toast, juices, fresh fruit, coffee/tea, milk, etc., that is included in the price of the room.  The Springs, the downtown location, next to OSF, also has secured parking.  I highly recommend both of these places, both having reasonably prices, very comfortable rooms and a friendly staff.  For more information on both these locations, go to their sites at www.NeumanHotelGroup.com  

    If you do stay there, tell them Dennis sent you.

--DJS

The Secretaries—Profile Theatre—SW Portland

Photo Credit: David Kinder

The Avenging Angels

This very dark comedy is written by Maureen Angelos, Babs Davy, Dominique Dibbell, Peg Healey and Lisa Kron (The Five Lesbian Brothers) and is directed by Dawn Monique Williams.  It is playing at the Artists Rep’s space, 1515 SW Morrison St., through July 1^st.  For more information, go to their site at www.profiletheatre.org or call 503-242-0080.

It is amazing to think that this was written about 25 years before the current Me, Too, movement but it does give you an idea of how far back (and much further) the abuse and disrespect and inequality of women has been going on.  This genre of expression could be ranked with the darkly comic horror films of the 90’s era, such as Motel Hell, The Stepford Wives and The Texas Chainsaw Massacre.  And, as demented as you think they are in this story, you root for them all the same (I did).  Go figure….

As the tale goes, there is this lumber camp in Big Bone, OR, where the secretarial staff is totally populated by women.  And the head honcho of them is Susan (Andrea White), a martinet-type of leader on the outside, who runs a tight ship, but does have her odd quirks that you’ll get to know after she cozy’s up to you.  Ands she has her followers among the rabble. 

Her minions consist of the ditzy, Ashley (Kelly Godell), who has the record among the pool of the most “boyfriends,” and is the current secretary of the month, for several weeks running (and she has her prize, a cashmere sweater, to prove it).  Then there is Peaches (Jen Rowe), the effusive, boisterous and over-weight (a no-no, according to club rules) of the pack.  And Dawn (Jamie M. Rea), the outspoken, avowed lesbians of the mob, who takes no prisoners.

Into this motley crew appears the “new-kid-on-the-block,” Patty (Claire Rigsby), who is fresh out of school, naïve, and more than a little susceptible to any outrageous influences, in which there are aplenty in this outfit.  Of course, she must immediately be taken under their wings (or, in this case, maybe talons) and educated as to what’s important in this Life-style, such as to garner a lumberman’s jacket, to control your weight through a rigid diet, to abstain from sex, obey the rules of the club and have an accident-free environment…well, not so much, perhaps, in this category.

How this all comes together, I cannot tell you without giving away secrets, but it’s a dozy, trust me.  And, keep in mind, this is definitely not for everyone.  If you enjoyed the films mentions early in this review, then this may be your “type of shake.”  If not, well, consider this a warning.  Williams has garnered a top-notch group of ladies for this whirlwind experience (I can only imagine the rehearsals) and she has kept it moving, with rapid set changes and explosive performances.

This cast is exceptional in the portraying of the complexities of these characters and keeping them within the bounds of believability, just enough so you are sucked into their world, too.  Kudos to all, as these are some of the strongest performances I’ve seen onstage!

I recommend this play but beware that it involves some very adult and explicit material.  If you do choose to see it, please tell them Dennis sent you.

The Maltese Bodkin—Twilight Theater Company—N. Portland

“What Dreams Are Made On”
This mystery spoof is written by David Belke and directed by Sarah Fuller.  It is playing at their space, 7515 N. Brandon Ave. (off Lombard, parking lot across the street)., through June 24^th.  For more information, go to their site at www.twilighttheatercompany.org

In all our lives, there is probably that one elusive, impossible dream we want to achieve, which will make all our desires come true.  For some, it is that secret place, buried in our imaginations, where all is tranquil…our Shangra-La, El Dorado, Glocamora, Neverland, Brigadoon, et. al.  For others, it is an object that will bring us wealth and power.  Such is the case with the Falcon from Maltese or, in this case, a jeweled dagger, or bodkin, that may hold the self-same power.
The story follows somewhat closely the same one as the classic, film-noir movie, “The Maltese Falcon.”  And the style is the same with a hard-boiled shamus, Birnam Wood (Paul Roder), who also discovers his partner, Archie, has been killed while working on a case.  The plot is steeped in that genre with narration by the lead character, garbed in the traditional crumpled trench coat (like Columbo), and sloppy hat, who is a hard-drinker, down-on-his-luck, and smokes too much.
But he has his ever-faithful Girl-Friday, Charlotte (Chelsea Read), over-eager, a bit ditzy and smitten over her boss.  And this is the part where a whole array of femme fatales, mysterious strangers, and nasty critters crawl out of the woodwork.  And, ‘tis true, but these role models step out of the scenery from 1600 Shakespearean England (no explanations as to how these two genres come to be together, so just go with the flow).
But, being that times are hard, he takes on a case that may solve the death of his partner, as well as retrieving the fabled jeweled bodkin/dagger.  And, of course, an alluring woman, Viola (Lura Longmire) turns his head, as he finds out that Archie was working for her and she is also searching for her long-lost brother, Sebastian (Skye McLaren Walton).  But he will need help with this quest, so he searches the slums, via his sotted buddy, Falstaff (Stan Yeend), with his main squeeze, Mistress Quickly (Christina Taft), and also scours royal society, through his good friend, Donalbain (Chris Murphy).
Meanwhile, to muddy the waters even more, he is stalked by a sneaky villain, Iago (Samuel Alexander Hawkins), and approached by the helpful, Mercutio (Blaine Vincent III), both desirous of the famed dagger.  But Wood knows there is someone more powerful behind all this and that the disappearance of the brother, and the jeweled dagger, are somehow connected with his friend’s death.  Really can’t tell you more without spoiling the mystery but know that the author does know his film noir, as well as Shakespeare, and blends the two genres successfully for the most part.
The cast of nine really does quite a good job of portraying, in some cases, as many as three characters.  There is a very amusing Monty Python type of repartee between R&G (from “Hamlet”) from Vincent & Hawkins, a deliciously droll Richard III from Murph and a super incarnation of the ‘40s sleuth from Roder.  Fuller has done well with her casting and manages to keep the play moving at a very brisk pace.  All in all, a complicated thriller with a huge nod to Willy S. and pot-boiler mysteries, presented by a very talented cast.
I recommend this play.  If you do choose to see it, please tell them Dennis sent you.

Broken Bone Bathtub—N. Portland area

“The Kindness of Strangers”
This one-woman show, written by and featuring Siobhan O’Loughlin and produced locally by Jesse Braeuninger.  It is playing in various homes of local individuals in their bathrooms for an audience of 4-8 people through June 18^th.  For more information, go to their site at www.brokenbonebathtub.com

This is more of a group therapy session than a “traditional” play but, all directors/producers /actors know that creating a play with actors often results in psychological aspects of the character being examined, as well as one’s own psyche, so this process is just being extended, in a way, to present company, the audience, an intimate gathering, in an intimate atmosphere. 
And where would an individual be the most intimate and vulnerable?  Probably in a bathroom or bedroom, stripped of all perceived perceptions.  And, under what circumstances?  Sex, of course, but also after an injury or during an illness, as one’s guards are often down.  And, so we have the bathtub, complete with water, and only suds between us, and a and a lady with a broken hand.
She will, in part, during the next hour, relate to you how this came to be and how she felt it changed her life and led her to this venue.  But her purpose is far more astute than that.  She tells of her early friendships with other girls/friends and the experiences with group events, such as a type of whip-cream melee.  Obviously, the fun, freedom and intimacy during those times generated a peace within the “savage beast” of a human…and inhibitions be damned.
As she got older and grew up in the NYC area, she felt that biking was the most convenient mode of transportation, and thus, a part of this accident, with her now sporting an injured hand, was a result.  But the story is only the catalyst for the real purpose of this exercise.  She discovered, while infirmed, that she needed the help of others to some of the simplest, daily routines, like bathing.  And, through this quest for a solution, she embarked on a remarkable journey that has had far-reaching effects, albeit in just small groups at a time, in over 5 countries and 300 performances!
I don’t want to give too much away, as that might be considered a spoiler, but will say that only about half the time you are there, are you listening to her story.  As she relates her experience, she discovered the fact that she needed others to help her. So, she asks the small gathering assembled, of their experiences with such things as crying in public, being compassionate, giving hugs, relating unpleasant news to a loved one, etc., as she found out, through her own, personal experiences, that we need each other to survive.  “No Man is an Island.”
And what she encouraged the audience to relate is quite amazing.  They all related very personal accounts of their experiences.  And why is that?  Because you are in an intimate setting with someone more vulnerable than you and with strangers that you’ll probably never see again.  And the secret ingredient for this studious mix of mis-matched spices?  Ms. O’Loughlin herself, as she gently stirs the pot for the most unique taste ever, an excellent chef is she!
Make no mistake about it, this is an event, an experience, possibly a new wave of the first order, which will merge people into dialogues, like she does, and we will come out with a better understanding of others.  As the song goes, “what the World needs now, is Love, sweet Love, something there’s just too little of.”  And it starts with a small band of brothers and sisters, like this, and hopefully will spread like a tidal wave over the face of the Earth!
O’Loughlin is onto something.  She comes across as personable, candid, understanding, and able to deal, through dialogue, with any “blue meanies” that invade her/our space.  I wanted to reach out by the end and give her a hug and say she touched me.  You can’t help but fall in love with her and lovable is a good trait to have in this unsettled day and age.  (By the way, Siobhan, the tear-jerker I love with Robert Downey, Jr. is called “Heart and Soul,” worth seeing.

I highly recommend this show but it will only seat, depending on the location, a maximum of 8 people, so best get your tickets now.  If you do choose to see it, please tell them Dennis sent you.

Lady Day at Emerson’s Bar and Grill—The Armory at PCS—Pearl District

‘Round Midnight
This musical tribute & history of the great Blues/Jazz singer, Billie Holiday (Deidrie Henry), is written by Lanie Robertson and directed by Bill Fennelly.  It is playing at their space, 128 NW 11^th Ave, through July 1^st.  For more information, go to their site at www.pcs.org.
The magic hour when shadows invade the senses, memories recur in full, fierce force and music & song is in the hands of royalty—Billie Holiday (Henry)!  It is unclear as to why such icons of the entertainment/creative worlds feel the need of a “boost” to guide them along.  Many of the greats were involved with drugs, alcohol, battled with insanity and had less than stellar childhoods.  Such was Holiday, a jazzy blues singer whose candle burnt out some 60 years ago.  But this, perhaps, her last appearance, is in South Philly, a town who she has a love/hate relationship with.
She tells of her childhood and her beloved Mom, the “Duchess;” her sexual abuse at the age of 10; of her first real love, the abusive, Sonny; her addictions; her love of music and performing; her relationship with the understanding Artie Shaw and his band of white musicians; and one special occasion when she encountered a club with no toilets for black females and how she remedied that situation (priceless).
Most of Holiday’s favorites are here (but not listed in the program).  Some of them that I got were “Crazy,” “Baby Doll,” “Easy Livin,’” “Strange Fruit,” and “God Bless the Children.”  Her vocal range slides easily from ballads, to brassy, to mournful and to the upbeat.  One thing you knew for sure, she lived all these songs…and her stories.
And she’s not alone up there.  She brought along her special guest, Pepe, who helps her through the darkness.  And, of course, there was her ever-lovin’, Jimmy (Abdul Hamid Royal), the piano-man; on drums, Charles Neal and on Bass, James H. Leary (replacing the recently departed, well-known Bass player, Andre St. James).  And they were all terrific!
Fennelly has assembled the perfect cast for this!  And kudos to Scenic Designer, Michael Schweikardt, it is amazing.  And Henry is following in the shoes of Audra MacDonald (Broadway) and Diana Ross (film, “Lady Sings the Blues”).  But she matches them every step of the way for this is not just someone doing her songs but who embodies the role in her monologues, as she relates her horrific past both in acting and singing.  She does justice to Holiday, who would have been impressed, too, I believe!

I recommend this show, especially for Henry.  If you do choose to see it, please tell them Dennis sent you.

Fallout—Imago Theatre—SE Portland

“Tomorrow Is Another Day (?)”
This original production is written, directed and designed by Carol Triffle.  It is playing at their space, 17 SE 8^th Ave. (off Burnside), through June 9^th.  For more information, go to their site at www.imagotheatre.com or call 503-231-9581.
Where will you be when (not if, according to today’s international climate) the Big One hits?  When I was but a young lad in the 50’s, this was a very real possibility then and so some families and public buildings and schools were busy building bomb shelters.  It was a strange new world that a youngster was being reared in then, as it is again today.  “When will we ever learn?”
And, in the case of this event, we have a young man, Bobby (Kyle Delamarter), who has evidently decided to jump the gun and simply live in a shelter now, so that he is always prepared.  He greets his morning light, at the beginning of the day, like a new-borne reaching for the sun.
The down-side is that he can never go top-side, as it just might be the last day.  And he has no friends that he has invited down here, so he’s a bit of a recluse, playing songs for a audience of one, keeping holy his drawings of his long-dead idols from the entertainment media of years past, creating imaginary situations and dialogues with an invisible lady, sleeping a lot and keeping a diary…and “lets the world slide.”
But a loner for himself is not to be.  For suddenly the outside world intrudes itself upon him, as two women discover the hatch, by accident, to his domain, as he scuttles away under his bed.  Jackie (Anne Sorce) is the leader of this intrepid duo and wants to explore.  Nadine (Danielle Vermette) is the more skittish of the two and seems afraid of her own shadow.  More discoveries will abound as secret longings and relationships will be revealed, as the three of them must grapple with Fate.  More I cannot tell you without being a spoiler.
But the exciting part of Imago’s shows are not so much the stories but the presentations and execution, as they are replete with dance-like movements, music, and language interpretations and imagery that appear like it might come from an alternate universe.  This hour-long production also explores the real life problems we are faced with and becomes a sign-post of things to come if we do learn to get along. Triffle has done a fine job of blending these worlds together. 
I also like the original music/songs that were conceived for this show by Triffle and Delamarter.  And the performances by all three were quirky, unpredictable and totally consistent with the framework for the story.
I recommend this play.  If you do choose to see it, please tell them Dennis sent you.