Eurydice—Young Professionals Company—NE Portland

“Thanks for the Memories”

     This modern adaptation of a Greek tragedy is written by Sarah Ruhl and directed by Lauren Bloom Hanover.  It is playing at OCT’s Y/P Studio Theater, 1939 NE Sandy Blvd., through February 11^th.  For more information, go to their site at www.octc.org/YP-company

     This is a great companion piece for Y/P’s previous production, “Jasper in Deadland,” and Twilight’s latest production, “Antigone” (as well as the film with Robin Williams, “What Dreams May Come” and the recent animated, excellent film, “Coco”).  They are all based, in part, on Greek plays and local legends about the Underworld, the loss of a loved one, the importance of memories and, especially, what lengths one will go to connect again with your soul mate (there is the old title, “To Hell and Back,” and that is exactly, in apart, what this is about).

     It is said, in the lore of some countries, that as long as one holds onto memories of a loved one, they never really die.  In this case, our hero, Orpheus (Nate Gardner), a musician, and his beloved since childhood, Eurydice (Fiona Jenkins), are set to be married.  But the one important person, in spirit only, missing from this ceremony, is her Father (Max Bernsohn), who is gone but not forgotten, either by her, or him and, even though he has been washed in the River of Forgetfulness, love seems to be stronger than even those soothing, tepid waters.

     And, as in all good tragedies, this fateful day also holds the demise of the young bride, as she, newly awashed, is greeted by The Stones (Madeleine Adriance, Heidi Osaki and Zyla Zody), a sort of Greek Chorus, as they’re job is to convince the recently arrived that they should be as a hard rock, oblivious to any outside urges or influences.  And the Lord of the Underworld (Henry Sanders), an underdeveloped, bratty little kid, is charged with making sure inmates stick to the rules—no contact with mortals or those pesky memories of “forgotten lore.”

     But not everybody plays by the same rules.  The Father acts as a servant to his daughter down under, recalling for her incidents from her life, so that her memories will return.  And the young groom refuses to let a little thing like death prevent them from being together.  It seems that there is a magic in calm waters and music that has special powers, too.  “And thereby hangs a tale.”  To discover the outcome, you’ll just have to see it for yourself.

     These young people certainly get an amazing education by being part of the Y/P troupe.  I’ve seen them explore some pretty heady subjects over the years, which give them insight into the adult world of life and literature, and provides a safe environment to explore all these changing moods and emotions Youth must feel, as future “inheritors of the earth.”  This is done in a “black box” style of theatre, where only essential props, costumes and set pieces are used.  The Stones’ outfits were quite compelling, as were the actors playing them.  Enacting the Head Demon himself as a rather snotty little shit with a tricycle, as opposed to the more traditional approach as a bombastic fellow, was quite a welcome change, and well acted by Sanders.

     The Father and the two young lovers have a natural appeal in their style of presentation and pull it off nicely.  Hanover has done a good job of leading this group but the production (possibly script, too) needs tightening a bit, as it seemed to drag a little in spots, and the energy could be kicked up a notch, too.  But, overall, it is good to see some difficult material handled professionally.

I recommend this production.  

     If you do choose to see it, please tell them Dennis sent you.

--DJS

2.5 Minute Ride—Profile Theatre—SW Portland

    

Down the Rabbit Holes

     This one-woman show is written by Lisa Kron and directed by Jane Unger.  It is playing at the Artists Rep space, 1515 SW Morrison St., through February 11^th.  For more information, go to their site at www.profiletheatre.org or call 503-242-0080.

     This is a roller coaster ride in an amusement park in the Mid-west, via the Concentration Camps of Poland, by way of her brother’s wedding, which gives you a vague idea that you are in for the ride of your life.  Lisa (Allison Mickelson) is on her own personal sojourn to make a simple documentary about her father and his life, but is Life ever that simple?!  When you begin investigating “the windmills of your mind,” it can take you through all sorts of rabbit holes, a labyrinth of twists and turns of undiscovered countries, of roads not taken, the ones imagined and, through it all, we are still looking at Life from our own perspective, perhaps, “through a glass darkly.”

     Lisa decided to accompany her father on a trip back to the “old country,” Germany, where he grew up, and the camps of Poland.  The mission was to find where his parents were buried as, like so many Jews of the WWII era, they lived in ghettoes and were taken to a concentrate camp where they were murdered, like so many others.  It is one thing to hear the stories, but something entirely darker to actually visit those places where the horrors took place.  Her father’s memory, although his eyesight was failing, described every pothole and curve in the road as they traveled--a path of broken dreams.

But, as memories do, other images come to mind, such as the love of roller coasters her father had.  Did they represent the ups and downs of his life, his family—possibly?  And how does one describe a dysfunctional family, anyway.  It is one thing to have lived it, as it may have seemed so normal, but another thing altogether to try and describe it:  Why was her mother afraid of cameras; or why, in a whole day at an Amusement Park, the concentration was on the food choices from her family; or, with a brother getting married, what kind of uproar such events can cause; or explaining being gay in small-town, mid-west America to your family.

     Well, that is only the tip of the iceberg of her explorations, a type of stream-of-consciousness that, if it doesn’t drive you crazy, just might make you stronger.  Believe me, the story is better told in Mickelson’s capable hands, who is a whirlwind, a firestorm of activity, and is directed by Unger, who has conceived the pace of the show from very rapid-fire to some very pronounced pauses, and they keep you intrigued every step of the way.  They are both masters of their crafts and it shows!

An interesting side note, and I’m not giving anything away since it happens right at the beginning of the play and continues throughout, Lisa has a slide show that she presents at various points in the story—but the slides are blank!  One speculation is that the author wanted the audience to put themselves into those pictures so that they became more personal.  My own thoughts are that pictures are permanent, but memories, fluid, and that seems to be the point, or state-of-mind, of Lisa.  Whatever the reason, it works and you can make up your own minds as to the reasons.

     

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

--DJS

Madness of Lady Bright & TRANS-formation—Triangle Productions!—NE Portland

 “…no place like home”

     These two one-acts, the first written by Lanford Wilson, and the second one written by Donnie, are both directed and designed by Donald Horn (costumes, sound and set) with Lighting Design by Trevor Sargent and Tech/Stage Management by Kendra Comerford.  It is playing at their space in The Sanctuary, 1785 NE Sandy Blvd. (free parking in the lot to the West of the building), through February 24^th. 

  For more information, go to their site at www.trianglepro.org or call 503-239-5919.

     Lady “Leslie” Bright (Gary Norman) is lonely on a hot summer day in NYC in his apartment in the mid-70’s.  He has two outlets to the outside world, his telephone, which is totally mute on the other end when calling friends, except for the dial-a-prayer number, which is good to know that God always answers.  The other connection is his wall of names/signatures, reflecting very specifically on the actual persons themselves, from miniscule to bold, from flamboyant to timid, all having skipped by now the “…light fantastic, having fallen in love with long distance” (T. Williams).

     His world now consists of voices in his head, real and imagined, the stimulating music of Mozart, dancing from one era to the next, and his array of finery for his next, hope-filled encounter.  He is, quite frankly, simply looking for a place to belong, a comfort from the darkness, a place called…home.  Doesn’t he realize that he only needs to click his heels together three times and he’ll be there?!  Personally, I sincerely hope he makes it to his personal Wonderland.

     Wilson’s play is cited for being one of the first ones of any note to concentrate on gay issues.  Norman is extraordinary as the individual who only wants to be loved.  His portrayal of a slow descent into this gray world of “madness,” in such a short period of time, is quite remarkable.  And Horn is the master is conducting him, and the audience, into this exploration and exposition of alienation and loneliness.

________________________________________________________________________________

  Becoming Oneself

     This is a very brave piece by someone, Christine (nee, George) Jorgensen (Matthew Sunderland), in the late 40’s who, although discharged from the army and coming from a loving home, felt that life was not just ahead of him as a man, but was passing him by, as he, from an early age, had felt he was a female trapped within a male’s body, yearning to break free.  His closest ally was his sister, Sally (Jacquelle Davis), as well as a supportive family.  But that was not enough to quell the real being within.

     And so a trip was necessary to Denmark to get the help he needed.  He met there Dr. Christian Hamberger (Mark Pierce) who took him in as a research subject in an area declared taboo in many societies, to transform physically a person from one gender to another.  It had been attempted before some years earlier in Germany but the patient died as a result.  And so now, history was waiting to be made.  But it would be a long and arduous journey together.

     To tell you more would spoil the revelations made during this story.  Sunderland is amazing in a very difficult role and he pulls it off, giving us a full view of the male/female conflict.  Horn certainly has his hands full here, both having written the story, as well as directing it.  And he has chosen the best person for the lead, which should always be the case when casting.  It also helped to have some visuals of the real Jorgensen’s life.  Hopefully this play will continue to grow, as it would be helpful, being that it’s now a one-act, to expand it to include her later life as she grew older.  I can certainly envision this going to The Big Apple in time to get universal recognition, and acceptance.

     I recommend both these plays, both from an educational aspect, as well as damn good acting, writing and theatre.  If you do choose to see it, please tell them Dennis sent you.

--DJS

Magellanica—Artists Rep—SW Portland

“Winter of Our Discontent”

     This epic play is written by E. M. Lewis and directed by Dámaso Rodriguez.  It is playing at their space, 1515 SW Morrison St., through February 18^th.  For more information, go to their site at www.artistsrep.org or call 503-241-1278 (keep in mind, this is a 5 1/2 hour show, including intermissions, so plan your time accordingly).

     The time--1986.  The place—Antarctica, South Pole.  The team—8 scientists from all walks of life.  The Reason—Verify whether a hole exists in the ozone layer.  The Purpose—to save the planet!

These few, these chosen few, have been given an almost impossible task, no, not so much to prove or disprove the existence of the hole—but to do it together as a team!  Sounds simple, doesn’t it?  And then, look at Congress and the inability to even get the simplest of tasks completed.  Or the current President, who doesn’t believe in global warming, let alone the existence of a hole—“Fake News!”  Then, and now, an uphill battle for these brave souls.

     There is Dr. Morgan Halsted (Sara Hennessy), American, a loner, a very private individual, who is charged with verifying through the telescope if a hole exists and, perhaps, if it does, to verify the cause.  Her reluctant partner in this quest, is Dr. Vladamir “Vadik” Chapayev (Michael Mendelson), a Russian, a cranky sort who insists on pointing fingers to the world’s problems at the Americans.  Dr. May Zhou (Barbie Wu), a Chinese American, able to distinguish facts but fails to often perceive purpose to ideas.  She befriends Dr. Todor Kozlek (Allen Nause), a Bulgarian, who longs to make the ultimate map of the world, but has moments to mentor May in “taking time to smell the roses.”

     The leader of the expedition is Captain Adam Burrell (Vin Shambry), African American, military, a war veteran who can’t seem to leave the past buried.  Freddie de la Rosa (John San Nicolas) is an American of mixed heritage, military, Mr. Fix-it of the team, who is good with machines.  Dr. William Huffington (Joshua J. Weinstein) is a Brit, very stand-offish, easy to offend and be offended, who, like all the others, holds a personal secret.  And Dr. Lars Brotten (Eric Pargac), part-time cook, bird-watcher, obsessed with penguins especially, who plans on writing a book about this whole eight plus month’s experience.

     Together they will rail against the elements, and each other, delve deep into their own psyches, and find answers to questions they never asked.  Highlights in this production are the Mid-Winter Follies, in which layers are stripped away.  And a high point in that is the telling of a tale in the person’s own tongue, acted out, and the audience loved it.  Really can’t tell you more without revealing the many plot devices that this long sojourn into a person’s soul will reveal.  Believe me, it is time well spent!

Rodriguez has his dream team in casting this production.  I couldn’t imagine anyone else in these roles.  And the cast, many of them company members, are at the top of their game and all have stretched their talents into unknown areas, thanks to Rodriguez, Mary McDonald-Lewis (dialects, voice & text), the author, an amazing set (Stephanie Kerley Schwartz), exceptional lighting designs (Carl Faber), and sound and composer (Rodolfo Ortega).  This mighty team has traversed not only to lands unknown but to parts of human frailty and vulnerability proving, perhaps, that in the end, regardless of differences, we are stronger together than apart!  Pass it on….

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

--DJS

Antigone—Twilight Theater Company—N. Portland

The Infernal Machine

     This tragedy was written 3000 years ago by Sophocles but has been adapted by Lewis Galantiere and based on the modern dress play by Jean Anouilh.  It is directed by Tobias Andersen and is playing at their space, 7515 N. Brandon Ave., through February 11^th.  For more information, go to their site at www.twilighttheatercompany.org

     I believe a word is in order first about the Nature of Tragedy.  It means that everything is fated, that man does not have any choices and the inevitable will happened no matter what else occurs.  And, within that, there is a certain ease, a tranquility, an uneasy acceptance knowing that your life is mapped out for you.  And the purpose then, one might ask?  To, perhaps, simply debate the issues for those observing who have choices, and to let them decide the villainy or heroics of such actions.  For a Tragedy, also, has an unsettling feeling that it is universal, that it will happen again and, possibly, that if situations like this are not resolved, it will repeat itself in our time.  For example, look at the state the world’s in now.

     To begin the action, a Chorus (Chris Murphy), is employed to comment on the story and narrate it to move the plot along.  It is the tale of the Establishment, Creon (Jim Butterfield), the current King of Thebes, rattling his saber to prove he has power over all.  And one of his new laws proclaims that the valiant soldiers who fought with him are to be buried with honors, but those from the opposing force will be left to rot in the sun and have their bones picked over by the vultures.

But this does not sit well with his niece, Antigone (Amy Lichtenstein), who is a rebel by nature, inheriting this trait from her father, Oedipus, since one of her brothers was of the opposing force.  Her sister, Ismene (Mikayla Albano) agrees in spirit but does not have the courage of action.  To complicated matters further, the Kings son, Haemon (Blaine Vincent), is in loved with Antigone and they are to be married.  Their Nurse/Nanny (Dorinda Toner) sympathizes with them but still views them as little girls.  Antigone’s plan is simple, she is going to bury her brother, even though the threat of death looms over this decision.

     Jason (John Armour), and his minions (Jason A. England and Rob Kimmelman), are charged with guarding the body, but the inevitable happens and she is arrested.  There is a long, fascinating discussion between uncle and niece, in which both reveal more to the story than most of the masses know, and both individuals have some solid points of view.  In the end, though, as mention, Fate rules, as a Messenger (Samuel Hawkins) announces the outcomes of their actions, and the King and his family, including his son and his wife, Eurydice (Bonnie Littleton), are victims as well.   And so he is left with his almost mute page (Micah Oesterrich Finke) to muse over the debris.

This is a powerful play and certainly has some relevance to today’s situation worldwide.  It is done as a “black-box” style of theatre, which relies only on the author’s words, the actors’/director’s vision and the audiences imagination to relay the story.  This is a difficult piece and, for the most part, is presented by actors with little professional experience.  But in the hands of a Master (Andersen), the performers will soar in their presentation, as they do here.  Andersen is an exceptional performer and director in everything he does and those that are lucky enough to work with his guiding hand can count themselves blessed. 

     Butterfield is a pro and he shines here, giving us a very conflicted King, steadfast in his resolve but still very human, looking for a way out of this dilemma.  Lichtenstein is a natural in a difficult role.  She plays it with a simple resolve and never wavers from her path/fate.  She definitely has the “right stuff” and could make a career of this.  Murphy, as our guide, has the look of a young Sydney Greenstreet (as Tobias revealed) or, more recently, the late actor, Victor Bruno.  He rivets you with his presence and commands attention when onstage.  He, too, should go far in this field.  The rest of the cast does well, also, under Andersen watchful eye.  Look for his production of “Rashomon,” perhaps in the Fall, another classic in his “bucket list” to direct.

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

--DJS

The Rape of Lucrece—Street Scenes—at Imago Theatre

 Violation

     This play is based on a long poem my Shakespeare, adapted and directed by Michael Streeter, music by Matt Insley (piano) and with Sumi Wu (violin), in collaboration with Jessica Tidd, who also performs this one-woman show.  It is play at the Imago space, 17 SE 8^th Ave., just off Burnside (street parking only, so plan your time accordingly).  For more information on the run dates and info on the show, go to CWPeducation@gmail.com

   

This is an ancient story of a violation of the most grievous sort which has, unfortunately, carried over into modern day.  It is told/sung by one person, Jessica Tidd, narrating the story and playing the chief characters.  Shakespeare wrote it as a very long poem with beautiful language, so it is appropriate that music (Insley and Wu), as well as some of it being sung, be incorporated into the story.

It starts out as a stable of men, bragging about which of their wives is most virtuous, with Collatine winning, his wife being Lucrece.  Tarquin, the King’s son, becomes enamored of her and so sends her husband out of town on a mission so that he can be alone with her.  He attempts seduction, but when that fails, he rapes her.  She informs her father and husband of this when they return.  Being that shame would be brought upon her family, she kills herself.  But her story is relayed to the masses and they revolt, sending the ruling family into exile.

    But this curse, as to the lack of empowerment of women, has followed through to this day, as we have seen.  Yes, heads are toppling of males in high positions, but the case that struck me as most horrendous, is that of the doctor (his name does not even deserved to be mentioned) who “practiced” on young gymnasts, over 100, many of them Olympic hopefuls.  Psychologically these young ladies lives will be scarred forever.  And the atmosphere in which this was allowed to happen is equally at fault.  Too long have women (and minorities) been demeaned by “the powers that be” and it is time that the tide changes…and that time is NOW! 

    Since I’m of an artistic bent, and am an advocate for the Arts, I recommend that young ladies be enrolled in some type of Arts program early on, so that they can investigate, in a safe environment, their unique, fearless powers within them, and let that grow in an environment of teamwork, building self-confidence, and carry that into adulthood.  Well, I’ve digressed enough, but I think you see the point and, I’m sure, that Streeter, Tidd and company had a similar message all along when they presented this piece.

    Tidd is, hands down, phenomenal!  She not only narrates the story but plays other characters and sings part of the script.  So, for about 80 minutes, you are mesmerized by her story and talent.  And Insley and Wu added much to the show by their introduction of mood music to the proceedings.  Streeter has done a terrific job of staging this production, focusing, as should be, on Tidd, with some clever lighting by Allison Blaine, and picturing the male dominance as simply stiff, hollow, mannequin-like presences, having no control whatsoever as to how things progress, and relegated to the female to flesh-out their contributions.  Quite inventive all around.

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

--DJS

Heaven or Helen—Late Bloomers Inc.—SE Portland

God’s Channel

     This was part of the Fertile Ground events and was playing at The Shout House, 210 SE Madison.  It is a one-woman, multimedia show written, designed and performed by Vanessa Hopkins, with technical expertise by David Chandler and Kelly Rauer.  It is based on the life of Dr. Helen Schucman who, with Dr. William Thetford, wrote the very popular, “self-help” book, “A Course in Miracles,” in which she has a roadmap to self-discovery, as channeled by her guide and teacher, she claims, was none other than Jesus himself.

     This production is a work in progress to be developed in the future to a full-scale production in a larger space and cast.  The monologue I saw sketched out the early years of Schucman’s life in which she was informed, at an early age by her father, that she was not pretty, and carried that burden with her for the rest of her life.  She probably decided then that she would not be desirable to men and needed to forge for herself and, thus, became a clinical psychologist, immersing herself in this field.  But she did end up marrying her best friend from school, Louie, although not in love with him.

Another experience that occurred at an early age in the crib was a sense of being able to remove herself from her body and experience a sense of something warm and unseen that she was capable of connecting with.  Later in years she believed that it was Mary, the mother of Jesus (although she was born into the Jewish faith and later became an atheist), as her guide, sometimes stern and sometimes compassionate (as she was).  She teamed up with, what was to be the love of her life, perhaps, her soul-mate, Thetford, and together they would write a pretty audacious book/text.

     Another thing, they certainly made an odd couple:  He was gay, she straight (and married); he was a Westerner, a rather laid-back style, she was a stern Easterner; she was rather a “plain-Jane” type, he was handsome; and she was older than he by a number of years.  But together they made magic.  They say that often opposites attract and so they proved that point.  Another interesting idea, even though her profession was about humans, she didn’t particularly like them.  Or, as Charlie Brown would put it that, Humanity was fine, it was just people he didn’t like.

     This play stops at just the point she is beginning to sense a “higher purpose,” and beginning her spiritual journey.  Hearing voices is not unique with her, as Joan of Arc was reported to have heard them from some saints, as they guided her path (I even wrote a play on it).  And channeling a book from another time or realm is also not unique, either, as Taylor Caldwell, a well-known author, claimed to have done this for her book, “I, Judas” in which he was her guide.  Are these claims a type of madness (as she feared) or a dimensional journey?  As in many things of this type, one has to take it on Faith, or not?!

     Putting aside that she is an interesting subject for a play, the strength of this production rests on two factors:  The visual imaginary that was projected, and the talent of the acting of Hopkins.  The feature of her growing from inside as an fuller human being, as if emerging from a cocoon, was stunning, and the fire that engulfed her was also quite effective.  And, I met Hopkins at Fertile Ground pitching event and was greeted by a young, attractive, vibrant personality.  When I viewed this play, she had transformed herself into a rather severe, aging, plain-looking character with a clipped accent, and had done this all from the inside, only changing her hair and donning a pair of glasses.  That’s good acting, folks!

     Also, the play, in this black-box atmosphere, works extremely well because there is an intimacy involved and, I would hope, a full production doesn’t lose that.  Of course, Hopkins must embody the role for this kind of showing, as she is perfect for it.

There was not any contact information as to a website for her or this company, so you might try Googling the name of the company (or her) and/or the play title listed at the beginning of this review and see what pops up.  I highly recommend seeing a full production of this story when it is presented and, if you do, please tell them Dennis sent you.

--DJS