Camelot—Lakewood Theatre Company—Lake Oswego

 

Once There Were Champions

    This award-wining Lerner & Loewe musical is directed by Dennis Corwin, adapted by David Lee, with new orchestration by Steve Orich and choreographing by Laura Hiszczynskyj.  It is playing through June 12^th at their space, 368 S. State St. in Lake Oswego (free parking lot in the rear).  For more information on the show and Covid restrictions, go to their website www.lakewood-center.org or call 503-635-3901.

Once,

There were Giants…

There were Champions…Warriors…

And so, to the Young,

Whose banners fly high,

                 The Greta’s, the Molla’s and Amanda’s…

 We salute,

        as they reach for the sky…

    There was a legendary king, Arthur (Anthony Mulherin) who, legend has it, created a round table with some of the most noble leaders of the land and established the trial system, where one is judged by one’s peers and championed Might for Right.  He may have been naive in his goals but, at least, he tried.

    His wife and queen was the feisty, Guenevere (Jessican Maxey) and his right-hand man was the French knight, Lancelot (Brandon Michael), a rather egotistical fellow, with his inept Squire, Dap (Lindsay Reed). Arthuralso has a band of warrior that he depends on, especially, Sir Dinadan (Erik Montague), Sir Sagramore (Eric Zulu) and Sir Lionel (Jeremy Southard).  And Gwen has her cohorts with her ladies-in-waiting (Sophie MacKay and Amelia Segler).

    Everything seems to be going swimmingly, until it appears that Lance and Gwen have more than a friendship in common.  And then there is Mordred (Heath Hyun Houghton), the rejected son of Arthur, who has his ax to grind with dear ole dad.  It doesn’t take long for cracks to form in the Camelot fortification and, as they say, “the best laid plans of mice and men” begins to show their true colors.  And, in such cases, where empires tumble, a phoenix will rise from the ashes in the form of the Youth of tomorrow, Tom of Warwick (Rosalie Johnson or Charlotte Bridgeman or Ava Neudeck or Stella MacKay or Cam Jordan—unclear from the program who played the role on the matinee, Sunday, May 8^thexcept that it was a female).

    The story from the book by T.H, White, The Once and Future King, is much fuller in detail, as is the edition of the songs/music which, I believe, is one of the best scores in musicals!  All the original songs are here and beautifully staged by Corwin.  The dance numbers are terrific, as is the set by designer, Tyler Buswell.  All the singers, especially the leads, have very strong voices.  Maxey is terrific as Gwen, having a somewhat exotic look and a lovely voice.  And Houghton is a delicious villain.

    And a special shout-out to Ava Neudeck who played Tom on the Sunday, as she has a terrific enthusiasm and is very convincing in the pivotal role of the voice for the future.  She has a long career ahead of her in show biz, if she continues to pursue it!  I expect to see her again onstage, whoever she is.  She does “sparkle.”

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

--DJS

Twelfth Night—Young Professionals Company—downtown Portland

 

“Lord, what Fools these Mortals be!”

    The Y/P Company of the Oregon Children’s Theatre presents this classic comedy of Shakespeare’s, directed and adapted by Lauren Bloom Hanover.  It is playing at the Brunish Theatre (upstairs), 1111 SW Broadway, through May 15^th (parking is a challenge in this area, so plan your time accordingly).  For more information on tickets and Covid restrictions, go to their website at www.octc.org or call 503-228-9571.(The production I was scheduled to review was cancelled because of a Covid outbreak with one of its members, so will write a preview of it instead, as knowing the story might help you understand the play and want to see it—check website for future dates).

    The Shakespearean stories and language are really not all that hard to understand.  I had a friend of mine, who had never seen the Bard’s plays, ask me, if it was going to be in English?  It’s not really a foreign language, folks, and the presentations of his works nowadays is pretty much in “conversational” Shakespeare.  Also, his themes are universal, having such modern incarnations as the award-winning musical, “West Side Story” (Romeo & Juliet) and the Sci-fi film classic “Forbidden Planet” (The Tempest).  In this latest version, six students play twelve roles.

    Love doth mirror Life and, thus, in reflection, Fools stare back at us. 

    In this incarnation of Cupid’s swift arrows, a shipwreck has occurred and Viola (Irie Page), fears that her twin brother, Sebastian (Ethan Thompson), to have been lost at sea.  To discover the truth in this alien atmosphere, she disguises herself as a boy, Ceasario, and eventually allies herself with Orsino (Nirmay Anantha), the Duke, who she is immediately smitten with.

    But the Duke only has eyes for the beauty, Olivia (Michaela Monteblanco), who has no interest in him but does seem to favor Ceasario, who has been sent by Orsino to her to plead his case for love.  Meanwhile Olivia has some very odd but witty servants, among them, the droll Malvolio (Thompson, again), a petulant steward (who has a bit of a crush on his mistress) and Maria (Sam Myerson), her assistant, a mischievous merrymaker, both of whom only add more heat to an already spicy stew. 

    And, if that wasn’t enough, Olivia has an uncle, Toby Belch (Anantha, again), a drunken nobleman, and his rich, fey friend, Andrew Aguecheek (Monteblanco, again), a rich buffoon.   A rather independent and persuasive musician, Feste (Elijah Castillo), a witty troubadour, seems to be our outside eyes, looking at the proceedings with cloaked optimism, and commenting on them, or partaking in them, when necessary, to route the story forward.  To say that things may end up in a muddle is an understatement.  And to relate too much more of the story would spoil the fun, but know that the slippery slope they tumble down will have a softer landing, being that they all may end up together…for better or worse.

    I have no doubtthat this will be an amazing production because I have followed OCT’s and Y/P’s progress for many years and I know the Education Director, Dani Baldwin, well and admire what she has done, and is doing, with students in her programs.  The teachings in her classes mirror the struggles the students are dealing with in real life and give them a safe haven in which to explore that world.  The plays they do also deal with real life issues and are not just “fluff” pieces.  What they learn about themselves, each other and the world at large, they will carry into adulthood, and be better human beings because of it!

    It's not so much what we see of the troubles in the outside world, but of what we don’t see, The Unknown, that is bothersome…“Ay, there’s the rub.”  In short, “there is nothing to Fear but Fear itself.”  I have no doubt that the worlds they explore in this environment will make them more capable of conquering any “darkness” they will encounter.  If a door closes on you, seek the open window for expansion…and then, breathe!

--DJS

The Children—Artists Rep in the Ellyn Bye Studio—Pearl District

 What Nature Employs…Mankind Destroys

    This futuristic drama by Lucy Kirkwood and directed by Luan Schooler is playing at the Portland Center Stage, the Armory, 128 NW 11^th Ave., through May 15^th.  Parking can be a challenge in this part of Portland, so plan your time accordingly.  For more information, go to their site at www.artistsrep.org or call 503-241-1278.

    “The best laid plans of mice and men.”  Do we plan on being violent to our fellow man?  Probably not.  But when Reality raises its ugly head, in the guise of Greed and Power, then all bets are off.  “Absolute power corrupts absolutely.”  We are in the throes of that very dilemma all over the world at this very minute.  And the result of this childish game of Chicken or King of the Hill…well, this very play may be the culmination of those efforts.

    Two films came to mind while watching this powerful indictment of Man…Aussie director, Peter Weir’s, early film, The Last Wave (w/Richard Chamberline) and the excellent, heartbreaking, Testament (w/Jane Alexander).

    Picture, if you will, three aged nuclear scientists, after The Great War of the future (nearer in time than one might think).  There is the fussy Robin (Michael Mendelson), who’s days seem to be absorbed with visiting a farm ripe with cows, although milk is contaminated by radiation and so, undrinkable, as is the tap water.  There is his neurotic wife, Hazel (Linda Alper), who is all about eating healthy, no meat, and being physically healthy, too, yoga.  And the third to join this motley crew is the speculative, Rose (Elizabeth Elias Huffman), who seems to have an ulterior motive for this visit.  And, of course, there is the titled, Children (unseen) who are the key to this unholy union…but more I cannot tell, you as it is up to an audience to discover.

    Schooler has chosen well her cast, as she leads them (and the audience) down a treacherous path, or as a Bette Davis character once proclaimed, hold on to your seats, folks, it’s gonna be a bumpy ride!  And what a choice ensemble she has.  Mendelson is the best of the best and always shines in whatever roles he plays.  This is one of his finest (over the many times I’ve reviewed him over the years), as his carefully nuanced character keeps you guessing as to his next step in this chain of events.  Alper, too, is a veteran of the stage and fires up the boards with her increasingly slip into a type of madness.  She’s amazing!  And Huffman, perhaps the most savvy of the trio, is rock-solid in a portrayal of a person on a mission, who won’t stop until a wrong is mellowed by a righteous act.  All played out on a sparce, futuristic setting by Megan Wilkerson.

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

And to perhaps complement this script, a short, companion piece I wrote, commenting on the current state of affairs:

The Afterward Effect

The young girl at last got to see what many of her elders had often spoke of.  It was many years since The Last Great War.  And she was now at the sacred spot, considered to be the definitive monument of the spoils of global conflict.

She approached the stone slab with an undefined chill.  The writing on it was weathered but still legible.  She pressed “English” on the “Language” monitor on the screen that was before it, and immediately the writing appeared readable to her.  The letters on the memorial spelled out this message:

“Be in awe of all you that enter here and see what beauty I have achieved!  Behold the magnificence of what I produced in my lust for dominance and immortality.  Look upon my works and marvel at what one man, with an unerring purpose, can produce.  Might is Right and this proves to future generations that, with focused determination and a solemness of purpose, results will ring supreme.  You may kneel before this monument to one man’s greatness and revel with envy and desire at such a spectacular accomplishment!”

And so, my immature eyes peered beyond the withered rock to view that which the author was so proud.  As far as the eye could see, there appeared nothing but debris…masses of rubble…a cacophony of gravestones and crosses…and a bleakness of idle purpose and utter despair that will not soon be erased...

At end of the message, in faded lettering, the author’s name, “V.Putin.”

(With due respect to “Ozymandias,” the inspiration for this piece.)

Leading Ladies—Lakewood Theatre Company—Lake Oswego

 

Treading the Boards

    This farce by Ken Ludwig and directed by Stephanie Mulligan plays through April 10^th at their theatre, 368. S. State St.  For more information, go to their site at www.lakewood-center.org or call 503-635-3901.  Full Covid restrictions apply.

    Because of a screw-up in communications, I wasn’t apply to see this show opening weekend…and it ends this weekend, so giving a full review might not help much.  So, after I give a brief synopsis of the plot, I will apply another approach to enticing you to the theatre—concentrating on the actors and company who present these productions.

    The plot concerns two third-rate Shakespearean actors from London, Leo Clark (Sam Dinkowitz), the “brains” of the duo (a Zero Mostel type) and Jack Gable (Philip J. Berns), the stooge of the team (a Gene Wilder type).  They desire to be in the limelight and makes loads of bucks, too.  A chance ad in the newspaper tells of a rich, dying old dowager, Florence (Margie Boule’), who is seeking some lost relatives from England, Max and Stephen.  So, being actors and English, they decide to assume those identities.

    Upon meeting the “family” they discover a Reverend, Duncan (Nathan Dunkin), who plans on marring into the family with Meg (Jessica Tidd). There is also her doctor (Don Stewart Burns), his son Butch (Matt Sunderland), and his girlfriend, Audrey (Jessi Walters).  It is a madcap, gender twisting romp through a bygone era of Wilde and Coward and the Bard “…signifying nothing.”

    The play is a bit long (almost 3 hours) and repetitious but always fun, as we have a master director of comedy, Mulligan, pulling the strings.  I have reviewed all these actors before and they are, indeed, the cream of the crop!  Dinkowitz is a whiz at broad comedy and Berns amazing at physical comedy (ala, Jerry Lewis or Stan Laurel).  Boule’ is a consummate actor going from playing the Spider Woman, , to a Governor of Texas, to a dimwitted girl coming face-to face with a man-eating plant, et. al.  And not to forget, Steve Knox, Executive Director, who is a fine director in his own right.  All the cast included, having long, successful careers in all types of theatre and should be applauded for their service to the Arts!

    These folks are special for they are truly artists.  “Do not seek out Art, for Art, if it finds you worthy, will guide your path!”  This cast is the worthiest of the worthy and it doesn’t look like they’re slowing down “…as they have miles to go before they sleep.”  “Live long and prosper,” my fellow Artist!

    I recommend this show for its amazing cast.  If you do see it, tell them Dennis sent you.

--DJS

Maz & Bricks—Corrib Theatre Company—SW Portland

Photo by Adam Liberman

“Two Roads Diverged…”

    Portland’s Irish theatre presents its new play by Eva O’Connor and directed by Melody Erfani at the Boiler Room, Lincoln Hall, PSU (1620 SW Park Ave.) through March 13^th (parking can be an issue so plan your time accordingly).  All Covid restrictions apply including vaccine cards, masks, etc.  For more information, go to their site at www.corribtheatre.org

    The above quote by renowned poet, Robert Frost, concerns a person at a crossroads in their travels, needing to make a decision on which of two paths to take through the woods.  Upon deciding, there is always some twinge of regret on wishing they could be two people and traverse both roads.  Such is the case with Maz (Elisa Frakes) and Bricks (Ken Yoshikawa)…and, I suspect, with most of us at one time or another, too.                                                                                

    Maz is an avid activist and her latest cause is as a protester for Women’s rights over their own bodies, in this case, abortion.  Bricks is a bit of a ne’er-do-well, who just likes to have fun but clings fiercely to wanting to have a relationship with his daughter Yasmine, who was one of those “accidental” children of a failed union.  So, they begin their chance meeting at loggerheads.

    He also has some issues with a recently, deceased broth, Anton, and some incomplete issues with him…and also with his mother.  Maz is no stranger to issues herself with her mom, and the stances she takes politically differs with some of the rest of society.  A “match made in Heaven,” it is not.  But, as is said, opposites attract and so they begin this dance of derision, in which echoes of the past may overwhelm them, or do they create a “brave, new world?”  See for yourself….

    Erfani has engaged us in, at times, a compelling dance between two boxers in an arena, in which one, or the other, will come out the winner, or will it be a draw?!  It is done on an essentially bare stage, which designer, Kyra Sanford, seems to want to suggest the setting doubling back on itself as possibly, in Life, too.  And Frakes and Yoshikawa are terrific sparring partners in both their dialogues and thought-provoking monologues.

    And so, what is the solution to this dilemma we call, relationships?  Vonnegut may have said it best, when he suggested…simply put one foot in front of the other, and then proceed…!

    I recommend this play.  It does have raw language so be prepared.  If you do choose to see it, please tell them Dennis sent you.

--DJS

WROL—Young Professionals Company (OCT)—SW Portland

 

What Dreams Are Made On

    WROL (without rule of law) is written by Michaela Jeffery and directed by Andrea White.  It runs through March 6^th and is playing at the Multnomah Arts Center Performing Hall, 7688 SW Capitol Hwy.  For more information, go to Oregon Children’s Theatre’s site at www.octc.org/wrol  or call 503-228-9571.  Please note, all Covid protocols in place, such as vaccine cards, masks, etc.

    Who we are and what we become are part and parcel of our dreams.  We have a view of life as we mature that, early on, is usually in lock-step with the majority.  But, as we age, and have our own dreams, a different reality sets in.  Then the question becomes, do we follow our path, or the one that seems to have been set down for the rest of society.  “Ah, there’s the rub.”

    Five teenagers, Jo (Jamie Mack), Sarah (Lili Ireland), Vic (Tam Silverman), Maureen (Alli Jaffe) and Robbie (Darren Sze) are trapped in a post-apocalyptic, alternate reality in which they must survive.  They must deal with legends and myths of this new world or perish.

    They discover a seemingly abandoned campsite of one of the inhabitants of this other world but what does this offer them?  They have their own views of what it takes to exist in this brave, new concept of reality and make no bones about expressing their views on video and to anyone who will listen.  But is anybody listening?  If a tree falls in a forest but there is no one there to hear it, does it make a sound?!

    I can only give you vague hints of this story, for it is up to you to interpret it.  It’s true, we adults have left a haphazard trail of bread crumbs to follow for future generations but I have faith they will decipher the hints and thrive in this future world, for as long as they have each other, they are not alone.  My take-away is this:  Conform or Evolve!  Other views?!

    White has assembled a talented cast to present this world of alternating views and theyare wonderful.  And, a shout-out to Dani Balwin and the Y/P company for tackling in all their shows, diverse and topical issues for their times, for they will be able to learn from this experience and carrying them into their adult lives!  Bravo! 

    I recommend this play and, if you do choose to see it, please tell them that Dennis sent you.

--DJS

Bakersfield Mist—Triangle Productions—NE Portland

 

Eye of the Beholder

    This Live show is written by Stephen Sacks and is based on a true incident.  It is directed and designed by Donald Horn, and is playing at their space at 1785 NE Sandy Blvd. (free parking lot next to the building) through February 12^th.  Be advised that full Covid protocols are in place…vaccine cards, masks, temp. check, etc.  For more information, go to their site at www.trianglepro.org or call 503-239-5919.

    This story reminds me of a short, silent film I saw some years back.  A disheveled man walks out on a dry dock, on which sets several cans of paint of different colors.  He begins tossing the paint from the buckets onto a giant canvas he has positioned on the dry ground below the dock.

    He then gets a mop he has brought with him and jumps off the dock and begins smearing the paint around on the canvas.  When satisfied of his creation, he takes a saw and begins cutting the canvas into smaller sections and stacks them on the dock. 

    As if on cue, a helicopter lands onto the dock and some very well-dressed individualsget out of the copter, approach the scruffy man, giving him a wad of cash, pick up the stacks and load them on the helicopter and fly off.  On the copter’s door is printed the name of a very exclusive art gallery in New York.  Art?  It’s in the eye of the beholder!

    The play by Sacks concerns a trailer park, ex-bartender, Maude (Helen Raptis), who goes to a thrift shop and picks up a painting for $3, which she believes is a genuine Jackson Pollock work, worth millions.  In order to prove her claim, though, she must get an art expert to authenticate it.

    Enter Lionel (Michael Fisher-Welsh), an uppity, famous New York art critic, to make just such a decision.  Unfortunately, he doesn’t view the paining in the same way she does.  What ensues is a battle of wits (such as they are), as much about class distinctions and education between them, as it is about the nature of art.  During the confrontations, they both expose personal sides of each other and their pasts, which I can’t really go into without revealing plot devices the audience should discover.

    But it does bring up some universal issues as to what constitutes real art.  Is it the brush strokes by hand, or the passion of the heart of the artist?  And who is to decide this, an “expert” whose word we just need to take, or the viewer who may become transformed/enveloped by the art?  “Ay, there’s the rub….”  A question devoutly to be pondered.

    Both actors have their supreme moments of passion and rage upon the stage.  Fisher-Welsh is very impressive in his monologue wherein he endeavors to immerse himself in the soul of Pollock, as he writhes and contorts himself on the canvas of her living room floor.  And Raptis is equally impassioned when she attempts to convey the emotional response she has to the work, as it relates to her family’s tragic circumstances, and very well performed, also.  When two worlds collide, one has to give way to the other…or do they?

    Horn has once again turned our worlds upside down and made us think, as well as be entertained by his plays.  In essence, he has two titans of the stage do battle in an arena with each one matching the skill of the other.  And I especially like Horn’s set design, an elegance in simplicity.  Definitely worth seeing!

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

--DJS