Voiceover—Imago Theatre—SE Portland

 

“The Windmills of Your Mind”

    This World Premiere LIVE production is co-written, directed and choreographed by Jerry Mouawad and co-written by Drew Pisarra and produced by Carol Triffle.  It plays through July 30^that Imago’s space, 17 SE 8^th Ave. (off E. Burnside).  Parking can be an issue, so come early.  (Covid protocols in place…vaccine cards, masks required and spaced seating).  For more information, contact them at www.imagotheatre.com or 

 call 503-231-9581.

    Some inspirations for this production may be found in Lugi Pirandello’s, “Six Characters in Search of an Author,” in which unwritten or unfinished persona from a play seek out in a theatre, some author/creator to finish their story.  It also recalls from the age of Cinerama film-making, the movie, “The Wonderful World of the Brothers Grimm,” in which Laurence Harvey, as one of the brothers, lies very ill in bed and is visited by all the little characters he has yet to create, begging him not to die, as that means they will never have lived. 

    And, one more reference, an excellent animated film by Pixar some years ago called, “Inside Out,” which illustrates how the many emotions within a person’s brain, all try to interact with each other, in order for an individual to connect with the outside world.  “What a Piece of Work is Man….”

    Existence is a complicated thing.  Just who are we, how did we come into being and just what is our purpose anyhow?!  We, according to one biblical source, have been given free will and reasoning powers, but what do we do with those “gifts,” if they actually do exist?  “Aye, there’s the rub….”

    In this incarnation of some of those dilemmas, eight characters appear on a bare stage:  Fiely Matias, Ariel Puls, Kellie Holway, Index Marcus, Isaac Ellingson, Jessica Curtiss, Emma Holland and Sean Bowie.  They are seemingly controlled by an entity called, Jackie.  He, at times, is their voice, always loud but definitely in charge for those moments.  Otherwise, they only can communicated with each other with a sort of telepathy, and we are able to hear them as ‘Voiceovers,” or a type of asides in theatre-speak.

    They do have one thing in common though, they are all dancers and, thus, express their feelings in stylized movement.  But are they truly expressing their emotions, or is someone else pulling their strings, like a puppeteer would?  And, if so, what to do about this grave situation?  But an even larger question teases our minds, as the audience is thrust into this proposition, too, and then this enigma grows ever wider.  Enter their world, if you dare…!

    Mouawad and Pisarra have charted us into uncertain waters with this presentation and whether we sink or swim is entirely up to us.  If to swim, it means we have to jerk our heads out of the electronic jungle of the internet highway, the all-knowing, all-seeing god for many of us, and actually examine, for ourselves, who and what we are…and what is real and not.  If to sink, it means, with eyes wide shut, drowning ourselves into the endless and contradictory by-ways made up of the cold, hard world of wily wires and condescending components.  This is a story of human development, in which Man may come up short but, at least, we must try!

    Mouawad has, once again, come up with a winner.  His direction, seemingly random, only means that he has lulled us into a deliberate slumber, only to startle us at the end (beginning?) when the alarm goes off!  And his cast is exceptional, each one creating a very specific individual.  And, choosing dance as their means of locomotion, gives their stories a fluidity that lures our imaginations out of the shadows and into working models of humankind, which should have always been in existence, anyway.  Bravo!

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

--DJS

The Kiss—Lakewood Theatre Company—Lake Oswego

 

“’Hopefully’ Ever After”

    This world premiere musical is directed by Greg Tamblyn, story conceived and original script by Will Vinton, music and lyrics by David Pomeranz, book by Will Winton, Jesse Vinton and Greg Tamblyn (loosely based on “The Frog Prince” by the Brothers Grimm).    It is playing through August21^st 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.

    “Fairy tales can come true, they can happen to you, when you’re young at heart….”  Ah, such a world as this do we need now.  Originally, these stories were written as cautionary tales for the youth of yore.  But now they are seen as beacons of Hope, in which nasty dragons are slain, evil witches are banished and lover conquers all, to lead to ending of “happily ever after,” sealed with a kiss.  Is all that still possibly?!  Time will tell….

    In this timeless tale, conceived by Will Vinton, the father of Claymation in Portland, this classic theme is reawakened.  Two neighboring kingdoms, each having a child born at the same time, a girl and a boy.  They grow up playing together as best friends.  But reality raises its ugly head (politics, jealousy, greed, arrogance, selfishness, et. al.) when they become adults and they must stifle childish thoughts and dreams.

    Eventually, Arro (Keaton Fields) and Ember (Sophie MacKay) grow apart and all hopes of uniting the two kingdoms by her father, King Gordo (Douglas Webster) are dashed as they go their separate ways.  Enter now a dragon that threatens their villages, and the king promises his daughter’s hand in marriage to he whoever slays this vile creature.

    The deed is dispatched by a mysterious knight, Raoul (Collin Carver), or so it seems, and suddenly Arro has disappeared, turned into a frog by a vengeful witch, Gladys (Emily Sahler), for reasons discovered later.  His only recourse out of this curse is to be kissed by a true love within three days.  And he does have some allies to help, in the form of woodland animals, Granny Racoon (Melissa Standley), Sheldon the Snail (Troy Sawyer) and Benny Beaver (Eric Zulu).  The conclusion is classic storytelling which, of course, you’ll have to see to discover.

    The songs (by Pomeranz) and dances (choreographed by Erin Shannon) are a pure joy and enhance the story, as well as fleshing out the characters.  And Tamblyn’s direction, a veteran of local theatre, is paramount in his casting and staging of this magical production. Some of my favorite numbers are “Club Mud,” a romp; “For the Good of All”, revealing; “Sugar Lips,” a hoot; “Humans,” fun: “Kill the Frog Toad,” an oily delight; and the romantic, “The Kiss.”

    Sahler is a seasoned performer and quite a belter and it shows.  Fields and Mackay have fine voices and Fields, in particular, shines in the dance numbers.  Webster is in fine form with his powerful voice.  Zulu, Standley, and Sawyer,as the forest critters, play well off each other in their comic timing.  And they have an amazing chorus, filling in the many supporting characters.  Among them is Quinn Boyd, as the young Ember, who shows promise in her well-crafted role.

    But there is a sneaky rat that tends to spoil this lovely brew of characters, as Carver tends to steal the show as the nefarious, nasty, no-good-nik villain of the piece.  His “cheesy” performance is an utter delight!  His background covers OCT and Triangle, where I’ve reviewed him before, and he is still charming the audiences. 

    And to each and all of us, may the message of this play, selflessness is the key to happiness and love, invade each our hearts, so that we may live in Peach and Harmony with Nature and each other, so that we may truly live “hopefully ever after!”

    I highly recommend this play.  If you do chose to see this play, please tell them Dennis sent you.

--DJS

Bad World—Crave theatre—SE Portland

 

Tangerine Dreams…Icicle Kisses

    This original, Live musical is written by Kylie Jenifer Rose,James Liptak, Jennifer Provenza, Rachael Singer, Michael Cavazos, Ashley Mellinger, Maya Maria Brown, and Zeloszelos Marchandt.  Music by James Liptak and Kylie Jenifer Rose and lyrics by Rose and Jennifer Provenza.  It is directed by Rachael Singer and Jennifer Lanier.  It is playing at the Shaking-the-Tree space, 823 SE Grant St. through July 3^rd.  Full covid protocols in place…vaccine cards, masks, etc.  For more information, go to their site at www.cravetheatre.org or call 360-931-5664.

    Once upon a time there was a little girl named Rose who grew up in a fun and loving family (good world).  As she got older, she dreamed of distant lands and all the magical things that could happen there (good world).  Finally, she decided on  a career in the arts and to travel to Gay Paree (good world).  But Rose (Kylie Jenifer Rose) was now a young adult, and out on her own, and the dreams she had would soon be dramatically altered by some ruthless beasts who would shatter those dreams (Bad World)!

    This mostly sung play is a map of the journey, cathartic for her and educational for others.  As she traverses her own path down memory lane, she is joined by other selves; other victims of sexual abuse; and even the strangers themselves, played in a mostly jazz, concert style, in dance and song, as a reflection of her inner artist.

    These three remarkable people that share the stage with Rose, filling in the blanks of her tale/memory are Zeloszelos Marchandt as Langston, Gayle Hammersley as Zaria and Kayla Leacock as Linnea…and they are terrific!  Being victims themselves, they are all a part of Rose’s, Symphony of Life, and she a part of theirs.  They struggle valiantly; they harmonize beautifully; and they relate a too, oft-told tale of abuse by an ignorant, brutish gender that feel they are the superior race and demand submission by all others… “a tale told by an idiot!”

    The is a play you simply must see to appreciate and it is a safe space to explore this very destructive trend in our society.  Rose is a very brave lady and an absolutely amazing singer and actor! And hopefully this show is Broadway-bound, as it is topical in content, and professionally done in style.  Liptak’s music is magical, as it always connects seamlessly with the lyrics.  Not only that, but the lighting (Griffin DeWitt) and set (Yelena Babinskaya) throb in unison with the music and plot.  A union, I would say, conceived in a…Good World!

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

--DJS

 

Mr. Madam—Triangle Productions—NE Portland

 

“An Awfully Big Adventure”

    This Live dark comedy is written by Donnie, directed by Donald Horn and is based on the writings of Kenneth/Kate Marlowe, featuring Wade McCollum.  It is playing at their space at 1785 NE Sandy Blvd. (free parking lot next to the building) through June 25^th.  Be advised that full Covid protocols are in place…vaccine cards, masks, etc. (also restricted to those 18 and older only, please).  For more information, go to their site at www.trianglepro.org or call 503-239-5919.

    From the mouths of Peter Pan (who is often played by a girl, by the way) and the Lost Boys, to the orphans in Annie, who must live “a hard-knock life,” childhood can be a scary thing.  But in those formative years, our personalities are emerging and will lead to who we are as adults.  And it is also the ages in which we discover our self-identities.  I think it’s agreed by most experts that we all have a masculine and feminine side, regardless of our physical gender.

    Mine is my Muse, who developed all my creative writings and reviews, and I trust her implicitly.  The subject of this play, Kenneth/Kate Marlowe (Wade McCollum), also has a Muse who fosters his/her writings, as this play is base on that life, much of it in print.

    Marlowe has a less than glamorous beginning, as spewed out by an alcoholic mother (who wanted a girl) and a father “who was in love with long-distance.”  But he was very sexually active from a very early age with other boys.  As he grew, he found his life-calling (more or less) in being a hair-dresser.  He also liked dressing up in women’s clothing and make-up, and ended up becoming a drag queen.  Even worked in a club ran by the mob. He also ran a call center, who got him a lot of prospects and even found, for a while, a sugar daddy.  And his little stint in the army gave him a hard-hitting dose of reality for those such as he.  Eventually, finding the courage in the 70’s to become—Kate!

    I have skimmed over his story because it pales in comparison to McCollum’s performance in relating it, and to Donnie’s amazingly, poignant script of his journey.  This is something you have to experience for yourselves and I guarantee you will be profoundly moved, as was I!  You will also see yourselves (and others) in the character of Marlowe, as he is first and foremost, I believe, very human and that is what softly explodes in your hearts and minds as you listen to his/her story.

    McCollum is a consummate artist, being able to paint a vibrant personality, exploring every nook and cranny of one’s being, and stitching together its threads to create a rich tapestry…a cornucopia of adventures, that exemplifies who we are! And he plays to perfection all those side characters he meets, as well!  Out of the hundreds of plays I have reviewed, I can count on one hand those that could equal McCollum’s performance here!  “May you live long and prosper!”

    And Horn’s script should be Broadway-bound (but only with McCollum as its star and Horn as its director)!  Donnie has managed to present a riveting story of what makes us who we are.  I think this is Horn’s best work and, further, I think you should not miss seeing it!  Bless you, Horn, you have a treasure here and it should be shared by the world!

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

--DJS

Julia’s Place—Imago Theatre—SE Portland

Graphic Design by David Deide

 Once Upon a Time…Ever After

    This World Premiere LIVE production is written, designed and directed by Jerry Mouawad and produced by Carol Triffle (co-founders of Imago).  It plays through June 18^th at Imago’s space, 17 SE 8^th Ave.(off E. Burnside).  Parking can be an issue, so come early.  (Covid protocols in place…vaccine cards, masks required and spaced seating).  For more information, contact them at www.imagotheatre.com or call 503-231-9581.

    Since Mouawad cites Ionesco’s play, Rhinoceros, as an inspiration for his piece, I think it only fair to give you a brief overview of the underlying substance of that avant-garde play, written several years ago.  There is also a fairly good film of it starring Zero Mostel, Gene Wilder and Karen Black.  Any resemblance to real life is purely…intentional:

    “Imagine a circumstance where an incompetent, egomaniacal boob stands up in front of you, spewing out utter nonsense and promising to fulfill this blather if he were King.  Then imagine a circumstance where this nitwit is offered just such a position, and his herds of followers bow to his every whim, and blindly accept every blathering he utters.  Soon they are espousing his “holey” words as truth, even as the world they knew and loved collapses around them.  In the end, he leads them to a cliff and proclaims they should all jump.  In this setting, those beings are called lemmings, in this incarnation of them in this play, they are called Rhinos.”

    The above definition holds pretty true to form for Julia’s Place.  Julie (Carol Triffle) is the owner, cook, server, et. al. for this little establishment located (perhaps) on an “Ill-Land,” resembling an European café on the road to Forever.  It’s main dish, is not the food (except for some stale saltines) but its motley crew of what may be the last vestiges of civilization, as we know it.

    There are the two regulars, consisting of Porkchop (Josh Edward), a dishevel prophet (aka, John the Baptist), spewing words of seeming nonsense, professing we are all just stories…and stories within stories.  Then there is his best pal Ralph (Noel Olken), a more studious and reserved sort (looking much like a young Einstein), who has a “thing” for Julia.

    Into this dubious haven from life’s pitfalls, bursts Leonardo (Christopher Kehoe), like a big-game hunter, looking to bag a prize beast.  Also, on hand, to complete this picture of instability is Poem (Laura Loy), whose heart has been broken by a lover who has deserted her.  Oh, yes, there are a storm of rhinos (Cosmo Kay & Olivia Vavroch) marauding the streets in packs, in search of what…a mate…to merge with the conforming crowd…to evolve into the next step of Evolution?

    But where did they all come from?  Most of the characters seem to have an odd yearning, and yet revulsion for this new, dominant tribe.  Or is the quest much simpler…will Porkchop ever get his desired slice of lasagna?!  You just have to see it and draw your own conclusions as to the meaning of it all.

    Mouawad’s casting, as always, is unique and they fill every inch of these improbable characters, chief among them is Edward, as it’s his narrative we follow, and he is marvelous in his zaniness to hold these fragile threads of humanity together, even when everything around him is unraveling.  The puppeteers (Kay & Vovroch), too, are to be given kudos as, even as shadows, they exude an eerie menace, not to be ignored.  And Mouawad’s script, of the avant-garde genre, is chilling and thrilling, as it seems to speak to the root of nightmares, where only the brave may tread!

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

--DJS

Laughter on the 23rd Floor—HART Theatre—Hillsboro, OR

 

The Endorphin Squad

    This live production of the comedy by the famous Broadway writer, Neil Simon, is directed by Meghan Daaboul.  It is playing at their space near downtown Hillsboro, 185 SE Washington, through May 22^nd.  For more information, go to their website at www.hart-theatre.org or call 503-693-7815.

    Ah, the good ole days of the 50’s.  Peace, once again, except, of course, for the Cold War with Russia, and the Korean Conflict.  Yes, prosperity loomed just around the corner, unless, of course, you were a subject of one of Joe McCarthy’s investigations of “Commies” and ended up on the Black List.  But the saving grace through it all was television, and its comedy/variety shows, like the classic, Sid Caesar and his, Your Show of Shows.

    Many of the present-day comedians, directors, producers and actors wrote for this show, including “Doc” Simon.  Some names that come to mind are Woody Allen, Mel Brooks, Carl Reiner, Dick Cavett, Howard Morris, Imogene Coca and a plethora of others.  All in all, although it may not have been “the best of times,” it did produce some the best of talent!

    The plot centers around a gaggle of TV comedy writers on one of the upper floors of a high-rise building in the mid-50’sin New York City.  There is the star of the show, the eccentric, Max Prince (Bobby Jackson), who genuinely loves the biz but is thwarted at every turn by corporate (executives (nothing much has changed in that regard nowadays).

    And among his “mad” team (“everybody must have a little madness to discover one’s true passion”), is the head writer, a Russian Jew, Val (Jeff Brosy), who tries to be the peacekeeper (without much success) of this motley crew.  And then there is Milt (Steven Koeppen), the beret king, who likes to be set apart from the group; Brian (Seth Wayne), who’s an aspiring screenwriter; Kenny (Jeff Ekdahl), the apple-cheeked kid, and Ira (Michael Rouches), the hypochondriac.

    Add to this mix the only female writer of the bunch, Carol (Erin Bickler), who just wants to be “one of the guys;” Helen (Deb Holmes, Max’s secretary, who wishes to be a writer herself; and the newbie, Lucas (Brandon B. Weaver), who is the storyteller (perhaps, Simon, himself?).  As is said, everyone has his/her own story and such is the case here, but for an audience to discover when watching the play.

    Daaboul has assembled a fine ensemble cast and they play beautifully off each other.  A tricky thing for a director, when doing this sort of show, is the motivated blocking (as in Twelve Angry Men), where the center piece are the writer’s tables, and to move the actors around in a meaningful way is no easy task but she pulls it off, so kudos to her!

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

--DJS

Sex on the River—Triangle Productions—NE Portland

 

Photo by Kinderpics – Nancy [Boggs] and her ‘girls’

“Merrily We Roll Along”

    This Live musical is written by Donnie with lyrics by Donnie and Jonathan Quesenberry and with music by Jonathan Quesenberry.  It is directed by Donald Horn and choreography by Sara Michler Martins and is based on actual incidents.  It is playing at their space at 1785 NE Sandy Blvd. (free parking lot next to the building) through May 28^th.  Be advised that full Covid protocols are in place…vaccine cards, masks, temp. checks, etc.  For more information, go to their site at www.trianglepro.org or call 503-239-5919.

    The Portland area in the 1880’s was ripe with corruption from law enforcement, politicians, business owners and on down.  In fact, it was divided into three sections…Portland, East Portland and Albinia, with the Willamette River dividing East from West.  Opium dens, Shanghai tunnels, Graff, gambling, booze, prostitution, and bordellos were accepted practices in this untamed West.

    Enter one Nancy Boggs (Julianne Nelson…later in the run to be played by Danielle Valentine), from Pennsylvania.  Previously married and having tried a variety of jobs, ends up in Portland, buys a scow (a type of barge), refurbishes it and turns it into a floating bordello down the middle of the Willamette River, just far enough from Portland jurisdiction.  She even paints it green with red highlights (a bit of irony, perhaps, as a Garden of Paradise, overshadowed by a red demon).

    She has the reluctant blessings of two other Madams of the land variety of pleasure palaces, the elegant Brit, Liverpool Liz (Lisamarie Harrison) and the down-to-earth, Mary Cook (Cyndy Ramsey-Rier).  Along the way she acquires a bookkeeper, the practical, Kim (Channel Ka’iulani Kaimana Batala-Ledfore), having her own issues to deal with from traditional family values.

    Of course, to have a successful bordello, you have to have the pleasures of the sea as well.  So, enter Melody (Liz O’Donnell), Sara (Cassandra Pangelinan), June (Cosmo Reynolds) and Irene (Arielle Scena-Shifrin), who are willing to lay down the rules to make men happy.  But there is always a fly in the ointment, so enter, the boy in blue, Sam (Alexander Trull), who is only looking for an excuse to close them down, and yet is intrigued by Nancy.

    All these folks have their moments to express themselves in song and monologues.  But it should be seen and digested by the viewer, so do see it for yourself.  One of the most impressive scenes is by the character of Kim, as she expresses the dilemma of being an Asian with traditional beliefs and the new-found freedom of finding her own way in a brave, new world.  The character of Nancy, having some of the same reactions, as she bucks the establishment of the male-dominated society, which are both major themes of the story by Donnie.  And in this crazy world we are living in now, it seems to be that not that much has changed!

    There are a couple of dynamite dance numbers by Martins, which enhances the show.  And Batala-Ledford performance is heartfelt, as she expresses her frustrations of being a “stranger in a strange land.”  Nelson is terrific as Nancy, having both the voice for the songs and the acting chops, as well.  Harrison and Ramsey-Rier are ole pros of musicals theatre and they shine here, too.

    Quesenberry has done a number of shows for Triangle and he is a master musician, as he is here.  Horn has a love of Portland history and it explodes on the stage, as he blends it with his perpetual fight for equality and justice for the downtrodden and marginalized among us.  May he “live long and prosper!”

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

--DJS