A Trip Down Memory Lane
The latest
show at ART is Red Herring, a NW Premiere by Michael Hollinger,
directed by OSF’s Christopher Liam Moore and designed by long-time OSF
designer, Richard L. Hay. It plays in
their small theatre, which is located at SW Alder & 16th Ave.,
and runs through March 17th.
For further information, contact them at www.artistsrep.org and/or call 503-241-1278.
It was the 1950’s, not the best of times, nor the worst of times. Like a spicy stew, it had the H-bomb, film
noir, the Red Scare, blacklisting, the Iron Curtain, Mickey Spillane, G-men and
spies. All the ingredients for a very
dark trip down the intricate and winding path of human foibles. But it also contained IKE, soap operas, Ozzie
and Harriet, cars with fins, Rogers & Hammerstein, and the American Dream. In Red
Herring, we enter this comic strip world, for better or worse, till the
60’s do we part.
The plot has many of the above mention devices.
Once upon a time, there may have been a heroic, G-man, named Frank (Leif
Norby), who fell in love with his partner Maggie (Val Landrum). Into this world there also may have been two
young lovers, a naïve young girl named Lynn (Amy Newman), who would do anything
to win the man she treasured, James (Joshua J. Weinstein), a budding physicist. But there may also be dragons, in the guise
of a mysterious landlady, Mrs. Kravitz (Vana O’Brien) and her equally
intriguing husband/boarder/partner (?), Andrei (Michael Mendelson).
But the fairy tale journey becomes a bit more rocky, as we discover that
Frank’s main squeeze, Maggie, has a checkered past. Or, that the young lovers are not as pure, or
as patriotic, as we assumed. And that
the dragons may have a “pinker” tint, as they search for a “cheesey” solution
that may just bring down all the kingdoms.
In other words, things are not as they seem. And, that the layers of love, deception and
compromise are, indeed, a many tangled thing.
To tell much more of the intricate plot might spoil the story. But, let me conclude this part by advising
that the term “red herring” could be a fish but, in storytelling, it is, in
short, a false clue. Enough said.
The play is labeled by the author as a “fable about marriage.” It also has elements of a spoof…and a farce. In short, the main stumbling block on this intriguing
highway is deciding what genre it
is. If it is a farce, it should be
played more broadly by the cast, like a Moliere play. If a spoof, it is a subtler comedy, and
should have elements of nostalgia, of homage to an era, like High Anxiety. If a fable, I would expect a storybook
setting, as in Sleeping Beauty. The actors and director strive mightily to
find the happy medium.
The acting is wonderful throughout. Ms.
O’Brien (a long-time, local veteran of the stage) seems to have found the right
mix of humor. Whenever she’s onstage,
you are watching her. She plays an
assortment of characters, all of them spot on.
And Mr. Mendelson (another veteran) is super in all his incarnations and
accents. He is equally adept at playing
the broader humor of the play.
Ms. Newman has very much the right look for the part. And her other composite characters are also
well portrayed. Mr. Weinstein is adept,
too, at changing his demeanor for his other stage selves, especially good as
the priest with dueling confessors. Ms.
Landrum has the right look and sense for her character and plays it with
determination. But, as written, her
character seems a little out-of-step with the view of women in the 50’s (aka,
the happy homemaker, Donna Reed). And
Mr. Norby (also a veteran) definitely has the right look-- steely-jawed--and
manner of the hard-boiled detective of that era. He plays it with all the bravado and conviction
of the male ego of that period.
The inventive direction by Mr. Moore keeps the play moving but without sacrificing
the understanding of the story. And,
hats off to Mr. Hay, for his very elaborate, and yet simple set. It is essentially a bare stage with lots of
little nooks and crannies to mask and expose, as needed, the various elements
of the locations. And the coloring looks
like B&W line drawings from a comic book of that era. Bravo, Mr. Hay, you’re extraordinary!
I would recommend this show. If you do
go, please tell them Dennis sent you.
And, a side note, you should not miss their next show, The Gin Game, a two-character play, which
has the impeccable acting talents of Allan Nause and Vana O’Brien.
A Double-Edge Sword
The Lost Boy by local playwright,
Susan Mach and directed by ART’s Artistic Director, Allan Nause, will play
through February 10th. The
theatre is located on SW 16th and Alder. For more information on the show and/or
season contact them at www.artistisrep.org or call 503-241-1278 for tickets.
The story is set in the late 1800’s. It
concerns the kidnapping of a young boy, Charley Ross (Logan Martin & Agatha
Day Olson), from a prominent family in Philadelphia. Two drifters, Bill (Duffy Epstein) and Joe
(Sean Doran), looking to get rich quick, lure the boy with promises of candies
and fireworks, if he comes with them.
Needless to say, the sweet enticements are a ruse and the boy disappears
from view.
A ransom note for $20,000 is sent to his father, Christian (Michael
Fisher-Welsh). But all is not as it
seems on the home front. The family, far
from being rich, is actually deep in debt.
In an attempt to stave off the kidnappers, a bevy of characters get
involved, including a detective, Heins (Doren Elias), the newspapers and even
P.T. Barnum (Gray Eubank) himself and his circus. (This may be where the term “media circus”
came from).
During this ordeal, it is revealed that the family has had its own demons to
deal with. The father, from a lack
of funds; the mother, Sarah (Dana
Millican), dealing with a ghost from the past; and the older son, Walter
(Harper Lea), feeling guilt for letting his brother go with them. And the Media factions, more interested in looking
out for their own publicity, muddy the already turbulent waters even more. To reveal anything else of the plot would
spoil the mystery, which I’m not
prepared to do.
But it is a fascinating story, mirroring somewhat, the sensational Lindbergh
kidnapping of the early 1900’s, the early 2000 Gaddis/Pond kidnapping and
murders, and the more recent abduction of Kyron Horman from his school. But, as intriguing as the story is, Ms. Mach’s
setting of it, as a background for Barnum’s side-show, is downright brilliant. The façade of a circus arena, reflecting the
real life events, gives the story its edge.
Perhaps, “The play’s the thing, wherein I’ll capture the conscience of
the king” (Hamlet).
Mr. Eubanks (Barnum) is appropriately bombastic and his minions (San Dinkowitz,
Luisa Sermol, Elizabeth Houghton, and Geoff Kanick) are all very good at
creating this surreal atmosphere, needing to be proficient in tumbling,
singing, and juggling. Bravo, troupe! And
the recreations of the Barnum banners/portraits of his characters (Jeff
Seats) are quite stunning, as well as the period costumes (Sarah Gahagan).
Mr. Fisher-Welsh, as the father, begins the show with a lack of urgency in his
performance, which should have been there.
But by the second act he acquires the necessary desperation needed for
the character. Perhaps the most riveting
scene (both in acting, by Ms. Millican and writing, by Ms. Mach) in the show is the monologue in the
second act, in which she describes another demon that haunts her. It is a spell-binding moment.
But veteran actor, Mr. Epstein, as the lead kidnapper, is absolutely wonderful
to watch. You can actually observe him
thinking onstage, as he controls his partner to his bidding; deceives the
golden goose, Mr. Ross (through letters); and weaves sweet nothings out of the
air to entice children. A masterly
performance of a thoroughly evil man.
Mr. Nause, the Director, is always a pleasure to watch, as he creates the little,
quiet moments, in contrast with the rough ‘n tumble of the more gregarious
conflicts—an actor’s director. I’ve never
been disappointed in his directing of a show (or his performing). Hopefully, we’ll continue to see his genius
upon the stage, as his tenure of Artistic Director culminates this year.
Ms. Mach’s terrific script carefully balances her characters, never really
taking sides as to her views but, instead, letting the audience make up their
own minds as to who may be the villains or heroes of the piece. And all the traits of these characters can
easily be translated into our modern world.
A world, perhaps, not of color, but all shades of gray.
This production is well worth seeing and, hopefully, will prompt discussions of
“stranger danger” with your children. A
side note, Ms. Mach also has another production premiering at the same time at the
Third Rail (503-235-1101 or www.ThirdRailRep.org ) at the Winningstad Theatre, A Noble Failure, about our education
system. This should be engrossing, also,
as she is a teacher herself. If you
choose to see this fine production of The
Lost Boy, tell them Dennis sent you.
"Dole/Dickens - An Uneasy Alliance"
Sherlock Holmes… plays at ART through December 30th. It is written by John Longenbaugh and
directed by Jon Kretzu. ART is located
at SW Alder & 16th Ave.
Contact them at www.artistsrep.org or
call 503-241-1278 for ticket/season information.
This is the second time (first, being Triangle Productions) this weekend I’ve
reviewed a show with a terrific cast being hampered by a flawed script. The intent of the play is to join Dickens’s
Scrooge with Doyle’s Holmes. As far as
the script goes, this union is forced, at best.
But a wonderful cast manages to pull Christmas magic from a shaky
premise.
As the story begins, Mr. Holmes (Michael Mendelson) coldly ignores and shuns
his closest companions, Dr. Watson (Tim Blough) and Mrs. Hudson (Jane
Fellows). With that accomplished, he
sits alone on Christmas Eve to contemplate his barren existence. Thus arrives Moriarty (Tobias Anderson) from
the grave. As penance for all his evil
doings, he forewarns Sherlock of visits he will have of three spirits, sent to
alter his behavior.
The first spirit (Nathan Crosby) illuminates a lonely youth (Matthew Kerrigan)
of Holmes, where he alienates himself from his family and his true love, Becky
(Melissa Whitney). The second spirit
(Gary R. Powell) exposes the present day, in which he is a silent witness to
those around him, as to how much he really is loved and needed. The third spirit propels him to a future in
which the world is ravaged by war and destruction, and he will become a
Moriarty-like contributor.
I think we all know the outcome. Holmes
sees the errors of his ways and becomes a changed man. He is redeemed. He embraces his friends and Christmas and
even solves a mystery in the bargain.
Such is the Beauty of this Season!
The entire cast (as mentioned) is wonderful.
Most of them play numerous roles and do them all very well. They are all articulate and precise in their
speech, lending well to the diverse portrayals of each of their characters.
Outstanding among the supporting players are Mr. Anderson (Moriarty, et. al.),
a veteran of many years in Portland theatre.
He shines in every role he plays.
Next he will be seen in a one-man show, The Illustrated Bradbury, based on stories by one of my favorite
authors, Ray Bradbury. It will be
produced by Theatre/Theater in the Spring.
Also Gary R. Powell (Spirit 2, et. al.), another long-time Portland veteran is
a joy to watch in the many incarnations he creates on the stage. (I had the pleasure of acting with him many
moons ago in The Firebugs.) A true
professional. And Mr. Blough gives a
heart-felt performance as Watson. You see
the complexity of his emotions toward his friend, Holmes, and the hurt he must
feel when pushed away.
And the acting of Holmes by Mr. Mendelson (another local veteran) is spot on. He has the right look and feel (script
notwithstanding) of the character. His
range of emotions of this (uneasy) marriage of Ebenezer and Sherlock seems
quite genuine. This character dominates
the story and the actor must likewise do so with the role, as he does.
The scenic design by Jeff Seats is pliable and works well in the many settings
that are called for in the story.
Likewise, the direction by Mr. Kretzu keeps the action flowing, in and
out of the different scenes, with nary a misstep as to where they are,
sometimes with only minimal settings as a suggestion.
The costumes, on the other hand, don’t always succeed. The flimsy “mask” of the first spirit is an amateurish attempt at
anonymity. The costume of Spirit 2 is
silly, at best, looking like a giant leprechaun. Spirit 3 fits the setting of the future (as written),
being an industrial black smoke stack, but it comes across more of a toy than
anything scary, albeit the mechanics of
it, (the same, I assume, as the boat in their Jack Goes Boating) is quite
effective. This, of course, could all be
called for in the script and, if so, is not the fault of the Costume Designer
(Jessica Bobillot). The rest of the
costumes are quite compelling.
The fault, then, “lies not in our ‘stars,’” but in the material. The attempt of meshing two famous, legendary,
fictional characters into one story is dangerous from the outset. You must, at least, have two compatible
genres and, in this case, you don’t.
Yes, they are both written by
British authors about loners “living” at approximately the same time (late
1800’s). But that is where the
resemblance ends.
Dickens’s Scrooge, is a morality character, journeying in a tale about “sin”
and redemption. Doyle’s Holmes is a
brilliant detective solving crimes. In
Longenbaugh’s interpretation, Holmes, in the first act, is simply mean-spirited
toward his closest companions for no apparent reason. (Yes, Doyle’s Holmes can be aloof, arrogant
and aggravating at times toward people but never deliberately mean.)
And his childhood doesn’t really seem so bleak (except for his mother dying) as
his brother, Mycroft, seems very supportive and he obviously has the love of
Becky. But, again,for no discernible
reason, he spurns both of these gestures of warmth.
The second act works the best, seeing the importance of his influence on people
and situations. But the third act seems
more of an indictment on War rather than having anything to do with the
immediate story. (Interesting note,
there was a television presentation by Hallmark, I believe, in the 60’s called Carol For Another Christmas, which had a
similar theme, but the formula was used throughout the tale.) In short, the joining of various
themes/genres in this play, doesn’t often work.
Does this mean the show is not worth seeing?
Absolutely not. The cast is
excellent and should be applauded. And
is it not the holiday season wherein feelings of joy and good fellowship should
rein? You bet. And this production, by the end, does leave
you with that.
A side note, one of ART’s Season Sponsors, the Hotel Deluxe (only a block away),
has an excellent Happy Hour menu and a terrific brunch. I highly recommend it. And if you do go to one, or both of these
venues, tell them Dennis sent you.
"Poverty & Dreams"
Seven Guitars, by August Wilson, is currently
playing at Artists Rep through November 11th at their location at SW
Alder and 16th Ave. It is
directed by Kevin Jones. For more information on their season and play
dates/times, contact their website www.artistsrep.org
August
Wilson is recognized by the theatre community as one of the best playwrights of
the last few decades. His ten-play
cycle, outlining the life and times of Afro-Americans, is quite
impressive. Seven Guitars is in the middle of that cycle, the 1940’s, exposing
the lives of seven individuals in the Hill district of Pittsburg, PA. (the
seven guitars?).
We had our own Hill district, in the guise of Vanport, until it was destroyed
by a flood. It was probably a reflection
of the Black experience, like the Hill district of PA. People living in poverty, haunted by their
own demons of the past, dreaming of a better tomorrow. A world dominated by White oppression,
steering the lives of all involved.
The play is told as reflections and semi-monologues on each of these characters’
lives. It begins with six of them coming
back from the funeral of Floyd (Lance Mc Queen). He has been murdered, and the rest of the
play is a flashback of his life, leading up to his death. This is not Wilson’s best play but the
explosive efforts of his characters to tell their story outweighs the lack of a
strong, narrative thread.
Floyd is a bit of a gad-about, a fly-by-night musician, whose sole purpose
seems to be to become rich and famous.
His “main squeeze,” when his hands aren’t wandering, is Vera (Ramona
Lisa Alexander), a lady who, perhaps, loves “not wisely but too well.” His musician friends are Canewell (Victor
Mack), a glib lady’s man and Red (Michael J. Asberry) a reflector, perhaps, of
the human condition.
There is Vera’s wise-cracking friend, Louise (Gayle Samuels), a no-nonsense
lady who seems content to be in charge of her world. She has a niece, Ruby (Ashley Williams), a
young flirt who comes to live with her, seeming to live and revel in turning
the heads of all men. And the bible-spouting
neighbor, Hedley (Mujahid Abdul-Rashid), a man with a very damaged childhood
but feels destined to come into riches owed to him, and to father a new
messiah.
These characters are richly drawn by all the members of this powerful
ensemble. Each of them having their moments to expound on
their dreams and fears in monologue-type expositions. And each of their traits are expertly told by
the performers and universally recognized by the audience. It is all of us, richly detailed by the
genius of Mr. Wilson, Mr. Jones and the cast.
The set by Jeff Seats is a marvel. It is
so realistic it becomes a character unto itself. You could almost feel yourself walking
through their doors and into another time period. And the costumes by Jessica Bobillot also add
colorful flavor to this mix, especially in the last act with the rich hues of
their fancy attires.
Kevin Jones’s direction is precise and crisp, moving the play along when it
needs the quicker pacing and more slowly for the subtler moments. He is an actors’ director, obviously taking
care with searching out all the possible nuances of a character. The strength of Mr. Jones (and Mr. Wilson) is
presenting us with people who are all shades of gray, without recriminations,
and are very much like the sum total of all of us.
I recommend this show. And, if you liked
it, watch for other Wilson plays this season in Portland. King
Hedley II at Portland Playhouse in December and Two Trains Running at OSF in Ashland this Spring. Tell them Dennis sent you.
