Deep Magic
C.S.
Lewis’s classic play, The Lion, the Witch
and the Wardrobe is playing at the Newmark Theatre on Broadway in downtown
Portland. It is produced by OCT and
directed by Matthew B. Zrebski. This
adaptation is written by Joseph Robinette and will play through February 17th. For further information contact www.octc.org or call 503-228-9571.
There is no doubt that Lewis wrote some of the great classic literature for the
young when he penned the stories of the world of Narnia. He was great pals in
college with J.R.R. Tolkien who, at the same time, was writing the Lord of the Rings books. Both these classics have enjoyed stage, film,
TV, animated, and audio book adaptations.
They not only speak to the young but also to people of all ages and
cultures.
This presentation is a shortened and scaled-down version of the story, lasting
a little more than an hour. But it is,
nonetheless, satisfying and gives a glimpse into the world of the
make-believe. In reality, many children
in WWII England, were sent to the country to live with relatives or other friends
to spare them the horrors of the bombing of the cities. Lewis was part of this network and, thus, was
born the transportation of “two daughters of Eve,” Lucy (Hannah Baggs) and
Susan (Jesse Turner) and “two sons of Adam,” Edmund (Chase Klotter) and Peter
(Sean Sele) to an estate in the country and, inadvertently, to Narnia.
Narnia is ruled by the wicked and feared White Witch (Cecily Overman), where
the land is constantly Winter. With her
cohorts Ferris Ulf, a wolf (Ben Buckley) and the Dwarf (Melissa Kaiser) they
hold the inhabitants in their icy grip.
But salvation is just around the corner with the advent of Aslan, the
Lion (Matthew D. Pavik). But before
order can be restored and the land returned to Summer and the warmth of the
sun, a sacrifice must be offered and battles and deaths will ensue. Any references to religions and the politics
of the day were probably intentional.
The four children were all good, carrying well the heavy line-load the parts
demanded and having the right look for the roles. But the British accents, although adequate,
were all over the map. Mr. Pavik, as
Aslan, had the right voice and look for the role but seemed to be missing, at times, the urgency and nobility
the part demands. London Bauman, in the
key role of Tumnus, had the right feel and appearance in the role of the faun.
Particularly effective was Ms. Overman as the Witch/Queen. She had the chilling power in body and voice
to make one believe that she, indeed, did rule.
And Mr. Buckley, as her evil minion, oozed energy and nastiness with
every move and inflection. The death
scene of the wolf in the Queen’s arms was the most touching in the show. Impressive, also, was Ms. Kaiser in the
contrasting roles of the naughty Dwarf and the jovial Elf (as well, in the
silent role of the elusive, White Stag).
And she played all three roles with equal effectiveness.
Probably, overall, the best scene was the battle toward the end as a dance/movement
piece. It was beautifully choreographed
by (I assume) the Director, Mr. Zrebski, who kept the whole play moving at a
brisk pace. The set (Tal Sanders) was
well designed, allowing for easy movement of the actors. And the costumes (Ashton Grace Hull) were
also good, giving the impression of the character and yet allowing the
performer to interpret the role in movement and facial expressions.
A side note, the play, Shadowlands,
about the relationship between Lewis and the love of his life, will be presented
at Magenta Theatre in downtown Vancouver in mid-April. I would recommend L/W/W and, if you do go to
either show, please tell them Dennis sent you.
"Children of the Night"
The classic thriller, Dracula, by Bram Stoker and adapted by Christopher P. Nicholas was presented, for one weekend only, to sold-out crowds by Oregon Children’s Theatre’s youth company, Young Professionals. It was directed by James Sharinghousen (recently seen as an actor in Triangle’s Avenue Q).
Although this only played for one weekend, it’s worth noting because it is presented by a company of youth, both in the acting and behind the scenes. These young people are from their school and are a good example of what young people are capable of when trained by a quality school/theatre such as OCT.
They are also presenting, for a second time, A WWII Radio Christmas, December 8th-16th, which sold-out last year (hint-hint). Call 503-228-9571 for tickets or go to their website
www.octc.org for more information on classes and shows.
This is, indeed, one of the classic horror stories of all time. Although tales of vampires had been around before this, Dracula firmly cemented them into the minds and hearts of readers/viewers everywhere. And this stripped-down, hour-long model of the story adds enough suspense to make it a worthwhile experience.
The story should be familiar to most. In this version, Mina (Anne Parham) is a guest of Dr. Seward (Hannah Wilson), and her assistant, Snelling (Michael Cline), in his institution. She has a strange malady, which not only physically weakens her but gives her strange hallucinations, as well. Even her fiancé, Jonathan Harker (Martin Tebo) is at wit’s end as to what to do.
Enter Professor Van Helsing (Stephanie Roessler), a highly respected doctor to discover the problem and solution, which has nothing to do with earthly science. She discovers that one of the patients, Renfield (Carter Bryan) has a strange connection to Mina, seeming to sense the evil surrounding her. And, of course, the mysterious Count Dracula (Jeremy Howard), a recent transplant from Eastern Europe, lurks in the background.
As mentioned, this is a stark production and only has one setting (Dr. Seward’s office) with a minimal cast and a short time period to chill the viewer. Therefore, much of the adventuresome story is lost and/or changed to fit these criteria. But that doesn’t diminish the strength of this presentation. It relies more on a story-telling technique to get across its point rather than elaborate pageantry, in which often the tale gets lost, smothered by effects.
The direction, by Mr. Sharinghousen, since he has such a limited environment, tends to accentuate the little things to create tension. The cat-and-mouse circling of the Count and the Professor; the seductive blood connection between Dracula and Mina; the puppet-like gyrations of characters; and the eerie, vacant stares toward the audience at the end, are quite effective measures of suspense.
The entire cast is very capable in their depiction of the characters. And I highly approve of the cross-gender casting in the characters of Van Helsing and Seward. Neither gender (nor culture, nor age) should ever be a factor in not casting the best person for the part. In the final result, Art will prevail.
Mr. Howard, as Dracula, has a difficult task, competing with the likes of able performers such as Jack Palance, Gary Oldman, Frank Langella, Christopher Lee, and, of course, Mr. Lugosi, himself. But his boyish good-looks and underplaying the menace, gives him a boy-next-door persona, which is all the more scary. Dare I say it, you almost like him at times.
Ms. Parham, as Mina, is quite effective in playing the duplicity of her character, traversing the difficult path between good and evil with ease. And, especially prominent, is Mr. Bryan, as Renfield. The Jekyll & Hyde presentation of this role is a delicate balance between madness and sanity and he walks this tightrope with remarkable dexterity. Probably the most complex character in the story and performed very well.
If they revive this for next season, it would be well to remember that his would not be recommend for young children, as the story may be too intense for them and there is some onstage blood spilled toward the end. If you do see a production by this troupe, tell them Dennis sent you.
"Dream the Dream"
Duck
For President, a musical by James E. Grote and George Howe
and directed by Kirk Mouser, is now playing at the Newmark Theatre in downtown
Portland. It is presented by Oregon
Children’s Theatre, now in its 25th year in operation, and arguably one of the
best children’s theatre/schools in the area.
It plays through November 4th. Check their website www.octc.org for
more information.
The play is, I’m sure, not an
accidently choice, being this is an election year. Although the script is somewhat lightweight
in the satirical aspects, it is an excellent source for young people’s exposure to the political workings
of our system. And the youth in the audience
were quite animated in their pleasure of this production.
The story concerns Farmer Brown (Joshua Stenseth) who is the leader of the farm
and really a pretty fair boss. But the
rest of the animals, especially Duck (well-played by Hogan Fritz), feel
that he is working them too hard. All they really want to do is play.
So Duck convinces Cow (Haley Ward), Pig (Emily Sahler Beleele) and Hen (Ashlee
Waldbauer) that he should run for Farmer, since that is the democratic way of
doing things in this country. He makes
promises that life will be easier for them if he is elected. Any resemblance to current situations in
politics is, I’m sure, entirely…intentional.
He discovers that being the boss of a farm is not so easy, but he feels his
real calling is to be Governor. When
that becomes a fact, he decides to run for…you guessed it…President. The conclusion is rather touching and, like
Aesop’s fables, may have a moral: Maybe
the grass is not always greener on the
other side. But, like Dorothy from
Kansas, you have to go over the rainbow before you can appreciate what you have
at home. Boy, are we a stubborn breed,
or what?!
The music and dance numbers lend themselves very well to the story and the
young people are easily up to the challenge.
Mr. Mouser has led this team to a very energetic and enjoyable
performance. And the costumes by Dani
Baldwin (OCT’s Education Director) lend well to this production, never
overshadowing the actors, but complimenting what they do.
The performances by all are first-rate.
Mr. Stenseth, as the Farmer, plays multiple characters and does them all
very well. And Ms. Beleele, as Pig, has
some outstanding moments as the lead in the
song, Hitch Your Wagon to a Star (at least I think that’s the name
of the number, as they’re not listed in
the program). The band was also exceptional, although a bit overpowering at times and
drowning out the singers.
But the highlight of the show was Haley Ward, as Cow. Her belting of the number Whatda Think (?)
was a showstopper. Her bio states that
she is just beginning her entrance into theatre. If she lives up to the performing she did in
this show, she has a long and prosperous career ahead of her. Bravo, Haley!
I do recommend this show and their school for young people. The Youth of this world need artistic outlets
like this. It builds character,
confidence and teamwork. And it exposes
one, in a safe environment, to the world of…Imagination, a Land of never-ending
possibilities…a Place where one can explore, discover, nurture and grow to
one’s full potential.
“The world is too much with us,” the poet said.
As adults, that may be true. But
in the World of Youth, one can still Dream…and in dreaming, shape who we want
to become. This production is one step
in that direction. I recommend it. Tell them Dennis sent you.
