Venus In Fur—Portland Center Stage—Downtown Portland

Who are we . . . really?

 

This show will be performed at PSC in their studio theatre until March 10^th.  The theatre is located at 128 NW 11^th Ave. (in the old Armory) in Portland.  It is written by David Ives and directed by Nancy Keystone.  For further information on their Season or tickets, go to www.psc.org or call 503-445-3700.

This is a two-character, highly intense, story (with no intermission) concerning, in short, the relationship between genders.  Specifically, it is from the pen of an 1870’s writer, Sacher-Masoch (where the term sadomasochism comes from, along with the author, De Sade).  From that, you may be able to glean some of the content of the story.

The pedigree of two-character lead’s (a man and a woman) tales, dealing with multiple identities and settings, is an impressive one.  The early 1900’s gave us some European one-acts, The Lesson, regarding an abusive relationship between a student and teacher, as well as later, Mamet’s, Oleanna, and Strindberg’s, Miss Julie, dealing with issues of class, and servant/master relationships.

And, there is Vonnegut’s, Who Am I this Time?, dealing with actors who only become relevant when they are on-stage and Tennessee Williams’s, Outcry, where relationships and situations become murky.  The film, Closetland, having to do with secret identities/selves is in this category and even an old W/B cartoon, with Bugs and Elmer, changing characters, as a wind blows various hats and costumes onto them, which they inhabit.

Perhaps Shakespeare had it right:  “We are such stuff as dreams are made on…” or “All the world’s a stage, and the men and women, merely players….”  Within these limitless boundaries, anything is possible.  And Venus In Fur explores a small piece of this universal pie, the very fabric of our being.  As said, who are we…really?!

On the surface, the story is about a struggling writer and first-time director, Thomas (David Barlow), attempting to cast a play he’s written.  Into this rehearsal space, auditions long over, charges in Vanda (Ginny Myers Lee), dressed in black leathers and metal, ready for her chance at the elusive stardom.  The play he has adapted is of the name and author, mentioned above.  Reluctantly, he gives her a chance and the reading begins.

As they become enveloped in the reading, the lines between their roles and their “real” selves begin to blur.  Reality and Fantasy begin to intermingle and interchange.  The abuser becomes the abused; the master, the slave; even genders shift.  There can be no happy ending for this nightmare but, I guess, it depends on your definition of “happy” and even, “nightmare.”  Reality may be in the eye of the beholder and, if two realities collide, can they both survive?  If so, what would that world look like?  Multiply that, by the number of people on this earth, and it just might equal…Chaos.

The script, by Mr. Ives, is an intriguing study into human relationships.  It is a gripping tale but always has, at least, one foot grounded in the real world, that is, until the end.  Then it throws out that premises and falls into the Absurdist genre.  No, I won’t reveal the twist ending, but it comes off more silly then profound.  It’s as if the creator of this piece had painted himself into a corner with no way out.  But, until then, it’s a fascinating exercise!

The performances are unbelievably good!  Mr. Barlow (a ringer for Rob Lowe) is at his best in the thoughtful moments, as you see him listening, considering and acting on the events as they quickly take place.  He is totally convincing in the role.  And Ms. Lee, as the actress, is astounding!  She shifts from one character to another and then, a third, with such ease, you think it is a different person onstage.  She is so convincing as she reveals such conflicting stories as to who she is and how she knows the things she’s saying that, in the end, you really don’t know what to believe.  An amazing, sustained performance in a tension-filled play from each of these professionals.  Bravo, cast!

Ms. Keystone must also be commended for the vision and interpretation of this story with its many twists and turns.  The pacing is rapid but the audience is in her, and the cast’s, grip at every bend in this winding road.

In the end, what is “real?”  Extreme Nationalists would have us believe that domination over all is the purpose.  Some Financial Experts might argue that Greed is the aim.  Some religious leaders would contend God is the only answer.  Some Scientists say we are only interconnected dots.  For me, I tend to, perhaps naively, side with the Poets and Dreamers, in that, we may all see the world differently but it can be a beautiful one if we just “let it be….”

I recommend this show, but with reservations as those offended by the subject matter or strong language.  If you do go, tell them Dennis sent you.

I Love To Eat—Portland Center Stage—Portland, OR

A Epicurean Delight

This one-man show about chef, James Beard (Rob Nagle), is written by James Still and directed by Jessica Kubzansky.  It plays at PCS through February 3^rd.  PCS is located in the Pearl district at 128 NW 11^th Ave.  For more information on this show and their season, go to www.pcs.org or call 503-445-3700.

Take a large dose of laughter, sprinkle in dreams of being Chinese, add two tablespoons of classical opera, pepper generously with being openly gay and what do  you  get?!  A wonderful concoction called James Beard, chef extraordinaire.  This Portland native went onto become one of the best-known chefs in the world and the first to have his own  televised cooking shows, back in the mid-1940’s, and the creator of over 20 cook books.

This one-man show about Beard (Rob Nagle) consists of this eccentric, rotund, personage telling us, in short snippets, the story of his life.  He re-creates his cooking show for Borden’s, with his co-host, a hand-held puppet of their symbol, Elsie, the cow.  He explains about his humble beginnings in his parents’ boarding house in Portland and his first fascination with cooking from their Chinese cook (and his Godfather).  He brags that he never had a cooking lesson in his life and that making good meals need not be just for the rich and fancy of our world.

His orations are constantly interrupted by phone calls from various friends, lovers and strangers, as he insists that his phone number be listed and that he enjoys being able to salvage mealtime accidents.  He occasionally slips into a semi-coma when he hears classical  opera and concedes that his real calling was to be a great singer of it.  Then he whips up a tasty, simple, homemade sandwich that he shares with some of the audience.  But, through all the joy, he confesses to never really being loved.  Being content is not the same as being happy, he surmises.

The set (Tom Buderwitz) is Beard’s kitchen in his home.  It is colorfully decorated and  allows for an easy flow of movement.  The direction (Ms. Kubzansky) lets the actor explore the space and keeps the action moving at all times.  When needed, she allows the pace to slow for his more poignant memories and then clips along, when necessary, for his more joyous escapades.

But the script, although good, could easily sink, if the Beard role was not in capable  hands.  In PSC’s case, Mr. Nagle is not only capable but exceeds all expectations!  He truly inhabits the role.  He has the physical look, the mannerisms and voice and, most of all, portrays the heart and soul of Mr. Beard.  He literally has the audience in the palm of his  hand, to mold whatever feast he chooses.  He plays the quiet moments with as much passion and meaning as the more bombastic ones.  I couldn’t imagine this journey without Mr. Nagle at the helm.  Or, perhaps to summarize it in Mr. Beard’s own words:  “Goody, Goody!

It should be noted that, until recently, there is no permanent tribute in Portland to this native son.  The oversight has been rectified recently, as there will be a James Beard Public Market near the Morrison Bridge, sometime in the near future.  If you choose to experience this exciting performance, tell them Dennis sent you.

The Body of an American - Portland Center Stage, Portland, OR

"Elusive Truth"

The Body of an American is in PCS’s Ellyn Bye Studio, at 128NW 11^th in the Pearl District of Portland.  It plays through November 11^th.  It is written by Dan O’Brien and directed by Bill Rauch (OSF’s Artistic Director).  Check out their website www.pcs.org for further information, play dates/times and ticket prices.

Essentially the story is about the relationship between two men, Dan O’Brien, a writer, and photojournalist, Paul Watson.  At the heart of the saga is a photo of a dead, desecrated, American soldier in Afghanistan taken by Watson.  Before he took the photo, it purportedly spoke to him saying, “If you do this, I will own you!”  And he is haunted through the rest of the play by these prophetic words.

Paul (William Salyers) is a reporter and photographer for the Toronto Star newspaper.  His assignments take him to Australia, Africa and Alaska, as well.  His focus seems to be on  the native people of these lands and how war, strife and “progress” affects them.  After corresponding with Dan (Danny Wolohan), an American writer, he feels he has met a kindred spirit.  Together they form a union and the story explodes from there.

They both have had a troubled (to say the least) childhood and early adult life.  Does this affect their view of the World and Life?  Probably.  But they acknowledge this.  And that does not negate the fact that they are witnesses to some horrible atrocities and have the guts to report it, even at the risk of  their own sanity.

The play takes place over a period of time and several different locations.  The twenty or so characters are played by just these two actors.  And they do it exceedingly well!  Goaded along, I’m sure, by not only the director, but also by the Dialect Coach, Mary McDonald-Lewis.  The stark but versatile set, lighting and projections (Christopher Acebo, James F. Ingalls and Eamonn Farrell) also are extremely inventive and add immensely to the success of the style of this production.

I cannot say enough good things about the actors.  Playing all kinds of different characters and keeping it straight within their minds, as well as for audience, is extraordinary.  Only a few times did I get confused momentarily as to who was who but, even then, they were quickly back on track.  Some awards should be in the making for these Herculean efforts.

And Bill Rauch’s adaptation and direction is outstanding.  Recently he adapted and directed Medea/MacBeth/Cinderella for the Oregon Shakespeare Festival in Ashland.  Combining these three stories on an essentially bare stage was a seemingly, even more of a challenge.  But he pulled that off, too, with nary a misstep.  His vision for this show is so intricate that one wonders how he did it and still managed to keep the drama flowing for his actors and audiences.  But do it, he does, and with amazing skill and artistry.

Another element to the story is Truth.  One might be reminded of the blind men who try to describe an elephant.  Each description is different, depending on what part of the elephant they have touched.  The best one might expect in searching for this elusive element is one’s own truth to a situation (depending on one’s own background), not necessarily, the Truth.  (See Kurosawa’s film, Rashomon, as an example).  All things considered, the “elephant” is still there, it’s just our separate views of it that may differ.

It should be noted that this play has some harsh language, adult situations and graphic photos.  But it is a play worth seeing and a story worth considering.  Bravo!  Tell them Dennis sent you.