The Happiest Song Plays Last—Oregon Shakespeare Festival—Ashland, OR

The Happiest Song Plays Last—Oregon Shakespeare Festival—Ashland, OR

A Journey of the Soul

This topical drama is written by Quiara Alegría Hudes and directed by Shishir Kurup.  It is playing at the Thomas Theatre at OSF in downtown Ashland through November 1^st.  For more information, go to their site at www.osfashland.org or call 800-219-8161.

Many cultures.  One world.  How to survive?  Does the conquering of one nation need to be the death knell for those people’s culture?  If history is any teacher, it looks like the answer is, Yes.  But does it need to be that way?  Can we not co-exist?  When all is said and done, are we not essentially made of the same Clay?  And, if so, shouldn’t we be taking care of each other, instead of destroying one another?  “Are we not (as the author suggests) our brothers’ keepers?”

This is, on the surface, two stories with multiple layers.  On one hand we have Yaz (Nancy Rodriguez), a “Mother Earth” figure who, from her home in North Philly, is trying to save the world one neighborhood at a time.  In her melting pot of cultures we see a microcosm of society.  She befriends a local Puerto Rican musician/revolutionary, Agustin (Armando Durán), who she feels is a tortured soul.  She also is “mother” to an Afro-American street person, Lefty (Bruce A. Young), who may not be “right in the head” but does have the sense to feel he needs to “re-direct” traffic at the site where a child had been hit by an auto.

This is countered by her cousin, Elliot (Daniel Duque–Estrada), who is a film actor in the Middle East, learning, under that false image of film, what he thinks those people are going through.  But, as his association with this country grows stronger, he befriends one of the crew people, Ali (Barzin Akhavan), who actually lives in that environment, and an actress, Shar (Tala Ashe), who he becomes close with.  It is a painful learning and growing experience that fact and fiction have little in common in this case, both for Elliot, in a world not imagined, and for Yaz, in a world too familiar.  It will be a journey in which both of their perceptions will collide with reality which, although the past may not be able to be changed, a future with a new understanding may be possible.  In short, it just may be a new beginning…

Especially impressive is the set by scenic designer, Sibyl Wickerscheimer.  In a small space she has managed to fashion two completely different worlds and made them both believable with only a few essentials.  It is really a creative and remarkable job.  Kurup has also managed to carve out an existence in both these environments, with his actors, that is both convincing visually and internally.

The cast are also totally immersed in this setting.  It is punctuated by some fine singing of Puerto Rican songs by Durán and musician, Joe Cruz.  It should be noted, too, that this is a repertory company and all these actors play a variety of roles in different plays over a few months and are totally unrecognizable from one role to another as the same actor.  This is the ultimate challenge for an actor and a real treat for an audience to see this versatility.  I applaud OSF for allowing such worthy artists to grace their stages and to the artists themselves for their creative work.

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

The Ashland Experience (part II)

As you may by now know, my favorite eating and imbibing establishment in Ashland is The Black Sheep Pub & Restaurant.  It has authentic food from the British Isles and, since OSF was named for an English Bard, this is (as far as I know) the only pub in town that honors the food & drink of his homeland.  It also stays open after the plays are over, for a nightcap and a quick snack or dessert, which many like-places do not.  I had their special, which was a chicken breast with berry sauce and rice pilaf and veggies—very good.  Another added attraction, which I was not aware of, is that they have a young lady that makes home-made desserts.  This time is was a Strawberry-Rhubarb pie and it was amazing.  I also learned from Greg, the always accommodating and friendly bartender, that she is leaving this place.  I, for one, hope that she will, at least, continue her fine culinary magic with desserts here.  For more information, go to their site at www.theblacksheep.com or call 541-482-6414.  The address is 51 N. Main St. on the Plaza, upstairs.  Look for the red door.  As always, both here and any place I recommend, if you do go, please tell them Dennis sent you.

Head Over Heels—Oregon Shakespeare Festival—Ashland, OR

Head Over Heels (2015): Britney Simpson. Photo: Jenny Graham

“They Got the Beat!”

This world premiere musical is written by Jeff Whitty with music and lyrics by the Go-Go’s, directed by Ed Sylvanus Iskandar, choreographed by Sonya Tayeh and musical direction by Carmel Dean.  It is playing at the outdoor Elizabethan theatre in downtown Ashland through October 10^th.  For more information, go to their site at www.osfashland.org or call 1-800-219-8161.

What do you get when you combine the writer of the perverse, Tony award-winning musical, Avenue Q, the retro music/songs of the 80’s, and a 500 year old contrived loved story/poem?  Be damned if I know but it doth ROCK!  Any one that can combine these seemingly contrary elements and make them look like a nostalgic walk down memory lane married to a modern, coming-of-age story, has my vote for a Broadway-bound show!  Yes, the 3-hour play needs a bit of trimming and a clearer focus but, being a world premiere means that it will be reworked a number of times before reaching the “Big Apple.”  And, make no mistake about it, this has W-I-N-N-E-R tattooed to its rainbow heart.

The musical elements have shades of Rocky Horror…, Wizard of Oz, Rent, Into the Woods, The Fantasticks, Marat-Sade, The Wiz, West Side Story, et. al.  The root story is straight out of the Shakespearean era (Arcadia by Sir Philip Sidney) of the wise fools, misconstrued letters/messages, asides, disguises, arranged marriages, rhymes, and misplaced love.  Now, mirror these aspects with the brave, new world that is presently being created and you have a production looking very much like…Head Over Heels.

The story consists of a King, Basilius (Michael Sharon) and Queen, Gynecia (Miriam A. Laube) of the mythical, Arcadia.  They have two daughters, the egotistical Pamela (Bonnie Milligan), the eldest and the shier, younger daughter, Philoclea ((Tala Ashe).  Custom of the day was that the parents arranged the marriages for the maximum political/financial benefit to their kingdom and the eldest was to marry first. 

But through a string of suitors, none seem satisfactory to Pamela.  Philoclea, on the other hand, has found her true love in a young shepherd named, Musidorus (Dylan Paul), a definite taboo to the social order. But, as it comes to pass, the royals also believe in oracles or seers of the future.  This Oracle (Michele Mais) predicts four dire events that will happen and so the King decides to flee his kingdom to nearby Bohemia to outdistance the prophecies, or so he thinks.  Meanwhile the underlings at the kingdom are not idle, as the King’s right-hand man, his meek valet, Dametas (David Kelly) is doing his best to satisfy everyone’s needs; the daughters,’ sassy, lady-in-waiting, Mopsa (Britney Simpson), has her own agenda and eyes for a very unconventional relationship; Philanax, (John Tufts), the wise fool (probably the only sensible one in the kingdom), gives smart counsel, usually unheeded, and keeps the narrative of the play moving and/or changing, as needed; and the shepherd will not be thwarted in his desires for the youngest, so a drastic change in his demeanor must occur and, thereby, a revelation.

I cannot tell you more or it would spoil the plots many twists and turns.  Also, can’t reveal the songs sang in the production as they were not listed, but they were all by the musical group, the Go-Go’s from the ‘80s (akin to Abba and the evolved show from their songs, Mama Mia).  But, although complex, the play does have enough magical production numbers, extraordinary costumes, and a terrific cast to make your evening worthwhile!

Every one of the cast members (including one of the most versatile choruses I’ve seen) is exceptional and carefully chosen, as they have to be damn good singers, comedians, acrobats, dancers and, of course, actors.  In particular, all the ladies voices are amazing and the performance of Tufts, as the Fool, has a wily charm that is contagious.  The costumes by Loren Shaw are colorful, amusing, story-book in style and totally effective.  Dean as the musical maestro and Tayeh as the movement expert do an outstanding job in supporting this complicated musical structure.  Iskandar should be given kudos for assembling such a perfect combination of people to grace his vision—Bravo.

But, this being a play in progress and subject to change, I would suggest that the first act needs to be trimmed a bit.  True, it is not easy to introduce all the expository elements necessary to a play (as well as combining as least three different genres) but it could be streamlined more.  Also (without giving away the climax) that is rather weak in the story.  I would suggest that since the Fool has broken the fourth wall with the audience, he simply explain to us something like, “we really can’t let this play end on this note can we, folks?  Therefore we have the power to change sometimes what is hurtful, so why not start now…” (also shortens the play a bit) and then give the show its suitable ending.  Just an idea….

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

The Ashland Experience (part I)

This time we stayed at the Ashland Hills Hotel & Suites (2525 Ashland St., 855-482-8310) www.ashlandhillshotel.com as our usual haunt, the Ashland Springs in downtown Ashland, was booked full.  It has the same owners, though www.neumanhotelgroup.com (888-795-4545) and has the same delightful breakfast included in the price, including fresh fruit, pancakes, egg salad, bagels/toast, cereals, beverages, et. al.  It also includes a hot tub, swimming pool, meeting & exercise rooms, WiFi, a friendly staff and other amenities.  I recommend this place but if you are a theatre-goer, I would suggest its sister hotel downtown (mentioned above), which is right next to OSF. 

The Theory of Everything—Theatre Diaspora—SW Portland

Close Encounters
This family, comedy–drama, Staged Reading is written by Prince Gomolvilas and directed by Rusty Newton Tennant.  It is produced in association with Media Rites (Executive Producer, Dmae Roberts) and the show produced by Wynee Hu and Samson Syharath.  It will be performed for one more performance at Artists Rep., SW Alder St. & SW 16^th Ave. at 2 pm on Saturday, Aug. 29^th at 2 pm.  For more information, go to their site at www.theatrediaspora.org

This is a story about displaced people, outsiders, looking for a place to belong.  But, as it’s presented, it crosses cultural barriers and becomes a very human story, a human comedy, Chekhovian in scope and style.  This is a family, all looking for God, their purpose in this universe, the purpose of the universe, acceptance for who they are, love, how to combat loneliness and homesickness, how to divest themselves of the “old ways” and how to embrace this self-same lore and, oh yes, the search for E.T.’s.

It takes place in Las Vegas, the glitter capital of the world.  But, as has been said, “all that glitters is not gold.”  But, sometimes it takes a journey, as Frodo and Bilbo, Dorothy Gale from Kansas and the star-crossed, young lovers in The Fantasticks found out, to find what you treasure most may have been in your own backyard all the time.  In this case—Family.

The matriarch of the family, the eccentric May (Elaine Low), likes to spend her time on the rooftop looking for UFO’s and waiting to be beamed up and whist away to a far-distant world.  The rest of the extended family consists of Patty (Toni Tabora-Roberts), desperately wanting children, and her husband, the unhappy, Hiro (Larry Toda), pining for his home country, Japan and, ironically, owners of a place called, Chapel of Love.  The colorful Shimmy (Kat Templeton) is missing her dead husband and wishing, like Hiro, that she was someone else and somewhere other than here.

Her son, Gilbert (Kimo Camat) is searching for his own identity and place in the world but, at his point, his only move in that direction is a need to change his name to Ibu Profen (after the medicine, to take away pain) and asking his childhood friend, Lana (Wynee Hu) to marry him, even though he doesn’t love her that way.  And the restless Lana jumps from one relationship to another searching for something, as yet unknown.  And her brother, the kinetic Nef (Heath Hyun Houghton), is a college student struggling with his major, Philosophy, and his marriage, but haunted by images from his past…chicken feet.

Einstein’s Theory of Everything, in a nutshell, is the search for how the universe works and, within that, perhaps, the purpose.  Nef’s theory is that everything and everyone is hurtling toward destruction.  Somewhere, in the middle of all this, is what we call Existence or Life.  In Gomolvilas’s story, his characters are definitely searching and, depending on past experiences, going different directions.  But their rock, through thick and thin is blood, family, the saving grace that will unite them all, if even for a moment frozen in time, looking as a united front toward the stars, awaiting answers.

Gomolvilas has written some very rich and compelling characters.  They are probably mirror-images, in large or small ways, of the audience.  Tennant is always fascinating to watch, whether it’s onstage in a Shakespearean role, designing an award-winning set for zombie hunters, or directing whacky stories about Christmas (his next project is directing the Bag and Baggage production of the semi-classic, Hitchcock’s story of Rope).  In this play, he modulates the rhythms and emotions of the characters, allowing time for quite moments mixed with spurts of fire.  A well-rounded show.

The cast is exceptional (including narration by Samson Syharath), each so good in their part as to make you believe they are who they say they are.  They all have their moments to shine and then, like a good team or family, they ably support the other members of the cast.  The monologues, odd at times, are so convincingly performed, that you accept them at face value.  And that accomplishes two of the rules of good acting, find the Truth for the character and make the audience believe you.  They do.

This is a new company, advocating and celebrating Asian American/Pacific Islander experiences.  It deserves not only to be seen but to be supported as well.  (Remember, it only has one more performance.)  And both Portland Center Stage and Artists Rep. should be applauded for offering their facilities for them to perform.

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

Dear Galileo—CoHo Productions—NW Portland

Stardust

This world premiere play is written by Claire Willett and directed by Stephanie Mulligan and co-produced by Playwrights West.  It is playing at their space at 2257 NW Raleigh St. through this month.  For more information, go to their site at www.cohoproductions.org

To paraphrase the Bard, we are such stuff as stars are made on and our little lives are connected to everyone and everything.  That, perhaps, is the point to this play.  The story covers a tremendous amount of philosophy, religious beliefs and scientific theory, as well as the angst of some individuals.  It is, I believe, too complicated to fit all this fodder into one 150 minute story but it does give it one hell of an effort.

I will try to condense this story into a few words but know, that in actual fact, it is pretty heady material.  The thread of the story, time-wise, is actually in the middle of three related but separate tales.  Gabriel (Nathan Dunkin) is an ex-priest/physicist who is attempting to build a super telescope with his idol, scientist extraordinaire, Jasper Willows (Gary Powell).  Problem is that Jasper has disappeared just weeks before a big meeting of introducing the telescope to the world leaders.  And, to add even more fuel to this imminent blaze, his estranged daughter, Cassie (Nena Salazar), now pregnant, has arrived for a visit.  Not only that, but they are both dealing with demons from the past that will hamper their progress, both in finding her father and in their relationship.

In a seemingly separate story, a child, Haley (Agatha Day Olson), has been getting a Catholic school upbringing because her father, Robert (Walter Petryk), is of that faith but is also a scientist and writer.  Haley seems to have some major questions and differences of opinion as to what she is being taught in school, which bases its teachings of creation on the Bible.  And in a third tale, catapulting back over 300 years, Galileo (Chris Porter) has come up with some very unpopular theories with the Church, in that his telescope reveals, among other things, that the earth is not the center of our universe, but the sun.  This puts Galileo in jeopardy with the Pope and only his daughter, Celeste (Kate Mura), has come to his aid.  He is also going blind and needs her help in finishing his work.

I will have to leave you with only these two paragraphs because, as I’ve said, the story is really so complex that it would be folly of me to try and elaborate any more on it, as it would probably only be more confusing for you.  But know that it really is quite a compelling tale and, like a massive jigsaw puzzle, it will come together by the end.  The play does needs a bit of editing, I believe, as some of the scenes seem a tad ponderous and repetitious at times.  Also, I think that Jasper’s speeches could be trimmed, not because Powell is not a good orator, but because they, too, become a bit pedantic.  Also some visual aids would help those scenes, since we are now, because of the Internet, a culture of constant visual stimuli.

I loved the floor design by Sarah Kindler, as it complimented the theme of the play that, by stepping off into this cosmos, one could become part of it.  Mulligan, always a fascinating director, has wisely kept the setting simple so as not to interfere with the complicated story.  This would not be an easy play to direct (or perform) because of the heady material but she and her cast do have a vision and it comes through as the story progresses.

The cast does well with some of them playing as many as three different characters.  Porter offers us what we envision Galileo might have looked and acted like.  He gives us a bit of a curmudgeon but one with a steely purpose and unrelenting spine to follow through with his beliefs.  Mura, another fine actor (as well as very adept with artistry behind the scenes in other productions), plays Celeste as a bit of a mirror-image of her father, being equally stubborn but vulnerable.  Powell is always a joy to watch onstage in whatever incarnations he presents.  Most of his scenes are relegated to speechifying but he has such a trained voice and demeanor that it becomes palpable to observe and heed.

Petryk does well in the conflicted part of the father, scientist and Christian, trying to balance his life with these seemingly differing roles.  Olson, as his daughter, does not have an easy task because, at her age, these are pretty complicated ideas to wrap her mind around.  But she seems to understand the conflicts and renders a believable performance.

Both Dunkin and Salazar are at their best in what seems to be the heart of the story.  They play very complicated characters that are neither black nor white but shades of gray, in other words, very human and relatable.  Dunkin is always worth watch in a production but this might be his best, as he keeps you guessing as to the path he will take and the secrets behind his mask.  Salazar, likewise, is fascinating to watch, as she becomes hard as nails at times then totally open and vulnerable.  Also an outstanding performance and they play well off each other.

I recommend this production but know the subject matter is very deep and the language realistic.  If you do choose to see it, please tell them Dennis sent you.

Schizo—Shaking the Tree Theatre—SE Portland

“Nowhere to Run…”
This one-woman work on mental illness is created and performed by Katie Watkins.  It is playing at the Shaking the Tree space at 823 SE Grant St. through August 29^th.  For more information, go to her site at www.katiewatkinspdx.com

This is a very personal, creative piece by Watkins, who grew up with a brother who has mental illness.  According to Watkins (who expresses it best):  “Schizophrenia doesn’t only live in the mind; it pervades every aspect of reality.”  Her younger brother was diagnosed with it at 11 years old.  She continues, “…it became a waking nightmare…my brother strove to maintain some semblance of normalcy…few could suspect the daily internal chaos he was working so hard to handle and hide.”  She adds, “My brother continues to live with schizophrenia, but he does live (my italics)…these stories deserve to be shared.”  Amen.

The show, as presented, is a multidisciplinary experience including recorded music, song, movement, taped narratives and monologues, with added lighting and sound effects to enhance the experience.  Through this short, but powerful piece, she is able to express in often non-verbal and non-linear ways, the struggles of an individual attempting to deal with the “windmills of the mind.”  All of us have bouts of depression and anxiety at times but consider having an entire life make up of this, with the added interference of hearing voices, having hallucinations, suicidal tendencies, delusions, disorganized behavior, et. al.

Consider living like this and trying to cope with our so-called “reality/normalcy.”  Anne Sexton from Wanting to Die:  “…most days I cannot remember.  I walk in clothes, unmarked by that voyage.”  A situation not to be desired.  There is no easy answer as to how to tame this savage beast within, the prowler between the light and the dark.  Medications seem to have some affect for some individuals but there are often side effects that are pretty potent, too.  A solution that simply says to turn off or ignore the voices is also a possible choice.  Whatever…it is a brain disorder and needs to be addressed somehow.  As Watkins puts it, “there is nowhere to run from what’s in the mind.”

Mind you, this is not a lecture on mental illness or a monologue about her personal experience with living with a family member who has it.  It is an attempt to show the inner workings of the persona of how an individual may experience the world through their eyes.  And Watkins does it beautifully.  This has to be an emotional roller-coaster for her (as I’m sure it is for her brother) but it is also a very courageous enterprise, bringing this complex, misunderstood and, even embarrassing, subject to the forefront of our world.  There are mysteries in our universe that we have yet to discover but the human mind might be more complex than even that.

If you have questions or want to share any personal experiences, there is a talk-back after every performance, which I encourage you to stay for.  And, for anyone who wants to investigate further into this vast subject, there is NAMI at www.namimultnomah.org or the Mental Health Crisis Line at 800-716-9769.

I do recommend this production.  Watkins has proved to be a very adept organizer in the background of theatre for a few years.  It is now grand to see her on the “boards” and know that she is equally qualified to be a creator also before our eyes (and she plays a pretty mean flute, too).  If you do choose to see it, please tell them Dennis sent you.

The Praying Mantis—Twilight Theater Company—N. Portland

“Three Weird Sisters”

This gothic-comic-horror story is written by Alejandro Sieveking and is directed by Jodi Rafkin.  It is playing at their space at 7515 N. Brandon Ave. through August 30^th (note:  they now have parking in the church lot across the street).  For more information, go to their site at www.twilighttheatercompany.org or call 503-847-9838.

As described, this play is in the gothic horror vein with a comic undertones.  It has things in common with Macbeth, The Beguiled, Jane Eyre and the B, B&W, horror films from the 40’s and 50’s.  The script is a bit wordy in spots and the comic innuendos don’t always work but it is a good homage to that period of film and writing.  The style also might be compared to the Penny Dreadfuls and Dime Novels of the 19^th Century.  And it takes place in the usual dilapidated manor with a reclusive, unsociable family with a terrible secret…no, I can’t reveal it, but it does live…er, I mean, exist, behind a heavily secured, brown door.  A door, if opened, results in…well, you’ll just have to see it for yourselves, won’t you?!

The story begins with an innocent, Juan (Dylan Horttor), arriving at the manor as the perspective fiancé to one of the sisters, Adela (Danyelle Tinker).  They have just come back from the funeral of one of the two sisters, Lina (Gretchen Lively) and Llalla (Sue Harris), both of whom have lost their fiancés recently in a couple of unfortunate, purported accidents.  But Adela feels hopeful that she can entice Juan to marry her and escape from the seclusion and poverty of her current state.

Of course, there is the problem of a fourth sister, Theresa (Crystal Lemons), who is only talked about in low voices.  And then there is the crazy (or is he?) old man, Aparacio (Tom Witherspoon), that they call Papa.  They all dream of a better life in a faraway place but, because of lack of funds, possibly, or fear of the outside world, they are unable to move beyond their own, possibly self-imposed, prisons.  Can’t tell you any more as this, being a mystery, needs to be viewed to discover the truths.

It is interesting to note that the play takes place in Chile and, I believe, the author is Chilean but there isn’t anything obvious, except for the names and setting that makes this exclusively a tale of Chilean people.  The only exception is a line that refers to hiding ugly things and only showing off the beautiful to outsiders, which might be referring to a country, immersed in poverty, only showing the wealthier sections to the rest of the world.  Also, no Hispanics actors in the cast which, I assume, means that none tried out.  But, as I said, this is mostly a gothic horror story which could be placed anywhere.

A couple of other things that should be mentioned are that the artwork on the poster and door area on the set was designed by Crystal Lemons and it is quite unique.  Also, the wedding gowns come from Brides for a Cause www.bridesforacause.com  which are quite beautiful and supports the charity, Wish Upon a Wedding.

The acting by the whole cast was good and, as I’ve mentioned before, actually being onstage and doing a role is valuable experience for honing your acting chops.  The direction by Rafkin could be tighter, as comic timing and potential suspenseful moments were sometimes lost.  Overall, though, the script is of a genre I do like and it is reasonably well done, as is the production.  And the title gives a hint to the nature of the play, as this insect (as well as Black Widow spiders), are predatory creatures and have cannibalistic tendencies.

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

2015-16 Portland Area Theatre Season

2015-16 Portland Area Theatre Season

Here is the season of plays for most of the theatres I review in the Greater Portland (and Ashland, OR) area.  Many consider their season from September 1^st to August 31^st, but some go from the actual beginning of the year to the end.  Some of these plays may change and or will have extended runs.  This should not be considered a complete list (go to their websites for more information), as it is of just the theatres I review and some of them have not decided their complete season yet.  Click on link below to access the list as of August, 2015 (in alphabetical order):

https://goo.gl/yxl0YU