The King of
Jazz
This musical is based on a book, from a series of children’s books on the Tree
House by Mary Pope Osborne, called A Good
Night For Ghosts. The stage
script/music is by Will Osborne, Murray Horwitz and the New Orleans legend,
Alan Toussaint. It is directed by Stan
Foote (OCT’s Artistic Director), musical direction by Mont Chris Hubbard and
choreography by Sara Mishler Martins. It
is playing through November 10th at the Newmark Theatre, 1111 SW
Broadway. For further information go to
their site at www.octc.org or call 503-228-9571.
Louie Armstrong is certainly “The Man” when it comes to Jazz, Blues & Scat,
especially New Orleans style. I admit, I
am a fan of this kind of music, so it can do no wrong, as far as I’m concerned. Another excellent example of the flavor of
this period is the great, old-style, cel-animated, 2009 flick by Disney called,
The Princess and the Frog.
Having not read the books by Osborne, I can only surmise that they are about
two teenagers that go on a series of adventures via a time machine, the Tree
House, and influence, in some way, past events that might need prodding. In this case, the magical vehicle takes our
intrepid adventurers, Annie (Ashlee Waldbauer) and Jack (Thom Hilton) to 1915
New Orleans. Their mission: To inspire a fourteen-year-old, Dipper (Javon
Carter), aka Louie Armstrong, to take up the trumpet and give the world his
gift of music.
But, in this case, he has his family to support, delivering coal and working on
the docks unloading bananas. Although he
loves music and food, especially Gumbo, he has no time for joining with his
musical pals, Happy (Nate Golden), Big Nose (Isaiah Rosales), and Little Mac
(Xavier B. Warner). This trio becomes a
kind of Greek Chorus for the show, commenting on and moving the story along.
But Dipper’s new-found friends help him in his jobs and continue to enforce the
fact that he needs to turn his talents toward music. He regards them as “potato-heads” (having no
brains) and ignores their advice. But
they are finally beset by the pirate ghosts of Jean LeFitte (Daniel East) and
his crew (Haley Ward) but are defeated by Annie’s enchanted trumpet.
Annie and Jack are forced to show Dipper the book from the future (a no-no is
most stories of this genre) on his important inclusion in music history. They also reveal to him the keys roles that
Afro-Americans have, and will play, in American culture. Finally Dipper is convinced of the power of
music and sets his sights on a musical career…and the rest, as they say, is
history.
The story may be slight but the theatrical/musical aspects of it, as an
educational tool, are priceless. And the
amount of talent and energy embodied in this production are boundless! The band, led by Hubbard, and on trumpet,
Thomas Barber, are terrific. And, once
again, Martins shines as a Choreographer.
Some of her most recent triumphs have included Kiss of the Spider Woman at Triangle and her Drammy (and Sparkle
Recognition) award winner for A Year in
the Life of Frog and Toad with OCT.
I look forward to seeing more of this young lady’s steps in the future.
Waldbauer and Hilton are very pleasing as the adventurers. Hilton playing the somewhat inept, nerdy pal
and Waldbauer as the attractive and fearless leader of the duo. They are a good match for Carter’s young
Armstrong. He is quite a find, as both
his voice and acting, are very accomplished to perform this weighty role. And the rest of the small cast do well in
various roles to flesh out the story. The
numbers, “Gumbo,” “Heebie Jeebies,” “Music Everywhere,” and “Dream in my Heart”
were my favorites.
But (once again) to prove my theory that there are no small roles, Haley Ward
bursts with talent in her role in the ensemble.
She has a dance solo in “Music Everywhere” that is a standout. And her singing, as the Gumbo cook, in the
number, “Gumbo,” is also a treat. She is
also a Drammy (and Sparkle Recognition) award winner. As my friend said (not knowing her past
history), “She sure knows how to sell herself onstage.” Amen.
Hopefully she will find a future project to further her enormous talent!
And Foote, as the director, keeps the setting simple to allow his performers to
take center stage and carry the story.
He has done well with this magical cast, designers and crew in creating
such a satisfying production. Bravo!
I recommend this show. It also showcases
some very talented young performers who deserve encouragement. If you do go, please tell them Dennis sent
you.
Who’s In
Charge, Anyway?
This intense drama is written by Bruce Graham and directed by Stephanie
Mulligan. It is produced, with CoHo
Productions, by Tobias Andersen, Jane Fellows and Stephanie Mulligan. It is playing at their site at 2257 NW
Raleigh St. For more information go to www.cohoproductions.org or call 503-715-1114.
This play has much in common with ‘Night
Mother and Whose Life Is It Anyway? Those show dealt with a person ending their
own life because of boredom or a major illness.
In this case the person is facing Alzheimer’s. We all have to face the end of life at some
point—no exceptions. The question might
be is, how do we handle it if we are aware of the preparation steps that lead
to it?
Once upon a time…in the far-distant past, out of the eternal sea, came a
creature that walked on two legs. The
animal matched the tide, living and dying, with the ebb and flow of the
waters. Arriving with the waves and
leaving on…the outgoing tide.
An aging gentleman, Gunner (Tobias Andersen), is living the retired life
comfortably at his home on Chesapeake Bay.
His wife, Peg (Jane Fellows), is with him, and his son, Jack (Gary
Norman), is visiting indefinitely, as he’s now going through a divorce. The only problem with this idyllic setting is
that Gunner doesn’t recognize his son some of the time, forgets to puts his
pants on, on occasion, is frustrated when he uses the microwave remote to watch
TV, and repeats himself incessantly at times.
His wife is convinced that he should be placed in a personal care facility,
where they are equipped to deal with people in his…condition. But after visiting one of these places where,
in the A Wing, patients are kept alive artificially, Gunner wants no part of
it. If the Grim Reaper is just around
the corner for him, he has his own ideas of how he wants to meet him, and it
has nothing to do with breathing tubes or Jello.
He has regrets, of course (who doesn’t), and wishes portions of life could be like
a Mulligan, a sports term where, if you screw up a shot, you get to do it over
again. And he wants no loose ends, as he
has all the paperwork in order, so that his family is taken care of. With an extra benefit that, if he dies
accidently, they will get twice the monies from his life insurance policy.
And so, it seems like a dignified end for him and his family. But he needs his wife to give her blessing to
this plan. And, therein, lies the final
dilemma. The play shifts smoothly from
present day to their past, so that the relationships can be even more fully
explored. But the end will still be the
same, the only question remaining is, who will be steering the ship?
As you might expect, this is a very intense play but mixed with some surprising
humor to lighten the load a bit. It
brings to question the very essence of one’s being. And there are no easy answers. Religion comes into play (Peg is Catholic)
and so, sin is a factor to be weighed.
And, of course, the deep ties of a 50 year relationship must be
considered. Questions that, at some
point, will ask us all to consider the responsibilities and consequences of our
actions in life and, at the end, too.
Stephanie has certainly picked the right cast for this show. I can’t imagine anyone else in these roles,
as they seem so real and complete. She
has done a nice job of balancing the humor with the darker moments, and keeping
the setting simple, so that the story/characters take center stage. This is a production for the Ages!
Norman, as the son, puts us in the middle of this conflict, as he is. You can experience his frustration with the
events, and see him struggle with both side of the arguments presented. Not an easy role to navigate but he does it
wonderfully.
And, so to, with Fellows, as the loving wife, afraid to let go, for
understandably personal reasons, as well as religious convictions. Her finely layered performance offers us a
very complex and conflicted character.
Beautifully done, Jane.
And Tobias, what can you say about an icon of the Portland theatre scene for
many years?! He confided to me, when he
accepted this role that it might be the best role he had come across as an
actor. And, to add to that, he is
certainly the best actor to interpret it.
You rail at his Gunner, laugh with him, feel for him and, at the end,
root for him. He is, in a word, splendid
and, may the ripples he has created over the years in this sea of art, continue
to be a part of his incoming tide for
many moons to come!
I highly recommend this show but be aware of the intense subject matter. The night I saw it, it received a
well-deserved standing ovation but there were a lot of tears and hugging after
the house light went up, too. If you do
choose to see it, tell them Dennis sent you.
"…A Little
Bit Racist…"
This intense drama is written by Jeff Talbott and directed by Andrew
Klaus-Vineyard. It plays at the Backdoor
theater space, 4319 SE Hawthorne Blvd. and is produced by the defunkt
theatre. It runs through November 16th. Go to their site at www.defunktheatre.com for more information.
That phrase immediately comes to mind from the musical, Avenue Q, from a song that has the line, “Everyone’s a little bit
racist sometimes…,” when attempting to describe one of the points of this
searing drama. We all have our biases,
that’s obvious, but some of us our extremists in our views and attempt to
enforce them on others. An Extremist’s
viewpoint on anything is a breeding ground for Intolerance. Wars have been fought over such issues.
Religion, sexual orientation, the color of one’s skin and even one’s chosen
career can be a cause for being abused, shunned and/or brought up for
ridicule. Not so long ago, many bars had
signs on their doors stating, “No Dogs or Actors Allowed!” Anything is fair game in the mouth of a
bigot.
And even innocuous words/phrases like “Being American” or “Normality” or
“Freedom” can be up to scrutiny.
Perception of the World, of Life, is in the eye of the beholder. And Woe to those who don’t perceive it as
they do.
The story concerns Danny (Matthew Kern), a gay playwright, who has spent
five years writing a script. But, being
white, he is reluctant to enter it into a contest, as the subject matter is
about Afro-Americans attempting to break out of the Projects and find a better
life for themselves. His good friend,
Trevor (Matthew Dieckman), hails it as a work of art.
Buoyed by this praise, he lets his partner, Pete (Bjorn Anderson) read
it and he is equally enthusiastic. It is
entered in the prestigious Humana Festival and wins. So Danny hires an Afro-American actress,
Emile (Andrea White), to pose as the author.
At first the relationships are harmonious but complications arise as
Danny’s project seems obsessive, and Pete feels their relationship slipping
away. It is said the “Art is a cruel
mistress.” Also, Trevor and Emile become
“an item,” which further muddies the waters.
As Emile takes the author role personally, Danny feels alienated from
his own work. And, as in many volatile
situations, the relationships quickly spiral downhill, until raw nerves are
exposed and prejudices come to the forefront.
Needless to say, everything does not end well for all concerned and
lives are changed forever.
This is a no-holds barred production and is extremely expressive in
exposing the inner turmoil and torture of haunted and, perhaps, hunted souls. It shows us, without apology, what we are
capable of in our darkest moments. It is
bringing to light what is hidden or unknown in, perhaps, all of us. It is holding up a mirror to ourselves, then
turning it inside out.
This play is very frank in its language and adult situations, and
intense to the extreme. So, be warned,
it may not be for everybody. But, that
being said, it is also powerfully portrayed by some very accomplished
actors. The ending is a bit muddy but,
perhaps, it is written that way, acknowledging that Life oft-times does not
neatly tie up all things.
Klaus-Vineyard has steered his cast well into “trouble waters” and has
allowed them to explode on this small stage.
He has explored all the nooks and crannies of the psyche and let the
pieces fall where they may. One may say
that he and his cast, I’m sure, have delved deep into themselves to bring us
such a searing portrait of our society.
(I particularly liked the projections on the floor to explain the
settings.)
Anderson is very believable as a man in love with an artist, who is
obsessed/possessed by his Art. A neatly
tailored performance of a complex man.
Dieckman is also good in the
unenviable role of the best friend/lover of parties involved. His dilemma is understandable as he vainly
tries to please all parties. A tough
role but nicely done.
But the highest kudos go to White and Kern. Matthew, as the writer, comes across in the
early stages of the story as an appealing, polite person. But, as the layers are stripped away, we see
the pained, angry young man beneath. An
explosive and powerful performance!
And White is his equal as the Afro-American lady, fighting for her
rights as a woman, artist, and person of color.
She is also close companions with pain and secrets and, as an actor, in
a performance to be reckoned with onstage.
An amazing, young lady and worth following in future endeavors!
I recommend this play. If you do
go, please tell them Dennis sent you.
The
Murderous Maids of Brooklyn
This classic comedy was written by Joseph Kesselring and is directed by Melinda
Leuthold (Love St.’s Artistic Director).
It will be playing at their space, 126 Love St. in Woodland, through
October 27th. For more
information go to www.lovestreetplayhouse.com.
This is one of the best spoofs of the mystery genre. It was originally presented on Broadway with
Boris Karloff in one of the key roles.
Later it was transferred to the screen with Cary Grant mugging horribly
in the leading role and Raymond Massey playing the Karloff role. A television version restored Karloff to his
original role, with Bob Crane (Hogan’s
Heroes) playing the hero. It is a
popular play to do in community theatres and was presented here, in all its
glory, to a full house.
The story concerns Mortimer Brewster (David Roberts), a New York theatre
critic, who frequently visits his maiden aunts, Abby (Melissa Haviv) and Martha
(Lexy Dillon), in his childhood home in Brooklyn, which is set next to a
graveyard. He is engaged to the
girl-next-door, Elaine (Melissa Schurman).
Read more at http://swwastar.blogspot.com/2013/10/review-lsps-arsenic-and-old-lace-killer.html
The Low
Creatures
This classic story by British writer Roland Dahl and adapted for the stage by
Richard R. George is directed by Sarah Jane Hardy (NWCT’s Artistic Director)
and John Ellingson. It plays through October
27th at their site at 1819 NW Everett St. For more information go to www.nwcts.org or call 503-222-4480.
The lowest of the creatures may occupy the highest of the spaces. Environmentally, the centipedes, spiders,
earthworms, grasshoppers and ladybugs are important additions to our cycle of
life on earth. Not only that, but the
costumes were created from odds and ends that would normally be discarded. Bravo to NWCT for involving themselves in
educating children and adults alike in these important endeavors.
Dahl was a famous British writer and his classic story is Charlie and the Chocolate Factory (Willy Wonka… in the two film versions—Wilder’s being the best by
far). This story, like Carroll’s Alice In Wonderland, has adult overtones
as well. Both title characters are
transported to a magical land where they learn some important lessons about the
world in which we all live, imaginary and real.
The adaptation by George is good to a point but falls short of the book’s
power. The couple of songs, although
well performed by John Ellingson and company, don’t really have the impact they
should. This is not the fault of this
company’s production, which is very satisfying, but of the stage adaption.
The story is of James (Jonathan Pen) being orphaned at an early age, as his
parents (Leif Schmit and Stephanie Roessler) were killed by a charging
Rhino. He is then raised by his maiden
aunts, Sponge (Melanie Moseley) and Spiker (Tai Sammons), who are less than
friendly toward him. He is a slave for
them and that’s an end to it.
But enter an old man (Joshua James Hooper) who entrusts him to take care of a
bag of very valuable insects, which James promptly loses and they escape onto a nearby peach
tree. One peach on this tree grows to
such an enormous size that the aunts charge money to see it. James discovers a way into the peach, partly
for the adventure and party to escape his demonic wardens.
Subsequently the peach falls from the tree, rolls downhill and crushes his two
aunts and makes its way to the sea.
Inside, James is awakened to a world he never knew, in which he meets a multi-limbed
Centipede (John Ellingson), a vivacious ladybug (Madeleine Delaplane), a
curvaceous spider (Annie Willis), a wise-old grasshopper (Zero Feeney) and a
pessimistic earthworm (Sam Burns). These
will be his teachers, as he theirs. They
impress upon him the importance of their existence and he becomes their
rescuer.
Riding the waves as a way to travel is not so bad, unless you are pursued by
sharks, willing to eat their through the peach to savor the small morsels
inside. But, a plan to snag some
seagulls and have them fly the peach across the sea, works for a time, until
they encounter the cloud men who blast them with cold and thunder and they are
forced to cut their losses and descend post haste. The peach is skewered onto the spire of the
Empire State building and they are all rescued and go on to greater glories.
The real magic of this production is in the ingenious costumes and make-up (Jen
LaMastra and John Ellingson). They are
absolutely stunning! The intricate
details in designing and constructing these marvelous creations is nothing
short of a masterpiece. Not only are the
costumes/make-up of the insects fantastic but also the two aunts, one with a
plastered sardonic smile and the other puffed-up like a hot air balloon. My only questions would be how in the heck
did they walk in these in these contrivances and how long did it take for them
to transform themselves physically.
Bravo to all the miracle-workers!
Ellingson is in fine form to perform the two songs but, as mentioned, they are
lacking in the writing end. He reminds
me, in an acting-comedic style, to a young Paul Lynde. Delaplane is wonderful as the eccentric
ladybug, emulating, perhaps, a young Angela Landsbury. Willis is a fitting, as the slithering
spider, a young Mary Tyler Moore, maybe.
Burns is appropriately morass, as the pouting, myopic worm, akin to a
young Arnold Stang. And Feeney is super
as the clever old grasshopper, cloning a young Robin Williams.
Sammons and Moseley are deliciously devilish as the two Aunts. Pen is a delight as James, presenting
fittingly the downtrodden hero. And
Annika Cutler as the Narrator is very articulate and clean in her delivery,
keeping the story moving and filling in the blanks. These two youngest performers of the troupe
definitely show promise for a possible future career in the performing arts.
Hardy and Ellingson have done a nice job of giving each of the characters a
very distinct personality and easily and simply transporting the story from one
locale to another. It should be
mentioned that these two individuals also teach at the school, which is worth looking
into as an exciting avenue to building character and confidence in our Youth.
I recommend this show, especially for the excellent costumes and make-up, and
the amazing performances of the actors.
If you do go, please tell them Dennis sent you.
Suburban
Nightmare
This comedy-drama is written by Lisa D’Amour and directed by Brian Weaver
(P/P’s Artistic Director). It is
playing at their space at 602 NE Prescott St. (parking on 6th St. at
the King School lot, two blocks North of the theatre). For more information go to their site at www.portlandplayhouse.org or call 503-488-5822.
“Walls make good neighbors,” as the poet, Robert Frost, once said. It is obvious fairly quickly in this story
that this advice is ignored. We see what
we want to see, or expect to see, but rarely what actually is. This may take place in the suburbs in Detroit
but it is really Any City, USA. And the
two couples we follow may resemble people you know and, if being honest by
looking in the mirror, just might be a portion of ourselves.
Ben (Jason Rouse) had just recently been laid off from his job. He decides to try a business of his own doing
financial advice for others on the Web. He’s
a stay-at-home, couch potato with dreams of grandeur. His wife, Mary (Brooke Totman), brings home
the bacon and is a bit of a lush. She
has dreams, too, but of a home in the woods with Nature, and this stifling
atmosphere of suburban life might be literally driving her to drink or madness (whichever
comes first).
Enter into this mundane Eden, Kenny (Victor Mack) and his wife, Sharon (Kelly
Tallent), the new, next-door neighbors.
They are just recently out of a substance abuse treatment center and are
looking to rebuild their lives. Kenny
seems to be an energetic, street-savvy individual looking for fun. And Sharon may not be the sharpest knife in
the drawer intellectually, but is a straight-talker and raw and organic is her
manner.
At first, these two couples offer tentative gestures toward each other to finding
common ground for a relationship. They
seem to be worlds apart on the social and financial scale. Ben and Mary are fairly well off and Kenny
and Sharon have almost nothing in their house.
Sharon has a potty mouth and their neighbors are somewhat more
refined. But as they break bread (and
furniture) with each other and drink and shares dreams (some rather bizarre)
they form a tenuous bond.
Strangely, it is Sharon that seems to be the connecting force between all of
them. Whatever layers exist within
individuals, she has a way of peeling them back until just the raw nerve is
exposed. Eventually Sharon and Mary forge
forward on a futile camping trip and Ben and Kenny decide to venture into male
bonding in an equally futile trip to titty-bars. When reunited, they fire up their
relationship, quite literally, and life is never the same for them again. I won’t be a spoiler and give away the ending
but another neighbor, Frank (Blaine Palmer) attempts to shed some light on the
subject.
This is a powerful show with some of the best acting I’ve seen. The main four characters are so good you
can’t imagine them being anybody else offstage.
And that is probably the best compliment you can offer an actor. They are totally immersed in their roles and
their energy must be so high that I’m sure they’re exhausted when they finally
dissolve into the “real” world after the show.
Rouse is super in creating for us a complex person in which you can laugh with
but also fell sorry for. Totman is
amazing at keeping us guessing as to what her persona will reveal about her
next. Mack has already shown his acting
chops to good form over the past years and is equally good here at attempting
to create a balance between four diverse worlds. And Tallent is extraordinary as the
icebreaker, the unrelenting, driving force that splits apart this berg,
sailor-mouth and all, to reveal the cold splinters beneath. She is a talent, indeed, to be reckoned with!
Weaver is certainly a master at putting the numerous pieces together to form
this uneasy union. His attention to
detail, his ability to keep the audience guessing and his perceptive ability to
guide his actors through such slippery, emotional slopes is what theatre is all
about. And the sound (Rodolfo Ortega)
and the scenic/lighting effects (Daniel Meeker), even to birds and dogs adding
chorus in the background, to the smell of smoke at a decisive moment, are quite
impressive!
I highly recommend this production, especially for the acting. It does, as mentioned, have some swearing, so
be advised. If you do choose to see it,
tell them Dennis sent you.
A
Foxy Invasion
This is a reprise of the show that was originally presented at the Funhouse
Lounge several months ago. It is written
and directed by Steve Coker of Stageworks Ink. and presented at the Post5
Theatre space at 900 NE 81st Ave.
It plays through October 12th. For more information go to www.stageworksink.com
This is a wonderful homage to the classic B, B&W, Sci-Fi/Horror films from
the 40’s and 50’s. Personally I am a fan
of this gene. And it includes all the
elements of this era, sadly, for the most part, gone. It has teenagers in peril (as in The Faculty) and a mysterious meteor
from space (like in The Blob). And a new girl in town, Staci (Tasha Danner)
and her father, the Deputy Sheriff (Greg Skelton)).
Of course, being the new kid in town, means being harassed/bullied by her peers
which are, as you might suspect, cheerleaders (Corinn DeWaard, Shannel Williams
& Megan McCarthy), led by Courtney (Jamie Langton). She also, being green, doesn’t realize that
the stud who hooks up with her, Troy (Sean Lamb), is spoken for by
Courtney. Of course, Troy has an admirer
(Wynee Hu) but he doesn’t know she’s even alive.
In short order, they come across a crashed object in a farmer’s field (War of the Worlds) and it is filled
with…ah, cute puppies, so cute they just want to eat them up. At the last minute Staci is rescued by the
bad boy in town, Dean (Illya Torres).
Needless to say these foxy felines cause much havoc with the town-folks.
But, have no fear, the Crimson Tide (possibly, Flash Gordon) is near and comes to the rescue. They are good aliens sworn to protect Earth
and humankind. A battle ensues and good
triumphs over evil…sort of. And Hu gets
her man…literally.
This is a wonderfully fun production and masterly written and directed by Coker. He certainly knows the genres that this story
is emulating and is also able to direct his cast in the double-takes and
tongue-in-cheek style of delivery that it demands. May he live long and prosper (Star Trek).
Applause to all the cast. And the
cheerleaders were foxy in appearance and wolfishly sensual in dance. Courtney, especially, was appealing. She can nibble on my ear, anytime. And Cheshire, the cat, is a true find and may
go on to beat Morris as the most famous feline in history.
Danner was very appealing and fit the heroine role to a tee. And Torres was equally convincing in his
anti-hero guise. This is definitely a
two drink show. Coker has also done a
great show that depicts the film noir, detective genre, too, and made it into a
musical, Dex, the Paranormal Detective. If you see him at the show, twist his arm to
revive this great play of his. See my
reviews of the original and Dex… on
this blog.
I do recommend this show but it is definitely adult in nature. And if you go to his website, you might find
a way to get two dollars off on a ticket.
If you do see it, please tell them Dennis sent you.
