The Jim Pepper Project—Triangle Productions!—NE Portland

And the beat goes on…
This show is written by Donnie and directed by Don Horn.  It is playing at their space at 1785 NE Sandy Blvd. through May 31^st.  For more information, go to their site at www.tripro.org or call 503-239-5919.

The story is, in part, about Jim Pepper, a Native American jazz musician, and partly about the history of the Native Americans and Afro-Americans in our history.  They are both huge subjects and to try and cover them in an hour provides only a thumb-nail sketch of both.  What is contained in that short space of time is fascinating but it leaves you only wanting for more.

Jim Pepper (M. Cochise Anderson) was influenced by Afro-American music and raised with the rhythms of Native American music.  He decided to combine the two and came up with his own unique brand of Jazz.  Playing both Flute and Sax, one of his creations actually was at the top of the charts for awhile.  He was also invited to be the Music Director for a Kennedy Center production during the Reagan era.

But all was not a bed of roses.  Unscrupulous business managers cheated him out of much of his money and the rights to his songs.  He also ran afoul of drink and drugs and went through down periods because of this.  The playing of his music in the show was refreshing and was truly very good.  And Pepper was well-versed in Native lore because of his grand-father (Ed Edmo).

Much of Native American history is shared by Sun Carrier (Karen Kitchen) and Black history is contributed by Sundiata (Salim Sanchez).  And they are also storytellers, relating the saga of the Rabbit and the Alligator.  Also on hand, to further their history, are the Tribal Dancers, Solomon Trimble and Chenoa Landry.

The connection between the Afro-Americans and Native Americans I was not aware of.  Both races were slaves to the Whites and had no rights as citizens.  The Indian was thrown off any good lands and confined to reservations.  They were forced to speak and write in English, discard any customs, religion and clothes they had and, essentially, become “White.”

We are horrified when we hear of other countries doing this to their people and yet we basically had done the same thing to the Indians and Blacks.  Sundiata compared it to the way the Nazis treated the Jews.  For all our Country’s riches, we are really very poor when it comes to how we treat people of color.

The video at the beginning and the slide show helped express what we may have lost in the translation between Nature’s gifts and our “manufactured” ones, on our way to becoming a “civilized’ country.  It reminded me of the scene in Soylent Green, the story of an over-populated earth, when Edward G. Robinson sees a film about how this world looked before we opted to change it.  Both this and Don’s film could bring a tear to your eye.  Look what we’ve done to our song.

Don, as always, has a very sensitive hand when working with his actors and writing material.  But, as I said, both Jim Pepper and the history of Native Americans are fascinating subjects but each theme could afford a full-length show on their own.  What we have is a tasty glimpse of each but we would like more, please.

And the lighting by Jeff Woods adds greatly to creating the moods of the pieces.  The acting is somewhat uneven and there seemed to be some fluffed lines when I saw it, but it is early in the run and I’m sure these will be ironed out.  Salim Sanchez came off the best in the acting department and was quite effective in his role.

I would recommend this show but hope it will be developed even more into his fascinating life and/or into the tragic Native American/Black history experience.  If you do choose to see it, please tell them Dennis sent you.

Grease—Battle Ground High School Drama Club—Battle Ground, WA.

The Company We Keep

This very popular 50’s musical is by Jim Jacobs and Warren Casey and directed by Stephan “Cash” Henry.  Music director is Darcy Schmitt and Band Director, Greg McKelvey, with choreography by Sky Ring.  It plays through May 17^th in BGHS’s Lair.  The show begins at 7 pm.  For more information, go to http://www.battlegroundps.org/blog/battlegrounddramaclubpresentsgrease or henry.stephan@battlegroundps.org.

In schools then, and today, there is an emphasis on belonging to a group, as that is part of what identifies you.  There were the Greasers or gangs, the popular ones, the jocks and cheerleaders, the nerds or brains, teacher’s pets, et. al.  But, what was not “cool,” was being a loner (I belonged to that “group”) or not acting in accordance with the rules of behavior within your group.  In reality, we are all aspects within ourselves of all of those groups.  But, in the 50’s, the lines were a lot clearer.

This musical was followed by another one called, Leader of the Pack, which bombed.  And then there was the dramatic, West Side Story and, as we moved into the 60’s, Bye, Bye Birdie and Hair.  “Times, they are a-changin’.”  But, curiously, people stay the same.  I wonder, as adults, have we every really grown out of the compartments we put ourselves into as Youth?

The story concerns one outsider, Sandy (Sarah Russell), a transfer student to Rydell High.  She has had a magical summer with a young boy named Danny (Ryan McNeal).  But, upon entering high school, she discovers he is the leader of a Gang and so must enacted this role, which includes not following his heart.  Sandy is taken in by a group called the Pink Ladies, with its head, Rizzo (Brianna Sievers), a rather brash young lady.

The gang is all about cars and being “cool.”  The ladies are all about distracting the men from their hot rods.  The story is pretty familiar, as both Sandy and Danny strive to find a way to connect, but without giving up membership in their respective groups or clans.  A date at the drive-in doesn’t go well for them and neither does the school sock hop.  It finally dawns on them, that if they really care about one another, they must walk in the other’s shoes for awhile, and see their world through the other’s eyes.

It works and a brave new world is opened up for them.  What sets this story apart from others is the music and the distinctive supporting characters in the story.  The “Summer Nights” number is a knockout by the two leads, especially the famous ending.  Rizzo has her famous, “Look at me, I’m Sandra Dee” song; Marty (Bailey Baxter) mooning for her GI love in “Freddy, My Love;” Kenickie (Tristan Tindall) embraces his famous vehicle in “Greased Lightin’;” Roger (James Dyer) and his main squeeze, Jan (Tiffany Jara) croon about “Mooning;” and Doody (Tanner Leeds) expresses the awakenings of teens in “Those Magic Changes.”

Then we have the “Beauty School Dropout,” Frenchy (Jessie Akerley) crooned to her by the Teen Angel (Skylar Denfield).  Cha-Cha (Teva Egar) is exceptional in her moment of glory, her big dance number.  And Danny moans as he’s “Alone at a Drive-in Movie” and Sandy does the same, as she laments, “It’s Raining on Prom Night.”  In other words, the songs/music are an intricate part of the story.
And they are all performed very well by the characters who present them.

McNeal and Russell are exceptional as the two leads.  If these characters aren’t strong, the show could fall flat.  McNeal has a great singing voice and does well in the dance numbers, too.  And Russell, already touted by me in her two other shows this year, is a star in the making!  She does intense dramatics, classical comedy, and song and dance with equal success.  Watch for her name in lights in the future!

A couple of shining moments in smaller roles are Emily Pulley as Patty, the pom-pom girl, and Brendan Groat as Eugene, the nerd.  It is said there are no small roles and they prove this point.  The choreography by Ring (terrific as Dogberry in their Much Ado About Nothing) has some nice moments, especially effective is Cha-Cha’s dance number and the finale, “We Go together.” 

The band is also quite good but a tad overpowering of the singers at times.  And the mikes/sound system has its hic-ups, too.  Most musicals have these problems and are not easily solved.  But it did not interfere with the overall enjoyment of the show.

The set and costumes added to the nostalgia of the period and were very well done by Sundance Wilson Henry.  And “Cash” Henry’s direction is always up to par.  Having that many young, some inexperienced, youth in the show and making a success of it, is a remarkable achievement.  He has directed Shakespeare and drama with these young people, too, and always pulls off a good production.

I recommend this show.  But, it is a sad note for this group, that this is Sarah Russell’s last show here.  As mentioned, I believe she will go far, but she will be sorely missed.  I wish her God’s speed!  If you do go see it, please tell them Dennis sent you.

Little Red “Riding Hood”—NW Children’s Theater—NW Portland

A Blast from the Past

This musical, updated adaptation of the fairy tale is written by Melody Bridges and Bob Hardy (father of the Director).  The show is directed by Sarah Jane Hardy (NWCT’s Artistic Director) and choreographed by Elizabeth Gibbs.  It runs through May 26^th at their space at the NW Cultural Center on 1819 NW Everett St.  For more information, go to their site at www.nwcts.org or call 503-222-4480.

This bears only passing references to the classic tale.  It has more in common with the musical, Grease, Cars and even, Carrie.  The angst of the teen years is even more pronounced now.  But the time of our story is 1958, the antiseptic, Eisenhower years.  And everything is in its proper place (or so the Voice, Erik James, for that era, tells us).  The children scrubbed clean and marching to school; the man working hard to earn a living for a growing family; and the little woman, back in her proper place, in the home, cleaning, cooking, and raising the kids.

All’s right in the world, except for Ruby Miller’s (Lea Zawada) world.  No frilly dresses for her, or Home EC class, or guys complicating her life.  Newly transplanted from urban Detroit to suburban Forrest High in Oakwood Acres, she wears jeans, wants to take shop class and work on cars, and doesn’t want to join any groups or clubs, as she’s a loner.  She lives with her eccentric Granny (Jenny Bruce) on the outskirts of town and wants to fix up Granny’s old jalopy to drag the top Greaser in school called (aptly), the Wolf (Dane Shroy).

The students try to dissuade her from her course, as well the teachers, Mary Kay (again, Jenny Bruce), Home EC and Mr. Meineke (Kevin-Michael Moore), Shop.  But she will not be discouraged.  Even at the school dance, where she challenges Wolf to a one-on-one race, she is alone in her determination.  But Wolf and his minions lure her Granny away and try to sabotage her car.  But, when the day of the big showdown comes…well, I think you can determine the rest.

The story is rather predictable and the dialogue a bit talky, but the songs and music (Bridges/Hardy) of the period and dance numbers (Gibbs) are wonderful.  They range from the 40’s Swing era (Granny’s solo, Be Smart, Girl) through the 50’s, and topped off by a number in the 60’s at the end, Any Which Way.  The theme is a direct slam at the confining ways of past eras and the newly found freedom of women of the modern age.  In short, anyone should be anything they want to be, without any restrictions of gender, nationality, or beliefs.  I also appreciated the fact that Ruby doesn’t end up with any guy at the end.  You, go, Girl!

But the cherries on top of this delightful “Sundae” for me were Bruce (Granny & Mary Kaye) and Zawada (Rudy/Red).  She is an amazing young lady as an actress, with a voice to match.  Her songs, Be Smart, Girl and Home EC are knockouts.  And Zawanda is a talent to be reckoned with.  She rocks!  She absolutely lights up the stage every time she’s on, with her exuberant enthusiasm and extraordinary, explosive energy.  Her solos, Please Go! & Who’s Foolin’ Who? were show-stoppers.  I applauded her special talents as Rose Red and Wendy and I wasn’t wrong, as she is a star in the making.  Bravo to them both!

Hardy, the director, never disappoints, nor does she here.  Her use of the space and her connection to the actors is special.  I would highly recommend any student/actor working with her.  The music has zing and is a terrific reflection of an age gone by.

I would recommend this show, especially for the music and the performers.  If you do go, please tell them Dennis sent you.  As a side note, next year’s season seems especially strong, with Sherlock Holmes in September/October, Mary Poppins in December/January, The Jungle Book in February and The Little Mermaid in April/May.

For another perspective on this production, please go to Greg’s blog:

http://swwastar.blogspot.com/2014/05/review-nwcts-riding-hood-is-gas-but.html

Dog Sees God: Confessions of a Teenage Blockhead—Clark College—Vancouver WA.

The Death of Childhood

This very dark comedy by Bert V. Royal and directed by H. Gene Biby, plays at Clark College Decker Theater through May 17^th.  For more information call 360-992-2815 or go to their site at http://www.clark.edu/academics/programs/humanities/theatre/season.php.

If you are familiar with the word “blockhead,” as it describes a certain famous character, then you get a hint of what the play may be about.  Yes, Charlie Brown is finally a teenager but, in this day and age, that is not necessarily an easy transition.  And to be an honest adaptation of this scary new world, you have to have the angst that goes with it.

And this angst, played out to the fullest, includes bullying, drugs, killings, suicide, sexual identity issues, crime, passion, drinking and madness.  All of these complications are encountered by a real-life Charles and his gang.  The sweet, simple, naïve world of his former existence comes crashing down when reality raises its ugly head.  And, like most of us, we must say adieu to that idyllic world and plow headfirst into adulthood.

As a teenager, CB, or Charlie Brown (James Martine) is still unsure of himself and still considered a loser by most of his “friends.”  His sister (Elena Mack), aka Sally, doesn’t look up to him anymore and has her own cool friends she hangs out with, Marcy, aka Marci (Keren Garcia) and Trica (Danielle Weddle), aka Peppermint Patty.  They are into drugs, drinking, partying and, of course, boys.

The boys in his band don’t fare much better.  Van, aka Linus (Garrett Dabbs), is a pothead and he wields his pipe around with him now like his old, blue security blanket.  His sister, aka Lucy (Emily Wells), is still involved with psychiatry, but on the receiving end this time.  Beethoven, aka Schroder (Sam Ruble), still plays his beloved piano but is having a sexual identity crisis.  And Matt, aka Pigpen (JD Carpenter), is now a germaphobic and a bully.

And most of the rest of the Peanuts gang don’t go unscathed, either.  Snoopy, Charlie’s beagle, and Woodstock, Snoopy’s yellow, feathered friend, have met tragic ends before the play begins.  The little red-headed girl was set afire.  Spike, Snoopy’s brother, is never mentioned.  Only Charlie’s Pen Pal from afar seems to have escaped the wrath of “growing pains.”

I’ve given you the flavor of the piece.  To reveal more would not allow you to discover the relationships and secrets they have.  I especially like “the doctor is in” scene, as “Lucy” rails against the world.  And there are some touching moments between CB and Beethoven.  But, I think, the author, Royal, is trying too hard to make a match between the old Peanuts characters and the angst of this modern world of Youth.  It’s as if he has two stories to tell and they don’t necessarily mesh all the time.

And the theme might be that, when Innocence dies, we really don’t have anything very positive to replace it.  He’s right.  Many prominent role models celebrate Greed, War and Intolerance.  And the computer age has done us no favors, as it seems to be pulling human contact apart.  So, we should ask ourselves, when our toys are neatly stored away, what will happen to “Little Boy Blue, since he kissed them and put them there?”

Biby is a fine director and has assembled a good cast for this show and they all do well.
They are too young to identify with the Peanuts generation but are very able, I’m sure, to connect with the teen angst of today.  Martine is spot-on as Charlie and Mack, equally good as his sister.  Ruble plays Beethoven with a nice sensitivity and Wells is terrific as “Lucy.”

This is a very adult play in both in situations and language, as well as turning the iconic “Peanuts” characters upside-down.  But I would recommend it.  If you do go, please tell them Dennis sent you.

Driving Under the Influence—Twilight Theater Co.—N. Portland

The Road to Nowhere…

 

This comedy-drama is written by Nick Zagone and directed by J.J. Harris (Company’s Artistic Director).  It is playing at The Annex at 5262 N. Lombard through May 11^th.  For more information, go to their site at http://twilighttheatercompany.org or call 503-847-9838.  (Just a reminder, it only seats about 50+ people and Friday night’s show was sold out.)

…And how to get there:  Turn right at the Mint Julep sign, glide on through Coors Light, stop at Long Island Iced Tea, follow the street downhill till you hit Pot, watch out for the Punch, pop a Tick-Tac (or two), then beware of the Acid Reflux at the end of the road (see the program to clarify).  That about gives you the progression of these characters from teens to adulthood.  The title refers to the fact that we may not be in charge of steering our own lives.

This show is done on an essentially bare stage with a few props.  So the show is totally in the hands of the cast (only a few feet from you), the script and your own imagination…and they all must be plugged into the same socket for the story to succeed.  Thankfully, it all works admirably!

The cast is super, one of the best ensembles I’ve seen!  The script is funny and touching.  And the audience seemed totally vested in the characters and story.  In other words, they “got it.”  Unfortunately, I can’t tell you too much of the story, as there are discoveries the audience must make along the way.  But I can give you a run-down of the characters, as they are all pretty much identifiable to all of us.

Roberta (Juli Keele) is Miss Popular when she starts out, wearing the latest grunge clothes and sleeping with whomever to retain her popularity.  But her road turns sharply in the opposite direction by the end of her trip.  Becca (Amanda Mehl) is the aspiring actress, dressed in black with make-up to match, the typical outsider.  She does see her dreams come true.  Rose (Kurin Matter) is the ditzy blonde, all looks no brains.  And her social climbing pays off politically.

Hammish (Travis Martin) is definitely the leader of the pack.  He purports to be the most savvy about women and attempts to control everybody’s lives.  His business sense propels him forward as an adult.  Brad (Jonathan Miles) is the nerd of the bunch and a loser when it comes to the opposite sex.  But the outside world becomes even hazier, as he attempts to find his own world in the fog.  Tom (Sam Bridgnell) is the follower, just out for a good time, as long as you don’t have to think too much.  But his loose style turns inside out as an adult.

Robert (Sam Anderson) is talked about throughout but actually only appears in one scene.  He is the local Indie film-maker, doing the cheapie, “Slasher” films.  His wife, Michelle (Tabitha Trosen), also just in one scene, is a treasure trove of knowledge about Award-winning movies.  Their fates are challenged when they come face-to-face with our primitive landscapes.

The cast is uniformly excellent, having a solid view of their characters and playing them to the max.  Harris has done a fine job of interpreting this work, giving it a simple staging, and leading his actors.  He is also responsible for the North End Players group.  I hope he continues with his good work and utilizes this cast of young actors again.

The only flaw I found in the script is the one scene in which there are only two characters and it’s the only time they appear.  It doesn’t gel in rhythm or style with the rest of the scenes.  Although both actors are fine, it seems like it’s out of place here.  These two characters are talked about throughout the show and most of the info in their scene is discussed by others, so there is no need for the scene.  I believe it would make the story more powerful if we never saw them, so the audience could conjure up their own image of who they are.  Just a thought…

I would recommend this show but it is very adult in subject matter and language, so be warned.  If you do choose to see it, tell them Dennis sent you.