The Age of Discovery
This comedy-drama is written by Jim Leonard, Jr. and
directed by Sarah Ominski. It is playing
at the Calvin Church, 10445 SW Canterbury Lane in Tigard, through May 21st. For more information, go to their site at www.maskandmirror.com or call
503-333-1139.
As Dickens famously wrote, in his opening to a classic novel,
“It was the best of times, it was the worst of times,” and so it is, too, with
any age of discovery. The years just
after the end of the Civil War for America, through the thirties, were times of
monumental changes and profound revelations.
Moving pictures, the end of slavery, women’s voting right, prohibition,
the stock market crash, not to mention another War in Europe, electricity and
the telephone, industrialization, et. al.
Medicine/health was not to be dismissed either, as they, too, were at
the vanguard of change. Leeches and home
remedies were out and blood typing, pasteurization, quarantines, autopsies,
sterilization from germs, etc. was in, or soon would be.
The time of this story is the mid-West of the 1880’s, the
infancy of these changes. But this is
not just a history lesson but sprinkled with odds bits of parallels to other
stories and characters, such as Professor Marvel from the Oz tales; a salute to
Wilder’s, “Our Town,” both in story-telling style and personas; and, by the
end, homage to, perhaps the most famous birth in history. Ominski, the director, has the unenviable job
of keeping it all together with just a few props, some authentic-looking period
clothing by Viola Pruitt, nicely rendered, and some effective lighting by Brian
Ollom. And this cornucopia of oddities and
tributes works surprisingly well and gives us a sample of a microcosm of human
behavior having to deal, sometimes harshly, with change.
I really can’t tell you a whole lot about the plot, as much
of it concerns devices which the audience should discover. But the story has to do with a rural
community, consisting of June (Caitriona Johnston), a teenager, and her mother,
Rebekah (Renae Iversen), having just buried the patriarch of the family at the
beginning of the play. Pastor Winfield
(Ted Schroeder) and his maiden sister, Tiny (Donna Haub), seem to be the head
of a rather religious township. Other
prominent citizens seem to be a dedicated farmer, Crutch (John Knowles), and
his wife, Belva (Pat Romans); Maggie (Emily Smith), a bit of a gossip, who runs
the town eatery and watering hole; and Homer (Linh Nguyen), although a friendly
chap, a bit of a ne’er-do-well when it comes to actually working. As well as a host of town-folk that, go with
the flow.
Into their lives appears a doctor out of the blue (literally),
Galen Gray (Aaron Morrow), who is a god-send to some, for other than medical
reasons in some cases, and a curse to others, as home remedies for ailments seem to be a
thing of the past. As he roots himself
into the town, some radical changes must be made in their lives, which are not
always welcome because, as a harbinger of progress, he alienates tried and
accepted ways of dealing with health concerns and introduces, what some would
consider, invasive ways of dealing with sickness. And here is where I have to leave off, as the
rest is for an audience’s eyes and ears only.
But a major medical issue will manifest itself and all their lives will
change forever.
I’ve always liked the story-telling approach to plays, as it
rests solely on an actor’s talent, the author’s words and an audience’s
imagination to relate the story. This
production lends well to that philosophy.
Morrow, as the key character, does very well with the role, having to
waver back and forth between being understanding with folks and yet needing to
introduce new ways of dealing with things.
Smith and Knowles do very well in giving us a sample of rural mentality
of over a hundred years ago. And,
Johnston, as another focal character, is extremely good, revealing the angst of
a youth, not entrenched yet with the old ways but curious and eager to be
exposed to the new. A difficult role but
she does it well. It would be good to
see more of her onstage.
I recommend this show.
If you do choose to see it, please tell them Dennis sent you.
Tuesday, May 16, 2017
Wednesday, May 10, 2017
Godspell—Lakewood Theatre Company—Lake Oswego
“…And a Child Shall Lead Them”
This rock musical from the early 70’s is written by John-Michael Tebelak, music by Stephen Schwartz, directed and choreographed by Michael Snider, with music direction by Cyndy Ramsey-Rier. It is playing at their space, 368 S. State St. in Lake Oswego (plenty of parking at the rear of the building), through June 11th. For more information, go to their site at www.lakewood-center.org or call 503-635-3901.
This was the era of “Hair” and “Jesus Christ, Superstar,” too. It was a time of protest, both against the war in Nam and also for the Civil Rights of individuals in this country. The time was ripe for revolution, as it was some 2,000 years ago. And the setting (designed by the, always marvelous, John Gerth) is a playground, also appropriate, as they (and possibly us) will, through a child’s eyes at the dawning of curiosity, (re)discover possibly, through games, the Purpose of Life.
The stories, parables, are not unlike Aesop’s fables, where a lesson is taught in the pleasant guise of a children’s tale. And the teachings are straight out of the New Testaments of Matthew and Luke. Mind you, I never thought I was being preached to, as I hate that, but being gently exposed to other possibilities. In these turbulent times, with the World on pins and needles, it might heed the warning in one of the songs offered here: “Turn back, O man, and mend thy foolish ways!” Amen.
The stories are presented in all manner of ways, assumedly so that they are easily understood by even a child. The tales are exposed in short shifts and range from Improv to Vaudevillian, from a Circus atmosphere to child’s games, from Game shows to finger puppets, and everything in-between. The parallel story that is also told is that of Christ’s final days, touching on his Baptism, the Sermon on the Mount, the confrontation with the Pharisees, conflicts with the Roman lords, the Last Supper, and, of course, the Crucifixion.
The music, songs and dances run the gamut, too, from ballads to Rap, from Rock & Roll to hard rock, from soft shoe to synchronized dances. And it all works beautifully. My own personal favorite number is, “All For the Best,” lead by Jesus (Benjamin Tissell), and Judas (Brock Bivens), who do a super job with the catchy lyrics and soft shoe. (Note, Alec Cameron Lugo’s strong voice is in the Chorus and played Jesus in four productions of this show.) There is also the haunting, and probably the most recognizable song from the show, “Day By Day,” sung touchingly by Kelly Sina. And Tasha Danner is movingly expressive with, “Learn Your Lessons Well.”
Jorie Jones and Joey Cóté both lead well rousing numbers, she with, “O, Bless the Lord, My Soul” and he with, “We Beseech Thee.” Another quiet moment, led softly by Amanda Pred was, “Side By Side.” Also, Jeremy Sloane and Colin Stephen Kane lead them nicely in the moody, “On the Willows.” “All Good Gifts” had the powerful voice of Alexander Salazar to lead the chorus. And Clara-Liis Hillier, always a welcome addition to any cast, gave us the vampish vixen in her sexy rendition of, “Turn Back, O Man.”
Snider has done an amazing job of casting the show and creating all the intricate details, as well as the dances, that lend to much of the success of this production. And Lakewood always manages to get some of the best singers and dancers in the area, as the cast is extraordinary on all counts! The band, too, led by Ramsey-Rier, is spot on with the various types of music (as well as sound effects) and does not overpower the actors (which many bands of musicals often tend to do).
I did overhear one audience member asking her friend whether she thought this show would be appropriate for children. Personally, I think it is (depending, of course, on parental religious viewpoints), as the stories really focus on compassion, tolerance, and acceptance for all individuals, something future generations should embrace in their education, as the current generation seems to have “misplaced” or lost track of them. Also, the tales are told in entertaining ways, both for Youth and Adults.
A special shout-out, also, to Steve Knox, the current producer, who is one of those many unsung heroes behind the scenes of shows. He, himself, has a long history of involvement with the performing arts and is a fine director, as I can attest to, as he directed a reading of one of my plays at Lakewood with Youth and did a super job of it. Would like to see more of his directing efforts at some point, hint-hint.
I highly recommend this show. If you do choose to see it, please tell them Dennis sent you.
This rock musical from the early 70’s is written by John-Michael Tebelak, music by Stephen Schwartz, directed and choreographed by Michael Snider, with music direction by Cyndy Ramsey-Rier. It is playing at their space, 368 S. State St. in Lake Oswego (plenty of parking at the rear of the building), through June 11th. For more information, go to their site at www.lakewood-center.org or call 503-635-3901.
This was the era of “Hair” and “Jesus Christ, Superstar,” too. It was a time of protest, both against the war in Nam and also for the Civil Rights of individuals in this country. The time was ripe for revolution, as it was some 2,000 years ago. And the setting (designed by the, always marvelous, John Gerth) is a playground, also appropriate, as they (and possibly us) will, through a child’s eyes at the dawning of curiosity, (re)discover possibly, through games, the Purpose of Life.
The stories, parables, are not unlike Aesop’s fables, where a lesson is taught in the pleasant guise of a children’s tale. And the teachings are straight out of the New Testaments of Matthew and Luke. Mind you, I never thought I was being preached to, as I hate that, but being gently exposed to other possibilities. In these turbulent times, with the World on pins and needles, it might heed the warning in one of the songs offered here: “Turn back, O man, and mend thy foolish ways!” Amen.
The stories are presented in all manner of ways, assumedly so that they are easily understood by even a child. The tales are exposed in short shifts and range from Improv to Vaudevillian, from a Circus atmosphere to child’s games, from Game shows to finger puppets, and everything in-between. The parallel story that is also told is that of Christ’s final days, touching on his Baptism, the Sermon on the Mount, the confrontation with the Pharisees, conflicts with the Roman lords, the Last Supper, and, of course, the Crucifixion.
The music, songs and dances run the gamut, too, from ballads to Rap, from Rock & Roll to hard rock, from soft shoe to synchronized dances. And it all works beautifully. My own personal favorite number is, “All For the Best,” lead by Jesus (Benjamin Tissell), and Judas (Brock Bivens), who do a super job with the catchy lyrics and soft shoe. (Note, Alec Cameron Lugo’s strong voice is in the Chorus and played Jesus in four productions of this show.) There is also the haunting, and probably the most recognizable song from the show, “Day By Day,” sung touchingly by Kelly Sina. And Tasha Danner is movingly expressive with, “Learn Your Lessons Well.”
Jorie Jones and Joey Cóté both lead well rousing numbers, she with, “O, Bless the Lord, My Soul” and he with, “We Beseech Thee.” Another quiet moment, led softly by Amanda Pred was, “Side By Side.” Also, Jeremy Sloane and Colin Stephen Kane lead them nicely in the moody, “On the Willows.” “All Good Gifts” had the powerful voice of Alexander Salazar to lead the chorus. And Clara-Liis Hillier, always a welcome addition to any cast, gave us the vampish vixen in her sexy rendition of, “Turn Back, O Man.”
Snider has done an amazing job of casting the show and creating all the intricate details, as well as the dances, that lend to much of the success of this production. And Lakewood always manages to get some of the best singers and dancers in the area, as the cast is extraordinary on all counts! The band, too, led by Ramsey-Rier, is spot on with the various types of music (as well as sound effects) and does not overpower the actors (which many bands of musicals often tend to do).
I did overhear one audience member asking her friend whether she thought this show would be appropriate for children. Personally, I think it is (depending, of course, on parental religious viewpoints), as the stories really focus on compassion, tolerance, and acceptance for all individuals, something future generations should embrace in their education, as the current generation seems to have “misplaced” or lost track of them. Also, the tales are told in entertaining ways, both for Youth and Adults.
A special shout-out, also, to Steve Knox, the current producer, who is one of those many unsung heroes behind the scenes of shows. He, himself, has a long history of involvement with the performing arts and is a fine director, as I can attest to, as he directed a reading of one of my plays at Lakewood with Youth and did a super job of it. Would like to see more of his directing efforts at some point, hint-hint.
I highly recommend this show. If you do choose to see it, please tell them Dennis sent you.
Monday, May 8, 2017
Óye Oyá—Milagro—SE Portland
“Two Roads Diverged…”
This world premiere of a musical in Spanish based, in part, on Shakespeare’s, “The Tempest,” is written by Rebecca Martinez and Rodolfo Ortega, directed by Estefania Fadul, music direction by Clay Giberson and choreography by Freila Merencio. It is playing at their space, 525 SE Stark St. (finding parking is a concern in this area, so plan your time accordingly), through May 27th. For more information, go to their site at www.milagro.org or call 503-236-7253.
My above title comes from a poem by Robert Frost, in which a person is faced with having to choose between two roads going through a forest, as the one he chooses will be his destiny. A similar dilemma faces the heroine in this story. Does one, at the crossroads of their life, choose the smoother, more traversed path, or the lesser known one, “…the road less traveled by?”
As mentioned, this story has counterparts to the Bard’s play, in which a storm throws people together, who are forced to confront old enemies, make new friends and, ultimately change the fates of all concerned. And, believe me, it doesn’t turn out the way you think it might. In this version, Felo (Jimmy Garcia), a café owner, is a man who feels trapped in Cuba, having had a chance to flee to America but was betrayed by his best friends, Dimiri (Enrique Eduardo Andrade) and his wife, Caridad (Amalia Alarcón Morris), who left without him and ended up in Miami. While there, they had a child, a boy named Javier (Christian Alavarez), all of whom have been washed up on these shores by a storm.
Also, on board their ship, are two “ugly American” tourists, Alex (Andrés Alcalá) and his ditzy wife, Francis (Janelle Vanpelt), who see opportunities galore in this paradise, in which they can “Americanize” this island. They discover an old man, Canimao (Julio César Velásquez), who makes some very potent moonshine. And you don’t even want to know what they plan to do with pizza! Also on the island are Yenisel (Lori Felipe-Barkin), the daughter of Felo, who has only heard stories of the shiny land beyond. There is also a Musician (Dashel Ruiz), giving support to the proceedings. And, most importantly of all, there is Doña Teresa (Julana Torres), a spirit guide who has a special connection to the goddess, Oyá, who can alter the fates of these humble creatures.
More I cannot tell you without being a spoiler. But know that crossroads in a person’s life are not to be taken lightly and magic is not to be dismissed. This is also a timely play with the immigration issues at the forefront of the news nowadays. The music and songs in this show do enhance the story greatly and I’m sure the Bard would be pleased with how his fantasy piece has inspired generations. The dance numbers are amazing, especially Torres, who conveys easily the airy spirit of this “music of the spheres.” I was also impressed with the art design for this show by William Hernandez, which captures expressionistically the mood of the piece. The graphic projections for the storybook were also beautifully rendered by Lawrence Siulagi.
The cast was all first-rate and Felipe-Barkin particularly has a terrific voice. Fadul has done quite an exemplar job of putting this all together on such a small stage. And, for those of you who do not speak this expressive language, the supertitles in English are quite easy to follow. I’ve always been impressed with the quality of their shows and after almost 35 seasons, they have proven they have quality and sustainability in their productions. Wishing them another 35 years of success!
I recommend this production. If you do choose to see it, please tell them Dennis sent you.
This world premiere of a musical in Spanish based, in part, on Shakespeare’s, “The Tempest,” is written by Rebecca Martinez and Rodolfo Ortega, directed by Estefania Fadul, music direction by Clay Giberson and choreography by Freila Merencio. It is playing at their space, 525 SE Stark St. (finding parking is a concern in this area, so plan your time accordingly), through May 27th. For more information, go to their site at www.milagro.org or call 503-236-7253.
My above title comes from a poem by Robert Frost, in which a person is faced with having to choose between two roads going through a forest, as the one he chooses will be his destiny. A similar dilemma faces the heroine in this story. Does one, at the crossroads of their life, choose the smoother, more traversed path, or the lesser known one, “…the road less traveled by?”
As mentioned, this story has counterparts to the Bard’s play, in which a storm throws people together, who are forced to confront old enemies, make new friends and, ultimately change the fates of all concerned. And, believe me, it doesn’t turn out the way you think it might. In this version, Felo (Jimmy Garcia), a café owner, is a man who feels trapped in Cuba, having had a chance to flee to America but was betrayed by his best friends, Dimiri (Enrique Eduardo Andrade) and his wife, Caridad (Amalia Alarcón Morris), who left without him and ended up in Miami. While there, they had a child, a boy named Javier (Christian Alavarez), all of whom have been washed up on these shores by a storm.
Also, on board their ship, are two “ugly American” tourists, Alex (Andrés Alcalá) and his ditzy wife, Francis (Janelle Vanpelt), who see opportunities galore in this paradise, in which they can “Americanize” this island. They discover an old man, Canimao (Julio César Velásquez), who makes some very potent moonshine. And you don’t even want to know what they plan to do with pizza! Also on the island are Yenisel (Lori Felipe-Barkin), the daughter of Felo, who has only heard stories of the shiny land beyond. There is also a Musician (Dashel Ruiz), giving support to the proceedings. And, most importantly of all, there is Doña Teresa (Julana Torres), a spirit guide who has a special connection to the goddess, Oyá, who can alter the fates of these humble creatures.
More I cannot tell you without being a spoiler. But know that crossroads in a person’s life are not to be taken lightly and magic is not to be dismissed. This is also a timely play with the immigration issues at the forefront of the news nowadays. The music and songs in this show do enhance the story greatly and I’m sure the Bard would be pleased with how his fantasy piece has inspired generations. The dance numbers are amazing, especially Torres, who conveys easily the airy spirit of this “music of the spheres.” I was also impressed with the art design for this show by William Hernandez, which captures expressionistically the mood of the piece. The graphic projections for the storybook were also beautifully rendered by Lawrence Siulagi.
The cast was all first-rate and Felipe-Barkin particularly has a terrific voice. Fadul has done quite an exemplar job of putting this all together on such a small stage. And, for those of you who do not speak this expressive language, the supertitles in English are quite easy to follow. I’ve always been impressed with the quality of their shows and after almost 35 seasons, they have proven they have quality and sustainability in their productions. Wishing them another 35 years of success!
I recommend this production. If you do choose to see it, please tell them Dennis sent you.
Friday, May 5, 2017
Satchmo at the Waldorf—Triangle Productions!--NE Portland
“What a Wonderful…” Entertainer!
This one-man show, starring Salim Sanchez, tracing events in Louis Armstong’s life, is written by Terry Teachout and directed and designed by Donald Horn (Triangle’s Artistic Director). It is playing at their location in The Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd. (free parking lot to the West of the building), through May 27th. For more information, go to their site at www.trianglepro.org or call 503-239-5919.
It certainly became a more “wonderful world” when Louis “Satchmo” Armstrong (Salim Sanchez) debuted into it around the turn of the 1900’s, and a much sadder one after he passed in the early 70’s. Although his trumpet was his instrument, his gravelly voice was his unique trademark, using it to good advantage in the mid-1960’s, when he recorded the title song from the Broadway show, “Hello, Dolly!” and it knocked the Beatles off the chart as the number one single.
A lot of African-American “firsts” were attributed to him in the mid-30’s, including writing an autobiography, featured billing in a film, “Pennies From Heaven,” and host for a nationally-sponsored radio show. But his upbringing and personal life were less than stellar: A mother who was a prostitute, a father who abandoned them, four wives from the entertainment industry and poor health. He, of course, had to face one of America’s biggest disgraces, not treating those of a different race, culture, sexual orientation, religion, et. al. as an equal (seems we are still faced with that dilemma).
And his professional life was, early on, on the shady side as well, being employed by the likes of notorious gangsters, such as Al Capone and Dutch Schultz. But he loved the music and the tours, even more than the money he was making. And he immersed himself in all kinds of music including, of course, Jazz and Blues, but also ragtime, skat, swing, country, classical and even, grand opera. Like all great artists, the art, his music, was “the thing,” which obsessed him and captured his heart and soul. “It is a poor thing, but mine own,” might have been his mantra. He was, truly, one of a kind…never to see his like again!
But in this production, we not only see the man, as he relates his story, but two individuals, which Sanchez’s plays, too, that put this icon in perspective. Most importantly, there was Joe Glaser, his agent and manger for 40 years, who he trusted completely with his finances and bookings. Joe knew talent and seemed to have treated him fairly and always had high praise for “his find.” Miles Davis, another great jazz musician, had a different view. He considered “Satchmo” a clown, a panderer to white folks who, he felt, never really represented or understood the black struggle. Whoever he was, he was one for the Ages!
Sanchez has the unenviable job of switching back and forth between characters, sometimes within a sentence or two, with hardly a beat to separate them. He does it with posture and voice (and a bit of help from lighting: Trevor Sargent and Mandara Nott). His smooth transitions are one of the highlights of the show. He is a master at it. And he does have that unique voice down to a tee. My friend asked him, after the show, his secret to not losing his voice and he said, “apple-vinegar” (oops, was that a spoiler. I think not, just one of the assets a performer employs to transform into a character). Anyway, Sanchez is amazing and so is the Man with the Horn.
And the other Horn, Don, that is, has created a great atmosphere in which to present this show. The set is full of odds and ends to give us a realistic view of the workings of a performer. And the little bits of business that Horn has conceived for Sanchez, keeps the play flowing and grounded. Now, if only the rest of the globe were in “tune” with such beautiful music, “what a wonderful world it would be if only we’d give it a chance.”
I recommend this show, but it does have strong language for anyone offend by this. If you do choose to see it, please tell them Dennis sent you.
This one-man show, starring Salim Sanchez, tracing events in Louis Armstong’s life, is written by Terry Teachout and directed and designed by Donald Horn (Triangle’s Artistic Director). It is playing at their location in The Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd. (free parking lot to the West of the building), through May 27th. For more information, go to their site at www.trianglepro.org or call 503-239-5919.
It certainly became a more “wonderful world” when Louis “Satchmo” Armstrong (Salim Sanchez) debuted into it around the turn of the 1900’s, and a much sadder one after he passed in the early 70’s. Although his trumpet was his instrument, his gravelly voice was his unique trademark, using it to good advantage in the mid-1960’s, when he recorded the title song from the Broadway show, “Hello, Dolly!” and it knocked the Beatles off the chart as the number one single.
A lot of African-American “firsts” were attributed to him in the mid-30’s, including writing an autobiography, featured billing in a film, “Pennies From Heaven,” and host for a nationally-sponsored radio show. But his upbringing and personal life were less than stellar: A mother who was a prostitute, a father who abandoned them, four wives from the entertainment industry and poor health. He, of course, had to face one of America’s biggest disgraces, not treating those of a different race, culture, sexual orientation, religion, et. al. as an equal (seems we are still faced with that dilemma).
And his professional life was, early on, on the shady side as well, being employed by the likes of notorious gangsters, such as Al Capone and Dutch Schultz. But he loved the music and the tours, even more than the money he was making. And he immersed himself in all kinds of music including, of course, Jazz and Blues, but also ragtime, skat, swing, country, classical and even, grand opera. Like all great artists, the art, his music, was “the thing,” which obsessed him and captured his heart and soul. “It is a poor thing, but mine own,” might have been his mantra. He was, truly, one of a kind…never to see his like again!
But in this production, we not only see the man, as he relates his story, but two individuals, which Sanchez’s plays, too, that put this icon in perspective. Most importantly, there was Joe Glaser, his agent and manger for 40 years, who he trusted completely with his finances and bookings. Joe knew talent and seemed to have treated him fairly and always had high praise for “his find.” Miles Davis, another great jazz musician, had a different view. He considered “Satchmo” a clown, a panderer to white folks who, he felt, never really represented or understood the black struggle. Whoever he was, he was one for the Ages!
Sanchez has the unenviable job of switching back and forth between characters, sometimes within a sentence or two, with hardly a beat to separate them. He does it with posture and voice (and a bit of help from lighting: Trevor Sargent and Mandara Nott). His smooth transitions are one of the highlights of the show. He is a master at it. And he does have that unique voice down to a tee. My friend asked him, after the show, his secret to not losing his voice and he said, “apple-vinegar” (oops, was that a spoiler. I think not, just one of the assets a performer employs to transform into a character). Anyway, Sanchez is amazing and so is the Man with the Horn.
And the other Horn, Don, that is, has created a great atmosphere in which to present this show. The set is full of odds and ends to give us a realistic view of the workings of a performer. And the little bits of business that Horn has conceived for Sanchez, keeps the play flowing and grounded. Now, if only the rest of the globe were in “tune” with such beautiful music, “what a wonderful world it would be if only we’d give it a chance.”
I recommend this show, but it does have strong language for anyone offend by this. If you do choose to see it, please tell them Dennis sent you.
Thursday, May 4, 2017
The Addams Family—Battle Ground Drama Club—Clark County
Family is…as Family does!
This musical, based on the popular TV series of some years ago, was written by Marshall J. Brickman and Rick Elice, with music and lyrics by Andrew Lippa and based on characters created by Charles Addams. It is directed by Stephan “Cash” Henry, music directed by Darcy Schmitt and choreography by Cassidy MacAdam (also, “Mortica”) with set, art and costume design by Sundance Wilson Henry. It is playing in The Lair at Battle Ground High School, 300 W. Main St., in Battle Ground, WA. The show runs until May 13th. For more information, e-mail the director at henry.stephan@battlegroundps.org.
Families are a complicated stew. You could reflect on TV’s wholesome image of “The Brady Bunch” or “Father Knows Best,” et. al. of several years ago. Or maybe you’d sprinkle it with spicy seasoning from “The Godfather’s” ilk or possibly, “The Lion in Winter” of medieval times, professing “…what family doesn’t have its ups and downs.” And then you have the undead, outrageous, Addams clan…and you couldn’t get nuttier than that!
But, to be serious, for just a short moment, Henry, the director, has proffered a sobering thought as, despite everything, families are, including this one, a heritage of honor where, “the history of the ancestors is remembered fondly and with reverence in this household, and the children know the importance of who they and where they come from. There is pride in this family: Pride in self, pride in each other, and pride in their shared history.” The true founders of this country, the Native Americans, follow this philosophy. Asian, African-American and Latino cultures also honor their Past. But it seems that many Americans choose to dishonor their family history by current violence and hatred and shutting out of our lives and country many cultures we can learn from! Okay, with that in mind, I’ll get off my soap box now and we can move forward with the fun….
In case you’re one of the few who are not aware of the Family, here is a quick run-down. The patriarch is Gomez (Skyler Denfeld), who is a horny devil and is, almost always, truthful. His wife is Morticia (Cassidy MacAdam), a very alluring, femme-fatal. Their children are their daughter, Wednesday (Lauren Southwick), a morbid sort who secretly yearns to be “normal.” Then there is their son, Pugsley (Jack Harvison), who enjoys being tortured in his spare time, as well as needling his sister.
Uncle Fester (Jaden Denfeld), brother of Gomez, communes with the spirits of their ancestors and has a secret love of a lunar capacity. Granny (Danielle Morgan), assumedly Gomez’s mother, is an herbalist, or better known in the rural parts, as a witch. She has potions and spells at her disposal and, in the wrong hands, can be quite…revealing. And, lastly, there is their beloved servant, Lurch (Ethan Floyd), a zombie, who has a rather exasperating language barrier because of that. All in all, they reside in a spooky old mansion and they are--The Addams Family.
Well, all is going along as per expected, when Wednesday suddenly falls in love with one of the “normals,” a young man named, Lucas (Noah Plummer), and they want to get married. But that means introducing the families and there could be a bit of a disconnect because of life styles, as you might expect. Lucas’s father, Mal (Andre Roy), is a control-freak, and his repressed wife, Alice (Katie Carter), are invited to dinner where all hell breaks loose. Even the spirits of the ancestors are engaged to help, but will it all end…“happily ever after?” Will Fester be united with his lunar babe? Will the Dance of Love be enough for Gomez to win over his wife? Will the Truth Game reveal family secrets? Will Lurch finally find his voice? Stay tuned and see this exciting episode of…The Adams Family, snap, snap!
Although there are no truly memorial songs from this show, the music therein fits perfectly to the story. Gomez is great singing, “Trapped” and “Happy Sad.” Mortica is mysterious with her “Secrets” and “Just Around the Corner.” Wednesday is conflicted in her “Pulled” song. Pugsley has his moment in, “What If.” Fester is feisty in, “The Moon and Me.” And, especially Alice, is terrific in her rendition of “Waiting.” The dance numbers, choreographed by MacAdam, are all very cool, especially in “The Moon and Me,” and “Tango De Amor.” And the chorus is super.
S. Denfeld is wonderful as the maniacal, mischievous, milk-toast of a husband. And MacAdam is appropriately sexy, demanding and mysterious as the wife. She does a fine job in her first choreography experience and hope she continues in this field. One of the best set and costumes designs Sundance Wilson has created, as they all look like they’re ripped from the series. And “Cash” and Schmitt have done their usual fantastic job of directing these youth. I hope the cast/crew knows how lucky they are to have such leaders!
A side note, these folks have been chosen to participate in an Arts Festival in Scotland in August and have raised over $100,000 toward it. They still have only $2,000 left to raise for their trip, so hope some generous individuals or organizations can help out. They deserve it!
I recommend this play. If you do choose to see it, please tell them Dennis sent you.
This musical, based on the popular TV series of some years ago, was written by Marshall J. Brickman and Rick Elice, with music and lyrics by Andrew Lippa and based on characters created by Charles Addams. It is directed by Stephan “Cash” Henry, music directed by Darcy Schmitt and choreography by Cassidy MacAdam (also, “Mortica”) with set, art and costume design by Sundance Wilson Henry. It is playing in The Lair at Battle Ground High School, 300 W. Main St., in Battle Ground, WA. The show runs until May 13th. For more information, e-mail the director at henry.stephan@battlegroundps.org.
Families are a complicated stew. You could reflect on TV’s wholesome image of “The Brady Bunch” or “Father Knows Best,” et. al. of several years ago. Or maybe you’d sprinkle it with spicy seasoning from “The Godfather’s” ilk or possibly, “The Lion in Winter” of medieval times, professing “…what family doesn’t have its ups and downs.” And then you have the undead, outrageous, Addams clan…and you couldn’t get nuttier than that!
But, to be serious, for just a short moment, Henry, the director, has proffered a sobering thought as, despite everything, families are, including this one, a heritage of honor where, “the history of the ancestors is remembered fondly and with reverence in this household, and the children know the importance of who they and where they come from. There is pride in this family: Pride in self, pride in each other, and pride in their shared history.” The true founders of this country, the Native Americans, follow this philosophy. Asian, African-American and Latino cultures also honor their Past. But it seems that many Americans choose to dishonor their family history by current violence and hatred and shutting out of our lives and country many cultures we can learn from! Okay, with that in mind, I’ll get off my soap box now and we can move forward with the fun….
In case you’re one of the few who are not aware of the Family, here is a quick run-down. The patriarch is Gomez (Skyler Denfeld), who is a horny devil and is, almost always, truthful. His wife is Morticia (Cassidy MacAdam), a very alluring, femme-fatal. Their children are their daughter, Wednesday (Lauren Southwick), a morbid sort who secretly yearns to be “normal.” Then there is their son, Pugsley (Jack Harvison), who enjoys being tortured in his spare time, as well as needling his sister.
Uncle Fester (Jaden Denfeld), brother of Gomez, communes with the spirits of their ancestors and has a secret love of a lunar capacity. Granny (Danielle Morgan), assumedly Gomez’s mother, is an herbalist, or better known in the rural parts, as a witch. She has potions and spells at her disposal and, in the wrong hands, can be quite…revealing. And, lastly, there is their beloved servant, Lurch (Ethan Floyd), a zombie, who has a rather exasperating language barrier because of that. All in all, they reside in a spooky old mansion and they are--The Addams Family.
Well, all is going along as per expected, when Wednesday suddenly falls in love with one of the “normals,” a young man named, Lucas (Noah Plummer), and they want to get married. But that means introducing the families and there could be a bit of a disconnect because of life styles, as you might expect. Lucas’s father, Mal (Andre Roy), is a control-freak, and his repressed wife, Alice (Katie Carter), are invited to dinner where all hell breaks loose. Even the spirits of the ancestors are engaged to help, but will it all end…“happily ever after?” Will Fester be united with his lunar babe? Will the Dance of Love be enough for Gomez to win over his wife? Will the Truth Game reveal family secrets? Will Lurch finally find his voice? Stay tuned and see this exciting episode of…The Adams Family, snap, snap!
Although there are no truly memorial songs from this show, the music therein fits perfectly to the story. Gomez is great singing, “Trapped” and “Happy Sad.” Mortica is mysterious with her “Secrets” and “Just Around the Corner.” Wednesday is conflicted in her “Pulled” song. Pugsley has his moment in, “What If.” Fester is feisty in, “The Moon and Me.” And, especially Alice, is terrific in her rendition of “Waiting.” The dance numbers, choreographed by MacAdam, are all very cool, especially in “The Moon and Me,” and “Tango De Amor.” And the chorus is super.
S. Denfeld is wonderful as the maniacal, mischievous, milk-toast of a husband. And MacAdam is appropriately sexy, demanding and mysterious as the wife. She does a fine job in her first choreography experience and hope she continues in this field. One of the best set and costumes designs Sundance Wilson has created, as they all look like they’re ripped from the series. And “Cash” and Schmitt have done their usual fantastic job of directing these youth. I hope the cast/crew knows how lucky they are to have such leaders!
A side note, these folks have been chosen to participate in an Arts Festival in Scotland in August and have raised over $100,000 toward it. They still have only $2,000 left to raise for their trip, so hope some generous individuals or organizations can help out. They deserve it!
I recommend this play. If you do choose to see it, please tell them Dennis sent you.
Sunday, April 30, 2017
The Talented Ones—Artists Repertory Theatre—SW Portland
To Dance, Perchance to Dream
This very dark comedy is a World Premier by Yussef El Guindi and directed by Jane Unger. It is playing at their space, SW Alder St. & 16th Ave., though May 21st. For more information, go to their site at www.artistsrep.org or call 503-241-1278.
This story is so full of twists and turns from the beginning, I can only reveal a thumbnail sketch of the story, lest I give away too much. But there are a couple of sub-stories, underlying the main thread, that I can dwell on a bit. Anyway, the plot does have some passing resemblance to an earlier work by El Guindi called, “Threesome,” which I a reviewed at PCS a couple seasons ago. He is insightful as he dwells on relationships and how complicated they are between men and women.
This, then, is the story of three individuals: Omar (John San Nicolas), working a mundane job while his real passion is to be a writer; his wife, Cindy (Khanh Doan), works as a nurse, but her burning desire is to be a ballet dancer; and their best friend, Patrick (Heath Koerschgen), has no aspirations whatsoever into artistic realms. He claims just to be an ordinary guy with “traditional” dreams of having a house, wife and kids, and maintaining a middle-class existence. But, like all intense connections between people, “a little rain must fall.”
Two other characters key to this story are Omar (Michél Castillo) and Cindy (Madeleine Tran), the younger selves of key characters, both immigrants from other countries. Both of them having dreams of a life without wars, poverty and a chance to be free and explore their talents. But, as a friend of mine who is an immigrant explained, when you are not born into this country, or are of a different race, the expectations that are put on you to succeed are higher, as you not only have to be good at something—you have to be the Best! This line of reasoning is explored in this plot as well.
Another sub-heading, that encompasses the title, is about the drive, the need, the obsession to be an artist. I can speak personally on this, having been in the theatre arts for many years myself and, most recently, as a writer. Many of us do have a Muse, sometimes an actual person in our lives, or sometimes, as in my case, an imaginary being that guides our artistic course. It demands to be satisfied and nourished and, this desire, if left idle for too long, can become disruptive to the host’s being. As in Cindy’s case, it can make you physically ill or, in Omar’s case, it can interrupt the progress of everyday, non-related activities. In short, let it flow. I’m sure Guindi is familiar from whence I speak.
Part of Guindi’s success as a playwright is his ability to inject humor into his story, even in the most dire of circumstances. His characters also have an odd sort of logic as to how they approach things that, although seemingly superficial, have a “down-home” sort of sense to it. They are like ships passing each other in a fog, seeing the outline of the other being(s) but unable to make a connection. You may not whole-heartedly like these individuals but you do sense that somehow you know them. The ending may be bittersweet but you do see a ray of hope trickling in.
San Nicolas portrays beautifully this conflicted character, a man who is disgustingly honest in some ways, but is having trouble balancing the practical and artistic worlds he faces. Koerschgen’s character blunders and barges his way through life and who may be his own worst enemy. Well done. And Doan is terrific as the level-headed and yet passionate Cindy. Your hearts goes out to her as she tries to navigate the “troubled waters” of reality and yet be true to her Muse. I hope to see more of her onstage as she has a natural approach to acting which gives her an immediate believability. Castillo is convincing as the wide-eyed young man in search of dreams. Tran is also effective in giving us that innocence of the youth we all experienced that should never be forgotten. She is a lovely dancer in her ballet number.
Unger certainly understands the script and the cast as she carefully weaves together a difficult tale traversing often conflicting ideals and ideas. Sarah Jane Hardy (Artistic Director of NW Children’s Theatre) choreographed the ballet sequence and her talent shines through, as it does with all her choreography and directing.
I recommend this show but it is very adult in subject matter so not for the very young or those easily offended. If you do choose to see it, please tell them Dennis sent you.
This very dark comedy is a World Premier by Yussef El Guindi and directed by Jane Unger. It is playing at their space, SW Alder St. & 16th Ave., though May 21st. For more information, go to their site at www.artistsrep.org or call 503-241-1278.
This story is so full of twists and turns from the beginning, I can only reveal a thumbnail sketch of the story, lest I give away too much. But there are a couple of sub-stories, underlying the main thread, that I can dwell on a bit. Anyway, the plot does have some passing resemblance to an earlier work by El Guindi called, “Threesome,” which I a reviewed at PCS a couple seasons ago. He is insightful as he dwells on relationships and how complicated they are between men and women.
This, then, is the story of three individuals: Omar (John San Nicolas), working a mundane job while his real passion is to be a writer; his wife, Cindy (Khanh Doan), works as a nurse, but her burning desire is to be a ballet dancer; and their best friend, Patrick (Heath Koerschgen), has no aspirations whatsoever into artistic realms. He claims just to be an ordinary guy with “traditional” dreams of having a house, wife and kids, and maintaining a middle-class existence. But, like all intense connections between people, “a little rain must fall.”
Two other characters key to this story are Omar (Michél Castillo) and Cindy (Madeleine Tran), the younger selves of key characters, both immigrants from other countries. Both of them having dreams of a life without wars, poverty and a chance to be free and explore their talents. But, as a friend of mine who is an immigrant explained, when you are not born into this country, or are of a different race, the expectations that are put on you to succeed are higher, as you not only have to be good at something—you have to be the Best! This line of reasoning is explored in this plot as well.
Another sub-heading, that encompasses the title, is about the drive, the need, the obsession to be an artist. I can speak personally on this, having been in the theatre arts for many years myself and, most recently, as a writer. Many of us do have a Muse, sometimes an actual person in our lives, or sometimes, as in my case, an imaginary being that guides our artistic course. It demands to be satisfied and nourished and, this desire, if left idle for too long, can become disruptive to the host’s being. As in Cindy’s case, it can make you physically ill or, in Omar’s case, it can interrupt the progress of everyday, non-related activities. In short, let it flow. I’m sure Guindi is familiar from whence I speak.
Part of Guindi’s success as a playwright is his ability to inject humor into his story, even in the most dire of circumstances. His characters also have an odd sort of logic as to how they approach things that, although seemingly superficial, have a “down-home” sort of sense to it. They are like ships passing each other in a fog, seeing the outline of the other being(s) but unable to make a connection. You may not whole-heartedly like these individuals but you do sense that somehow you know them. The ending may be bittersweet but you do see a ray of hope trickling in.
San Nicolas portrays beautifully this conflicted character, a man who is disgustingly honest in some ways, but is having trouble balancing the practical and artistic worlds he faces. Koerschgen’s character blunders and barges his way through life and who may be his own worst enemy. Well done. And Doan is terrific as the level-headed and yet passionate Cindy. Your hearts goes out to her as she tries to navigate the “troubled waters” of reality and yet be true to her Muse. I hope to see more of her onstage as she has a natural approach to acting which gives her an immediate believability. Castillo is convincing as the wide-eyed young man in search of dreams. Tran is also effective in giving us that innocence of the youth we all experienced that should never be forgotten. She is a lovely dancer in her ballet number.
Unger certainly understands the script and the cast as she carefully weaves together a difficult tale traversing often conflicting ideals and ideas. Sarah Jane Hardy (Artistic Director of NW Children’s Theatre) choreographed the ballet sequence and her talent shines through, as it does with all her choreography and directing.
I recommend this show but it is very adult in subject matter so not for the very young or those easily offended. If you do choose to see it, please tell them Dennis sent you.
Rock, Roll and Remember—Portland Musical Theatre Company—East Portland
Music For Savage Beasts
This musical revue was conceived, created and directed by Deanna Maio (also the Founder and Artistic Director of the company). It is playing at The Mister Theater, 1847 E Burnside (parking lot to the West of the building), through May 21st. For more information, go to their site at www.portlandmusicaltheater.org or call 971-225-7469.
“It was the best of times, it was the worst of times,” as Dickens wrote, not speaking of the 30 years this music covers, of course, but the quote does seem appropriate. It was the 50’s, the post-war era, where America was reinventing itself. And part of any good revitalization, music was to play an important part. And none more important on television, for reaching those “huddled masses,” than Dick Clark and American Bandstand!
The three decades they would cover were certainly some of the more turbulent years America would encounter. There was the Cold War, the Korean conflict, and the Viet-Name era. There were Civil Rights Marches, free love, and the drug culture. On the screen there were the lighter Beach Party flicks (w/Annette & Frankie) but the rebels seemed to rule, with Brando in “The Wild One,” Dean in “Rebel Without a Cause,” “Hair,” and Fonda & Hopper with “Easy Rider.” “Grease,” “Hairspray” and “Saturday Night Fever” would soon evolve out of this. Times they certainly were “a-changin’” and the one, uniting force among the Youth for those three decades was Bandstand and it’s “music to soothe the savage beast” within.
This revue begins its nostalgic trip down memory lane with, appropriately enough, a slumber party, in which, like Dorothy and her Emerald City, or Alice and her Wonderland, we are reawakened into a splendicious new world of fun and dance, and music and singing, where cares were sung about, not fought over; conflicts were choreographed on the dance floor; and the music was in rhythm to the heartbeat of a new generation. The magic of melodies was mesmerizing.
These few, these seven people, carry us through a selection of 30 years of music with over 50 songs in less than 90 minutes. Whew! They are Taylor Mead (also choreographer), Adrian Christoph, Andy Roberts, Brit Eagan, Erik Montague, Malderine Birmingham and the incomparable, Deanna Maio (also Director & Creator). Most of the numbers are ensemble pieces with only occasional parts of them as solos. And the songs range from Elvis and Carl Perkins, to the Beach Boys and Connie Francis, to the Village People and Michael Jackson, and everybody in-between.
I was a teen through these ages and recognized most of the songs, as well as danced (poorly) to the numbers. The only excuse for dancing, in my opinion, was the slow numbers, where you could hold your lady “close to you.” My, how times have changed, as we now have “friends with benefits.” Shame on us.
And the classics are all here, too, with “Rock Around the Clock,” “Hound Dog” and “Blue Suede Shoes” from the early days, to the silly “Lollipop” and “Tutti Frutti,” to the heartbreaking “Who’s Sorry Now” and “Somebody to Love,” to the hoppin’, “Boogie Fever” and “Flashdance,” and to the kinetic dancing in “Thriller” and “Footloose.”
This musical revue was conceived, created and directed by Deanna Maio (also the Founder and Artistic Director of the company). It is playing at The Mister Theater, 1847 E Burnside (parking lot to the West of the building), through May 21st. For more information, go to their site at www.portlandmusicaltheater.org or call 971-225-7469.
“It was the best of times, it was the worst of times,” as Dickens wrote, not speaking of the 30 years this music covers, of course, but the quote does seem appropriate. It was the 50’s, the post-war era, where America was reinventing itself. And part of any good revitalization, music was to play an important part. And none more important on television, for reaching those “huddled masses,” than Dick Clark and American Bandstand!
The three decades they would cover were certainly some of the more turbulent years America would encounter. There was the Cold War, the Korean conflict, and the Viet-Name era. There were Civil Rights Marches, free love, and the drug culture. On the screen there were the lighter Beach Party flicks (w/Annette & Frankie) but the rebels seemed to rule, with Brando in “The Wild One,” Dean in “Rebel Without a Cause,” “Hair,” and Fonda & Hopper with “Easy Rider.” “Grease,” “Hairspray” and “Saturday Night Fever” would soon evolve out of this. Times they certainly were “a-changin’” and the one, uniting force among the Youth for those three decades was Bandstand and it’s “music to soothe the savage beast” within.
This revue begins its nostalgic trip down memory lane with, appropriately enough, a slumber party, in which, like Dorothy and her Emerald City, or Alice and her Wonderland, we are reawakened into a splendicious new world of fun and dance, and music and singing, where cares were sung about, not fought over; conflicts were choreographed on the dance floor; and the music was in rhythm to the heartbeat of a new generation. The magic of melodies was mesmerizing.
These few, these seven people, carry us through a selection of 30 years of music with over 50 songs in less than 90 minutes. Whew! They are Taylor Mead (also choreographer), Adrian Christoph, Andy Roberts, Brit Eagan, Erik Montague, Malderine Birmingham and the incomparable, Deanna Maio (also Director & Creator). Most of the numbers are ensemble pieces with only occasional parts of them as solos. And the songs range from Elvis and Carl Perkins, to the Beach Boys and Connie Francis, to the Village People and Michael Jackson, and everybody in-between.
I was a teen through these ages and recognized most of the songs, as well as danced (poorly) to the numbers. The only excuse for dancing, in my opinion, was the slow numbers, where you could hold your lady “close to you.” My, how times have changed, as we now have “friends with benefits.” Shame on us.
And the classics are all here, too, with “Rock Around the Clock,” “Hound Dog” and “Blue Suede Shoes” from the early days, to the silly “Lollipop” and “Tutti Frutti,” to the heartbreaking “Who’s Sorry Now” and “Somebody to Love,” to the hoppin’, “Boogie Fever” and “Flashdance,” and to the kinetic dancing in “Thriller” and “Footloose.”
The cast is super on all counts but ya can’t keep a good
woman down. Maio positively soars as she
her operatic voice nearly takes the roof off the theater, and her rendition of
Francis’, “Where the Boys Are” is heartfelt and stunning. I believe we haven’t heard the last of either
of these ladies. If this show is like a
loaded deck of cards, then Maio is the Queen (and should have the power to
change the sexist name of the space from “Mister,” to something more
inclusive). Everything works and my one
hat is off, to the several she wears, in the creation of her shows. Looking forward to her next incarnation!
The ensemble does blend beautifully, as they not only sing and dance to the beat but also, many times, assume the attitude of characters from those eras, with their expression and costumes, which reflect the times as much as the music. Keep in mind, this young cast was not even around as teens during that thirty year period but they recreate it to a tee.
The ensemble does blend beautifully, as they not only sing and dance to the beat but also, many times, assume the attitude of characters from those eras, with their expression and costumes, which reflect the times as much as the music. Keep in mind, this young cast was not even around as teens during that thirty year period but they recreate it to a tee.
As Maio puts it, “Our intention is to capture the feeling,
the spirit, and the energy of a show that showcased teen culture…we’re
appreciators, and not impersonators…I want this show to remind you that no
matter what happens, music can bring hope and joy where there was none. It has the ability to heal us, to make us
stronger and to bring us together. Its
power endures.” Wise words for these
very troubled times.
I highly recommend this show. If you do choose to see it, please tell them Dennis sent you.
I highly recommend this show. If you do choose to see it, please tell them Dennis sent you.
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