Betty’s Summer Vacation—Defunkt Theatre at the Backdoor Theatre—SE Portland

The Vacation from Hell

The krazy komedy is written by Christopher Durang and directed by Jon Kretzu in repertory with Fewer Emergencies under the umbrella called States of Emergency and running through June 14^th.  It is playing at the Backdoor Theatre, which is in the back room of Common Grounds Coffee Shop at 4319 SE Hawthorne Blvd.  For more information, go to their site at www.defunktheatre.com.

Durang’s purpose for his plays seem to be killing “sacred cows” of ours.  He did it to the Catholics in Sister Mary Ignatius Explains It All For You and for actors in An Actor’s Nightmare.  In this one he seems hell-bent on destroying our idyllic image of a summer vacation at the beach.  His latest play, Vanya and Sonia and Masha and Spike, won the 2013 Tony Award for best play.  Probably taking a swipe at the classical characters of Chekov.

In this story, or perhaps, better put, series of events, Betty (Allie Pratt), is hoping to have a relaxing vacation at the ocean during the summer of 1999.  She and her best friend, Trudy (Kelly Tallent) and her friend, Dolly, have rented a cottage from Mrs. Sizemagraff (Jane Bement Geesman), who is also staying there for the summer.  She has invited a friend, Mr. Vanislaw (Joe Healy) to stay with her, also.

Other renters consist of a beach boy named Buck (William Poole) and a rather shy young man called Keith (Steve Vanderzee).  And, oh, there are also some...Voices (Matthew Kern, defunkt’s artistic director, Lori Sue Hoffman and Adam Thompson).  All sounds almost normal except when I tell you that Trudy’s friend, Dolly, is just that, a doll, who she converses with at times.  And Mrs. S. is a drunk and is not too fussy about her bedmates.  Enter, Mr. V., who is a transient flasher, who she just happened to pick up on the road.

And Buck is a sex maniac who has to have sex at least twenty times a day or his brain goes mushy.  Quiet Keith is possibly a serial killer, who keeps the heads of his victims in a hat box.  And the Voices are in the walls/ceiling and are actually a laugh tract from 90’s sitcoms.  They also act has a sort of Greek Chorus commenting on and directing the actions of the play at times.  I can’t tell you too much about the plot of the play because much of it should be discovered by the audience.

I will say that some people die, some are raped and the finale involves a Court TV type of trial.  A real blast.  And, oh, yes, it’s a comedy.  If any of this sounds like it might be your cup of tea, then this play’s for you.  It’s absurdist, obviously, in the extreme.  And shocking.  And, yes, quite funny.  It may do to summer vacations, what Jaws did for swimming or Psycho did for showers.

The setting (Megan Wilkerson) has the audience seated in the cottages’ common room, giving one the uncomfortable feeling that you are part of the show, too.  And Kretzu, a familiar Portland name in directing, manages to wring all the crazy, subtle nuances from the script and has a masterful cast to interpret it.  I think Durang would be proud of the production of his play.

The entire cast is wonderful.  They (and Kretzu) understand the way to present comedic and absurdist characters—they must be played straight for the comedy/story to work.  In their world, this is all real.  Geesman is a delight, especially when she at one point plays three characters, all talking and reacting to herself—quite a tour-de-force.  And Tallent, as the batty friend, garners the audience’s sympathy throughout, even when she does some very naughty things.  And Vanderzee is charming and disarming in a creepy sort of way.

Both Poole and Healy play quite repulsive characters, not people you’d want to meet in a dark alley.  And Pratt, the sanest of the group, you are rooting for from the beginning.  Somehow you know she’ll be a survivor, quite literally.  And the Voices are quite annoying, as they express their views, mostly in unison.  But that’s what you’re supposed to feel when laugh tracks are used in shows, as it’s directing you on what to laugh at, taking your freedom of choice away from you.

I would recommend this show but, keep in mind, it is very adult in language and subject matter.  And best go early and have a coffee or a brew at Coffee Grounds, as the street parking is at a premium.  If you do choose to see it, please tell them Dennis sent you.

Private Lives—Bag & Baggage Theatre—Hillsboro, OR

“Let’s Misbehave”

This classical comedy of manners by Noel Coward is directed by Scott Palmer (B&B’s Artistic Director).  It is playing at the Venetian Theater in Hillsboro at 253 E. Main St. through May 25^th.  For more information, go to their site at www.bagnbaggage.org

Noel Coward is a very unique playwright.  He not only wrote about himself, but his times as well.  And his comedies were simply dramas turned upside-down.  It is said that comedy and tragedy are really the on the same coin, just different sides of it.  Tis only too true with this play.  A rather good film about this era of 80 some years ago is Star!, with Julie Andrews as Gertrude Lawrence and Daniel Massey as Coward.

It is about infidelity, alcoholism, status, marriage, love, lust, jealousy, and quarreling.  And, oh, yes, did I mention, it’s a comedy.  It seems that Elyot (Adam Syron) and Sybil (Arianne Jacques) are newlyweds and are on their honeymoon.  Coincidently, Amanda (Chrissy Kelly-Pettit) and Victor (Gary Strong) are honeymooning right next door to their suite with an adjoining patio.  Nothing too strange about this, perhaps, except that Amanda and Elyot used to be married to each other a few years back.

Needless to say, they soon discover this uncomfortable arrangement and begin to nag at each other all over again.  Most of the tirades between these two are about who they’ve slept with, other than their respective mates.  But the history between these two is strong and they recall the good times, too.  It is not long before they rekindle their lust…er, love for each other and leave their own bride/groom on this nuptial night and escape to greener pastures to live in sin.

It seems only fair, of course, that Victor and Sybil would cry on each other’s shoulders and, ultimately, make a similar arrangement.  Meanwhile, back at the proverbial ranch, the cooing love birds are beginning to bicker again and their Eden is becoming more of a stagnant wasteland, leaving it to their mouthy, French maid (Theresa Park) to mop up after them.  And there is still the pesky thing of marriage contracts to clear up.  So, who comes a calling, but Victor and Sybil, and the round robin continues.

I won’t give away the outcome, in part, because there really isn’t any.  Coward simply stops the action with the inference that this kind of behavior will continue on both fronts.  “A plotless play for purposeless people” as the critic John Lahr wrote.  And, possibly, a reflection of the idle, empty rich of this era.  Not too far removed from Fitzgerald’s Gatsby and his ilk.  Sad, sad, sad, indeed.

The set (Megan Wilkerson) is quite eclectic and busy, possibly reflecting the jumbled minds of our inhabitants of this bizarre world.  The music played from this era also epitomized the devil-may-care attitude of this age.  And the costumes (Melissa Heller) were quite eccentric and matched the characters flamboyant actions and attitudes.  Palmer has, again, offered a view of a by-gone era, subtly suggesting, perhaps, that the comparisons between it and our so-called modern age, are not too far apart.  And his uses of pauses, as well as stage business, suggests the vapidity of their lives.  Well conceived.

Park, as the French maid, spoke only in French, but her expressive use of body language gave no need for any translation and was very effective.  Both the other ladies, Kelly-Pettit and Jacques, similar in appearance, possibly deliberately, were quite adept in their movements, clipped speech, and broad expanse of character.

Nicely presented.  And Strong, as the rather blustery, babbling, buffoon was a stark contrast to the others’ portrayals.  Very funny and, at the same time, rather sad, sort of like the silent comedian of their time, Fatty Arbuckle.

But the top prize, in my book, goes to Syron, aping his vision of how possibly Coward would have played the role.  His flighty gestures and movements suggest a bird ready to take off at any time.  His high, annoying voice was perfect, as was his fly-off-the-handle attitude at anything that didn’t strike his fancy or wasn’t on par with his view of the world.  You felt, even if things were going smoothly, he’d find some way to muck up the works just for a little excitement.  An exceptional performance!

I also must commend the Venetian Bistro in the same building www.venetiantheatre.com   Some friends of mine and I went there for the Happy Hour before the show and found the prices to be very affordable (Between $3-$5, for most drink and food) and quite a varied selection and quite good.  I would recommend going a little early for the show and having a meal and/or drink beforehand.

I would recommend this show.  If you do go to the play (and/or bistro), please tell them Dennis sent you.   

For another perspective on this play, check out Greg’s blog at:

http://swwastar.blogspot.com/2014/05/review-private-lives-by-bag-baggage.html 

Fancy Nancy, the Musical—OCT at the Newmark Theatre—downtown Portland

The Fabric of our Lives

This famous series of stories for ‘tweens are from books by Jane O’Connor, and the stage adaptation and music and lyrics are by Susan DiLallo and Danny Abosch.  The show is directed by Stan Foote (OCT’s Artistic Director), with music direction by Darcy White and choreography by Sara Mishler Martins.  It is produced by Oregon Children’s Theatre at the Newmark Theatre at 1111 SW Broadway.  The show runs through June 1^st.  For more information, go to their site at www.octc.org or call 503-228-9571.  (Their show, The Giver, is also still running through May 18^th at the Winningstad.)

It should be explained from the outset that, although Nancy and her friends do dress-up a lot, the term “Fancy” refers more to being the best you can be, inside and out, with what you’ve got.  That is probably the moral to this story.  Clothing simply reflects how we want to be seen.  And, when you’re a ‘tween/teen, there is a lot of experimenting with that.

The story is slight; the music, lyrics and dance, better; but the cast is the selling point for this adventure.  They are fabulous, free and very fancy!  Nancy Clancy (Madison Wray) is the undisputed leader of the pack.  And her cohorts include her best friend, Bree (Haley Ward), the effervescent one; the battling twins, Rhoda (Annie Baker) and Wanda (Hannah Wilson); and Lionel (Brendan Long), the lone male.  And, to fill out the cast, there is Nancy’s Mom (Dani Balwin, OCT’s Education Director).

At the opening of the show, they are all playing dress-up in some pretty outlandish costumes (Designer, Mikaela Gladstone-Saucedo).  They express how anyone can be fancy and the dress-up part is just to explore the options.  They are, also, investigating who and what they wanna be as they mature.  How do they want the outside world to see them.  And this is their training ground for that.

They all get cast in a play/musical, Deep Sea Dance, at school.  And the lead of the show is a Mermaid.  Bree is to play an oyster, Lionel, a shark, the twins a wave and a seahorse and Nancy, a tree.  Nancy is taken aback, as she had wanted the lead, but even more humiliated when, because of an accident, Bree, her best friend, is cast into the role of the mermaid.  Now is the time to separate the girl from the woman.  How is she to react?

Her Mom expresses that she will always be a star to her.  That seems to settle Nancy, as she decides to become the best tree ever, a willow, in fact.  The show goes on and Lionel is a hit with his Shark Rap number and the twins with their dancing and acrobatics together.  In the end, they all share the spot-light and are supportive of each other.  Don’t you wish adults could be as wise?!

Foote certainly knows how to get a performance out of these young people.  They all shine and I’m sure it is because of his insightful direction.  White’s musical direction, as always, is spot-on and doesn’t overpower the actors.  Martins’ dance numbers encompass soft shoe, ballet and even a bit of vaudeville thrown.  Quite a treat from a lady who is always good in directing dancing.  And the outrageous costumes by Gladstone-Saucedo fit the bill perfectly, as well as the inventive set by Daniel Meeker.

The twins, played by Baker and Wilson, are fine and flexible entertainers.  Long is very good as the odd-man-out of the group and is a good example of boys and girls can actually be friends, too.  Ward is always a dream and a stand-out in every play I’ve seen her in.  I’ve touted her talents before in past reviews and she never fails to impress me.  As Bree, she gives a hundred and ten percent on my Wow Scale.  She is a find and a star in the making.

Wray is astounding in the lead!  She nails the role and perfectly sings and dances her way into your hearts.  She, too, is amazing, and I predict great things for her in the future.  As mentioned, the cast is worth the show and she is a hefty part of that recommendation.

And Baldwin, as her Mom, is a lovely singer and actor.  Not to mention that she is also an amazing director and teacher.  And “Mom” is a suitable title for her role, as she is unofficially the “Mom” to all the students in this and other OCT shows, as Education Director for the theatre.  I hope we see more of her acting and directing in future productions.

I recommend this production, especially for the amazing cast.  If you do choose to go, please tell them Dennis sent you.

For another perspective, read Greg’s review:
http://swwastar.blogspot.com/2014/05/review-octs-fancy-nancy-is-dancy-prancy.html 

After the Revolution—Portland Playhouse—NE Portland

Ghosts from the Past
This true drama is written by Amy Herzog and directed by Tamara Fisch.  It is playing at their site at 602 NE Prescott St. (please park in the King school lot, 2 blocks North of the theatre on 6^th).  The show runs through June 1^st.  For more information, go to www.portlandplayhouse.org or call 503-488-5822.

I’m sure most people know by now about the Blacklisting that happened during the 50’s and of a demon name Senator Joe McCarthy.  It is said he wanted to identify and root out all Communists from American Society.  (He must have missed the part in our Constitution about our Freedoms as Americans.)

Nevertheless, a lot of people ran scared and ratted on others by “naming names.”  And many employers fired employees of theirs that were found to be “unfriendly” by this committee.  Otherwise, they, too, might be thought to be a little “pink.”  Two very good films about this embarrassing era in our history are The Front about blacklisted entertainers and Good Night and Good Luck about Edward R. Murrow and his struggle to expose this fraud.

This story is about Joe Joseph, who was called before this committee and labeled a Communist, as well as being a spy for the Soviets during the 40’s.  One must remember that during the 40’s, Russia was our ally.  And, during our Great Depression of the 30’s, the Communists were one of the few organizations that defended laborers and were friendly toward people of color.  So, some liberals had a tendency to lean in that direction back then.

Joe died during the late 90’s and now his family is attempting to carry on their lives.  A fund had been set up by him to defend those who it appeared were being railroaded by the legal system, possibly just because of their beliefs and/or color of skin.  Joe’s sons, Luke (Duffey Epstein), a Marxist and teacher, and his brother, Leo (John Steinkamp), have reached a crisis in their lives.  It seems a book is soon to come out about those Americans that were spies for foreign governments during the War and, of course, Joe Joseph is mentioned.

Luke’s daughter, Emma (Jennifer Rowe), is the head of the Foundation and is dismayed at some of the conclusions and secrets that she was unaware of concerning her grandfather and his activities.  It will affect her relations with Miguel (Luke Bartholomew), her boyfriend, and a new benefactor for the Foundation, Morty (Jonas D. Israel).  Also, she has a sister, Jess (Anne Sorce), who has been in and out of Rehab and was aware of certain facts about their family that Emma was not.

Her step-mother, Mel (Lorraine Bahr) is sympathetic to Emma’s dilemma.  And her grandmother, Vera (Vana O’Brien), is not what one would call a “rah-rah American” but has an honesty that Emma finds refreshing in a strange way.  Family dynamics can be cruel.  At the conclusion of this adventure, there is no definitive answer but, at least, doors have been opened for discussion.  I can’t tell you too much about the proceedings, as much of the plot needs to be discovered by the viewer.  But, take my word for it, the story is riveting and thought-provoking.

The ensemble for this show is first-rate!  Not a weak performance in sight.  It is always good to see such stalwarts as Epstein and O’Brien still wowing the crowds.  And Rowe, as the pivotal character, is super.  The Director, Fisch, has modulated her cast to use the pauses, overlaps in dialogue, and explosive emotions to the story’s (and viewer’s) benefit.  And the scene changes were done so quickly you almost didn’t know they had happened and yet it was always clear as to where they were.

I would recommend this show.  If you do go, please tell them Dennis sent you.

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.