"The Liar" at Artists Rep

To miss "The Liar" would be a crime

A comedy delivered all in rhyme

You'll have the time of your lives at this play by David Ives 

He has a knack for adaptations, that's for sure

He also wrote "Venus in Fur" 

The play has lies, laughs, and a love letter

And I promise you their rhymes are better

Three Days of Rain @ PCS

I've been toying with the idea of adding a kind of Season Wrap-up article to this site. In this article I would select the best show from each of the theatres to whose Press List I belong. I'm thinking of calling the awards "The Crippys," what do you think? It is with this in mind that I hereby award "Three Days of Rain" Portland Center Stage's "Crippy" I went back through my reviews of PCS' current season, and though I really loved "Dreamgirls" for its theatrical dazzle, I think "Three Days of Rain" wins easily overall.

I wanted to live inside Scott Fyfe's set, and I haven't been this struck by the subtle and thus, often overlooked, lighting design since "Sweeney Todd," and unsurprisingly, the same person,  Dianne Ferry Williams is responsible for both shows.

And it always a pleasure to see celebrity actors, in this case, Silas Weir Mitchell and Sasha Roiz, both of TV's "Grimm",  filmed in Portland. If you happen to have never been to PCS's gorgeous Armory building in the Pearl District, I can't imagine a better introduction.

Now, the only question that remains is whether Portland Center Stage is brave enough to publicize that they are the first recipients of a "Crippy". We shall see!

"Static" @Third Rail Rep

One of the greatest things about art of all kinds is its ability to make you see things in a new way. Usually when I use that particular line of praise, I am speaking about big things. But, "Static" taught me that art can also help us see new significance in the mundane. See, when I listen to music, it's a very personal, solo experience. Yet, it doesn't have to be. The characters in "Static" share music generously, they bond over it. They heal by it. I am thankful to be shown the power of this, I think it's something I needed to be reminded of. That's yet another great thing about art: Each of us gets to choose what to take from it, and I will treasure what it taught me for quite a while. "Static" is flat-out wonderful, and I'd recommend that you rush to see it. You never know what you might draw from it.

"The Lion" @ Portland Center Stage

"The Lion" is not the show it appears to be. The trailer I saw was essentially a clip from an upbeat little tune about a child playing music alongside his musician father. In other words, a pleasant way to spend eighty minutes. Instead, those promised happy moments are brief, and concentrated mostly in the beginning. It's not long until the tone changes drastically. Normally I count this shift as a good thing, there's nothing I like better than a deeply affecting show, but there's cancer involved. In that case, I would have preferred to skip it. My mother has had cancer twice, and she was my guest last night.  I cringed through the entire song about chemo. But, my mother is the most optimistic person I know, and her biggest take-away from the show was how the diagnosis brought the scattered and somewhat estranged family together. Looking back, that was probably among the points the playwright was trying to make, but by that time I had retreated halfway into my "happy place." I guess the best thing I can do for you is to tell you to be prepared, and if you are, there might be something you'll be glad you saw, as my mother was. Me, I'm angry at the marketing department.....

4,000 Miles @ Artists Rep

I must confess that I approached "4000 Miles" with trepidation. I had just recently seen another Amy Herzog play, "Belleville" at Third Rail Rep and I was angered by the contemptuously unanswered questions at the end. While I did have some minor issues with Herzog's script this time, (the play is littered with fragments of dialogue that scream, "this piece of information will become important later" with little to no pay-off in the end), but that's easy to overlook. What makes "4000 Miles" unmissable is Vanna O''Brien's performance as grandmother Vera Joseph, a role she also played in Portland Playhouse's production of "After the Revolution," which I now regret I missed. I don't think that seeing that show would have filled in many of the blanks, because I have vague memories of reading "Revolution" on behalf of Portland Center Stage, and that play focused on the daughter of the family, I don't even recall a son, but this is still good advice: Do not repeat my mistake, see this one while you can.

"Grease" at Broadway Rose

"Grease" was the show I was looking most forward to when Broadway Rose announced their current season. I had seen the movie a long time ago, and re-watched it last night so I could compare it to the stage version. The first difference I noticed was that the Broadway Rose cast could more easily pass for high school students than could, say, Stockard Channing, who was 33 (!) when filming began. (Yes, I looked it up, it's just that striking.) The second thing I noticed was that there seemed to be far more songs in the stage version than the movie, for that alone it's worth the trip to the theatre. I'd liken it to finding out that a movie you like was based on a novel you haven't read, except that live performances are much rarer things, so when the opportunity presents itself you must jump at it while you can. And you should! Broadway Rose's production oozes with fun. There was an abundance of younger audience members on Opening Night, and I think that "Grease" would be a fine introduction to live theatre for a kid looking for a new interest, at the very least it would be a nice night out. On this one I can virtually guarantee a good time.

Performances held at the Broadway Rose New Stage, 12850 SW Grant Ave., Tigard.

"Cyrano" @ PCS

"Cyrano" as translated by Michael Hollinger and adapted by Aaron Posner is a laugh-riot. I approached it with some trepidation, because although I love the classics I sometimes have trouble with the odd syntax. Highlights included Cyrano's deprecating nose jokes, somehow he's better at it than anyone who tries to insult him. (Maybe someone should send the script to Adrian Brody? Perhaps he'd find some of them useful?) The set is complex and I'll remember the moonlight scenes for a long time. Oh, and I almost forgot to mention that Darius Pierce is in it, which means it's automatically worth seeing in my opinion.

"The Price" by Arthur Miller @ Artists Rep

I once saw a clip of Arthur Miller discussing the premiere of "Death of a Salesman", he said he was panicked because the audience had not applauded at the end. He thought that the play had bombed, and then he slowly realized that the audience had been so overwhelmed that they had forgotten they were watching a play. That's how I felt at Artists Rep's production of Miller's "The Price." This play is so real, so emotionally raw that I wager you will forget that you are in a theatre. The last Artist Rep show that was this transcendent was "The Motherfucker with the Hat", and while I breathlessly praised that show, the one thing I couldn't say is: "If you want to see why I love theatre, go see this show!", because, as its title suggests, that show had a few things that might have offended certain sensibilities. "The Price" has none of that, and it really does have most of the elements I love: poetic yet natural use of language, a story which starts as one thing and ends as another, and somewhat unusually, a lesser known work by a master. Finally I get to say it: "If you want to see why I love theatre, go see this show!"

"Belleville" by Amy Herzog @ Third Rail Rep

There are certainly things to praise in Third Rail's "Belleville. There's the performance of Issac Lamb as Zack, a lovable goof. There are interesting plot-points in Herzog's script. But, virtually nothing was resolved to my satisfaction. One small example: Zack is indeed a stoner extraordinaire, but there is a scene in which he is caught lurking in the neighbor's apartment in the middle of the night, his excuse is that he was looking for the neighbor's stash of marijuana because he had run out of his own. That just didn't add up to me. Not in the moment, because I didn't believe someone would do that for marijuana, especially since that neighbor is also the landlord and Zack owes him quite a bit of money. Then I flashed back to it after the unexpected bit of violence at the end, were his motives far more sinister and he just got caught? We're never told. I was so confused by nearly everything that I read the NY Times review because I was sure I had missed something. One thing the Times review noted was that the pornography Zack is caught watching when his wife returns home earlier than expected, was "violent" Really? All I remember is pretty standard moaning. Zack happens to discuss the incident with the landlord pre-break-in and the landlord asks, "was it nasty shit?" and Zack says yes, but mentions nothing of violence. But in light of the break-in, and bloody ending, again,  was Zack's motive predatory? The play's final scene is rendered entirely in untranslated French dialogue, and that registered with me as Herzog's version of an elementary schooler's sing-song taunt, "I'm not going to tell you." Well,  Ms. Herzog, you also neglected to make me care enough in the first place. I'm certainly less enthused about seeing another Herzog play coming soon to Artist's Rep.

"Fierce Love" @ Milagro Theatre

"Fierce Love" is certainly true to its title. This play of short scenes and monologues by six mothers of children with Cerebral Palsy is an epic testament to the kind of love that is born from adversity. At the risk of abusing a phrase, it's about the a kind of love not for the faint of heart. There are scenes of fear, scenes of injustice, frustration, and heartache. But, there are also scenes of triumph, both of parents and children. Most surprising is the humor. The play is structured as sort of a collage, with the troupe of six actresses playing multiple roles, it is quite an ambitious undertaking.

The play was produced by Well Arts, which focuses on bringing stories from under-represented groups to the stage, and I must take a moment to say what a wonderful concept that is.

If I were to name the unifying theme of the pieces--beyond love--it would be how these mothers have each journeyed to find ways to see their children for who they are. Whether it be suddenly making a simple yet profound connection with a child who has severe communication difficulties, or realizing that the baby you love hasn't changed just because he now has a scary-sounding diagnosis.

"Fierce Love" has a bit of everything: comedy, tragedy--a mother has a conversation with her uterus, I mean, where else are you going to find that? This show is worth your time whether or not you have any experience with disabilities--perhaps even more so if you don't. Why? Because it will change the way you see disability when you encounter it. These women tell their stories not in a plea for sympathy, but for simple understanding, and as with all great art, these stories make you see things in a new way.

"Fierce Love" 
Written by Ann Connor-Griffin, Susan Cushman, Danae Davison, Michelle Haines, Jennifer Peterson, Nicole Silverman

Facilitated and Directed by Erica Terpening-Romeo and Heath Hyun Houghton

Featuring:

 
Arlena Barnes
Zoë Rudman 
Diana Schultz 
Jeanette Swafford 
Chelsie Thomas
Sumi Wu

Performance Dates
Tuesday, March 17, 7:30pm
Saturday, March 21, 2pm
Wednesday, March 25, 7:30pm
Saturday, March 28, 2pm
Saturday, April 4, 2pm
Cost: $10 general admission, $5 students/seniors

Performance Venue
Milagro Theatre
525 SE Stark
Portland, OR 97214

https://www.boxofficetickets.com/go/event?id=297803

"The Invisible Hand" @ Artist's Rep

The saying goes: "Good things come to those who wait" and that couldn't be more true about those of us who anticipated "The Invisible Hand," now playing at Artist's Rep. Bringing the play to the stage has been a multi-season struggle for the theatre. I seem to remember it was delayed twice, though I could be wrong. At any rate, former Artistic Director Allen Nause persevered, and came out of semi-retirement for the show.  The audience is richly rewarded by his efforts. "The Invisible Hand"has themes of terrorism and kidnapping, which are what attracted me to the show so fiercely, and it also deals with the stock market and economics. Thankfully, the latter is presented in an easily accessible way. "The Invisible Hand" 's strongest asset is how well it handles its "ripped from the headlines" feel. By that I mean, everyone winces at the mention of murdered journalist Daniel Pearl, and feels the tension when violence is threatened, but what makes it more than a topical thriller is that it the economics angle is not often explored. And when it is explored, the complexity of the specialized language soon falls away to reveal simple and nauseating truths.

Other Desert Cities @ PCS

"Other Desert Cities" starts out as a typical "Family Fight Comedy" Most of the fighting in the early going is of the political kind. You know, the instantly familiar holiday debates. Except these are between parents and children, which for some reason are 10 times worse than those between others who are not as close. Add in a politically-charged family tragedy, and things become explosive. The father plays easy-going peacemaker, the mother is the always-right unswerving, towering presence. The daughter is the one itching for a fight, and has a tell-all book on the way about that family tragedy. Rounding out the brood is the youngest son, and the boozy aunt. The cast is fantastic, of particular note is Barbara Broughton, as the aging film star, who reminded me a little of Lauren Bacall. The play is a little too long, but the climax is surprising. It is certainly worth seeing.

"The Night Alive" by Connor McPherson---Third Rail Rep @ Coho Theatre

"The Night Alive" has a lot in common with their recent production of Martin McDonagh's "The Beauty Queen of Leenane" in that both plays,  have a lot of their comedy come from just slightly wacky characters, in pretty ordinary conversations, which makes them a little difficult to review. Both also have brief explosions of violence, but I really shouldn't spoil that.  I was surprised at the violence in this show because while I don't have a crystal-clear memory of the handful of other McPherson plays I've seen, I don't think they were violent. Now, I'm not saying the violence is extreme, just unexpected, given the rest of the show. "The Night Alive" is a production with top-tier talent, a rich, odd, and endearing story with tons of humor, and a dash of Third Rail Rep magic. Go see it, though I would opt for a seat a little bit towards the back in the intimate CoHo, the set was a bit large for the space, and there isn't a bad seat in the house.

"Tribes" @ Artists Rep

"Tribes" is a play about family, and how families are their own little "tribes." I wish I hadn't read the Playwright's Note while waiting for the play to begin, it would've been nice to happen upon the meaning of the title on my own. Though I fear that without the Playwright's Note, I may have understood only half of the title's meaning. You see, the the word "tribe" has also been applied to those of us with the same disability. In the case of this play, that disability is deafness. It appears that deaf people take that tribal mentality more seriously than others. And that's why I appreciated the other sense of "tribe" referring to "family", because it diluted my misgivings about its meaning in the context of disability. There is a ton of discussion within the play about the Deaf Community. There are huge differences of opinion about deafness/ hearing-loss between those born with it, and those who go deaf later in life, what one character calls a "hierarchy".  I suppose that there are things unique to deafness that differentiate it from other disabilities, namely, that Sign Language is very much a language, not merely an adaptation, and I assume that this is a large part of the reason why "tribal" feelings are so strong. But, I must admit that I winced when the parents' efforts to raise their son not to be "defined" by his disability were questioned. I couldn't help but reflect upon my own life with Cerebral Palsy. I know that the feelings of "isolation" that were supposed to come from  being the only one,  or one of very few children with a disability was once a prevalent and powerful argument against educating us in regular classrooms, one that I am grateful my parents fought against. I never felt those feelings, but I can understand how other people might, and again, the differences about deafness that other disabilities do not share.

Back to the play itself: The interactions between the family members are hilarious. The projections are truly breathtaking, and provoke a mental "wow!" Especially effective are the ones dealing with deafness, the translations of musical notes into colors and static, when a character losing her hearing plays piano. Subtitling is also inventively done, but I must say that I would have appreciated a few more seconds to read them. "Tribes" is a must-see. It will make you look at your world, and the world at large in a different way.

"The World Goes 'Round" at Broadway Rose

Dan Murphy's Director's Note reveals that he was unfamiliar with most of the songs in "A World Goes 'Round when he saw the New York production, and that prior knowledge was not required to enjoy it. I would respectfully disagree. There is no narrative in "The World Goes 'Round" a revue of Kander & Ebb show-tunes. So, all that's there is the songs. All of them are ably performed by the cast, but it would have been nice to have some context as to why a man has broken into an ode to his Sara Lee dessert, for instance.  I went back and looked in the playbill, and "Sara Lee" did not have a note about which show it was from, as some of the others did. Everybody knows "All That Jazz," a stand-out, but again I would say that a familiarity with the material is a must.

"Threesome" @ Portland Center Stage

This review will be unavoidably brief. I have run into this issue with my smattering of stand-up comedy reviews, when I can find nothing suitable for reprinting. Act I of "Threesome" certainly falls into that category, for reasons that should be fairly obvious, but I don't think many will conjure anything quite as gross as the story relayed by a character about a mishap involving Thai food. Allow me to summarize the First Act thusly, "Haahahaahahaa! Yuck!" That will have to suffice. Act II is a complete tonal shift, and it is the gut-punch of a finale that makes "Threesome" not only a must-see, but among PCS' best. I truly wish I could tell you more, but I shouldn't. I'll tell you this: Go!

Portland Center Stage

128 NW Eleventh Avenue

Portland, Oregon 97209 | 503-445-3700

Vanya and Sonia and Masha and Spike @ Portland Center Stage

"Vanya and Sonia and Masha and Spike" is not a straight adaptation of a Chekhov play. but it contains many references to his work, and it's a comedy. My only other exposure to Chekhov's work was an adaptation of "The Seagull" by Joseph Fisher, which I went to see after laughing hysterically at his adaptations of "Faust" and "The New House," which took its inspiration from a Greek play I can no longer recall. Unfortunately, I could not grasp the humor in "The Seagull" or even if it was intended to be humorous, I only assumed it was, given the other adaptations. All this is meant to illustrate the trepidation with which I approached "Vanya and Sonia and Masa and Spike," I am happy to report that the humor is much more accessible.

 The production boasts a top-flight cast, including Sharonlee McLean, who plays Sonia, a character very similar to her role as a perpetual sad-sack in "The Typographer's Dream."

The basic plot is fairly easy to summarize: Siblings Vanya and Sonia live together in the family home, they have spent several years caring for their now deceased parents, while their sister Masha went off to have a career in Hollywood. Masha comes back to visit, and is contemplating selling the house. But, along the way, the play finds comedy in such disparate thnigs as voodoo, experimental theatre, and a "reverse strip-tease", which is self-explanatory, but must be seen to be believed. If you're in the mood for something off-the-wall, this is your show.

"The Mystery of Irma Vep"

Third Rail Repertory Theatre always has top-notch, polished productions even back in the days when they were just starting out and were tenants in a converted firehouse, and "Irma Vep" is no exception. The first thing that strikes you is the dazzling set, complete with lightning effects. I had not looked at my playbill before the show, so it took me a second to realize that the cast consists of only two members, two male actors. It didn't take long for "Irma Vep" to turn into a quick-change romp. It is a laugh-riot. And the twist at the end is completely unexpected. The most concise, spoiler-free thing I can say is: If you're looking for something different, this is it.

"Blithe Spirit" @ Artists Rep

"Blithe Spirit" is Artist Rep's "non-holiday holiday show".  So those of you who already have holiday fatigue can use this show as an oasis. Still, I can't help but wonder why they didn't position it closer to Halloween because it's a ghost story comedy. My favorite scenes involved the ghost and her rapidly changing location, with the other characters trying to avoid sitting on her, like a child's imaginary friend.

Michael Mendelson is his usual animated self, his performance is worth going for all my itself.  Also noteworthy is Vana O'Brien as Madam Arcati, the scatterbrained psychic.

A Christmas Survival Guide @ Broadway Rose

"A Christmas Survival Guide" is -despite its title- the cheeriest Christmas show in town. Sure, there's nods to various sadnesses around the holidays: loneliness,  a frazzled adult asking Santa for a litany of unmet needs, a jaunty little number called "The Twelve Steps of Christmas," but even with all of those light whacks at the season, "Survival Guide" cannot hide its yuletide enthusiasm. "All Those Christmas Cliches" in Act I sums-up the spirit of the show, even though we may tire of some of the rituals of the holidays, we still long for them in their absence. My favorite number by far was the Big Finale "A Walk Through Bethlehem."  So, go! (you know you want to, don't hide it.) There are still plenty of us with Christmas joy to spare, some of you decorated right after Halloween, didn't you? This is a show for those people, and they should drag along a few Scrooges to hasten along that Christmas epiphany.

"A Christmas Survival Guide"

Broadway Rose New Stage

Broadwayrose.org