Wanda Sykes, who is known for her roles on the "New Adventures of Old Christine" and "Curb Your Enthusiasm" graced the stage at Spirit Mountain Casino Saturday night. Her material ran from politics to the trials of parenting, all delivered with her trademark sarcasm. Birthers felt her wrath, as did opponents of Don't Ask Don't Tell, then she gave us insight into life with her children and her French wife. Her vivid observations about her children's eccentricities were hilarious. Ms. Sykes' stage presence and persona is a truly unique blend of biting wit and genuine confusion at the absurdity of life, it was a privilege to watch.
Spirit Mountain itself deserves special praise for its layout in terms of wheelchair seating. I have attended twice, and although this time I had the privilege of front row seating, Spirit Mountain is one of the few venues whose most desirable sections are made up of removable chairs, making any seat a potential wheelchair seat. While I am on the subject of accessibility, I must also note that the casino is also quite accommodating to patrons in wheelchairs, every slot machine is equipped with a removable chair, and many gaming tables are lowered. I would encourage any wheelchair user interested in either attending a show or gambling to rush to Spirit Mountain, because they seem uncommonly willing and able to serve our needs.
Sunday, September 16, 2012
Sunday, July 15, 2012
The Sound of Music @ Broadway Rose Theatre Company
"The Sound of Music" is an ambitious show in every respect. It begins with a haunting chant by the nuns of the abbey, which not only stands in stark contrast to the joyful tunes that follow, but it's also the first glimpse you get of the precision and synchronicity the show demands. We soon meet Maria Reiner, who has drawn the skepticism of her fellow nuns as to whether the abbey is a good fit for her. Leah Yorkston brings a nearly palpable naivete to the role. She is indeed unprepared for the life of solitude and silence she attempts to choose, and she also has innocence and eagerness.
I know Margie Boule as a columnist, so her significant vocal ability was a pleasant surprise... The same can be said of the seven Von Trapp children.
The sets are impressive, and while I have only attended a few productions at Broadway Rose, I am always amazed by the stylishness of their auditorium on the campus of Tigard High School... (It must be noted that the wheelchair-seating is superb , on a rise in the middle of the theatre. Broadway Rose has recently expanded and now has two auditoriums, I look forward to evaluating the accommodations in The New Stage, for "Little Shop of Horrors" in September....)
"The Sound of Music runs from now until the 22nd, and I would advise that you hurry, tickets seem to be selling quickly....
I know Margie Boule as a columnist, so her significant vocal ability was a pleasant surprise... The same can be said of the seven Von Trapp children.
The sets are impressive, and while I have only attended a few productions at Broadway Rose, I am always amazed by the stylishness of their auditorium on the campus of Tigard High School... (It must be noted that the wheelchair-seating is superb , on a rise in the middle of the theatre. Broadway Rose has recently expanded and now has two auditoriums, I look forward to evaluating the accommodations in The New Stage, for "Little Shop of Horrors" in September....)
"The Sound of Music runs from now until the 22nd, and I would advise that you hurry, tickets seem to be selling quickly....
Wednesday, July 4, 2012
Justin Townes Earle @ The Aladdin Theater 7/3/12
Maybe it was because it was the eve of Independence Day, but the first image that entered my brain while watching Justin Townes Earle was a firework with a very long fuse. Mr. Earle began his performance solo, accompanied only by a guitar. It may have been a low-key start, but because I had seen him perform previously, I knew of the musical explosion to come....
Someone in the audience asked me to classify his music, and all I could come up with was the broad category of Southern Rock, but I added, "his stage-persona reminds me of Buddy Holly...." Indeed, that's the best description I can give, a bespectacled skinny guy whose musical wild-streak betrays his looks....
During the evening, Mr. Earle self-identified with Woody Gutherie, and then played "I'm Wanderin' " and said that he hoped Gutherie would approve.... For what it's worth, I find the song to be such a successful homage that I will now add Gutherie to my description the next time I'm asked....
But, the resistance to classification is one of the things I admire most about Justin Townes Earle, and I believe it is reflected in his songwriting, not only in the fact that he jumps from genre to genre with such ease, but also because unexpected mixtures of styles and tone often lead to wonderfully mismatched songs.... I'm thinking particularly of "Harlem River Blues," a composition that is the happiest song about suicide you'll ever hear...
Then there's a song like "Christ-Church Woman" which while it does at times have a mournful quality, takes on a whole new demension and resonance when Earle reveals that it was inspired by the devastation in Christ-Church....
So, how does one ultimately classify Justin Townes Earle? As a songwriter who is comfortable in many genres, and never underestimates the value of surprise....
Someone in the audience asked me to classify his music, and all I could come up with was the broad category of Southern Rock, but I added, "his stage-persona reminds me of Buddy Holly...." Indeed, that's the best description I can give, a bespectacled skinny guy whose musical wild-streak betrays his looks....
During the evening, Mr. Earle self-identified with Woody Gutherie, and then played "I'm Wanderin' " and said that he hoped Gutherie would approve.... For what it's worth, I find the song to be such a successful homage that I will now add Gutherie to my description the next time I'm asked....
But, the resistance to classification is one of the things I admire most about Justin Townes Earle, and I believe it is reflected in his songwriting, not only in the fact that he jumps from genre to genre with such ease, but also because unexpected mixtures of styles and tone often lead to wonderfully mismatched songs.... I'm thinking particularly of "Harlem River Blues," a composition that is the happiest song about suicide you'll ever hear...
Then there's a song like "Christ-Church Woman" which while it does at times have a mournful quality, takes on a whole new demension and resonance when Earle reveals that it was inspired by the devastation in Christ-Church....
So, how does one ultimately classify Justin Townes Earle? As a songwriter who is comfortable in many genres, and never underestimates the value of surprise....
Monday, June 18, 2012
John Fogerty @ The Edgefield 6/17/12
Well, I'd love for this post to be purely an attempt by me to capture the gorgeousness of John Fogerty's performance last night, but duty calls and in keeping with this blog's mission to document the quality of wheelchair accommodations around Portland I must unfortunately focus upon that.....
My first experience at Edgefield was poor and I blogged about both it and its stunningly positive resolution here:http://www.crippledcritic.com/2010/08/praise-be-to-concert-god-dylan.html. My second experience landed me in the incomparable VIP seats, while I awaited the construction of the new wheelchair section:http://www.crippledcritic.com/2011/08/music-in-garden-of-eden-amos-lee.html
My third experience was Ray Lamontagne in the new, and vastly improved wheelchair section. I had an issue with one very inconsiderate concert-goer who blocked my view because she stood just outside the fire lane and the new platform was just barely too low to see past her.... But, with intervention from security and a hearty-dose of public-shaming, she eventually sat down....
Which brings me to Fogerty. Starting this year, Edgefield revised its policy and rather than give a GA ticket and wristband as they had done previously, they now had a separate official ADA ticket.... (No notice of the change was on the website, the way it was written implied that a GA ticket and ADA were the same, as I had assumed.) Only after on-sale time did I notice that ADA had a separate drop-down menu, which was no help to me because I had ordered mine over the phone. This meant a hassle to change my tickets as well as double service fees because there were technically two transactions. Despite this, I hoped that the change in policy would mean that people with severe disabilities would be given priority by virtue of this special-ticket.....e.g. the first few rows would be reserved for wheelchair-users.....
How wrong I was! In the ADA section I was one of only 3 wheelchair-users, the rest would definitely be considered comparatively able-bodied..... (Capable of standing and walking.) Two couples who would certainly fall into that category re-positioned the entire second-row which ruined the view completely for everyone else, the other patrons asked them politely to move and they refused..... (All of them were able to stand, and they did.....)
We tried to get security to intervene, but they would not. Frustrated, we decided to try our luck on the lawn.... On our way there, we passed wheelchair-users who were just outside of the ADA section, which I can only surmise was because they could not find a suitable view, ironic, huh? Someone was circulating a petition of complaint about the section which I of course signed. Security did eventually bring McMenamin's Chief Operating Officer to meet us, and I will be sending him a link to this post.... My feeling is one of profound disappointment in a venue of which I have become quite fond, hopefully this will change......
Saturday, May 26, 2012
Crippled Critic Theatre Review: It Ain't Nothin' but the Blues @ Portland Center Stage
The title of the show is interesting. When I read it, I thought the creators were being playfully nonchalant.. I imagined someone uninitiated to the blues being blown-away by this new sound, and when the musician is asked, "What IS that?" he would respond, "It ain't nothin' but the Blues," and this interpretation would of course imply a focus on that genre. So, I was pleasantly surprised to learn that the show's Two Acts would trace the evolution of the genre, from slave-songs to an unexpected trace of Country, and therefore enlighten us to its roots which would in-turn inform other styles of music that came after it, and in that way, nearly everything is nothing more than altered Blues....
The show is narrated by Sugaray Rayford. What struck me most about him, beyond the power of his voice, was the sheer amount of sweat that poured from him during the show. That man puts everything he has into the songs he sings. The Gospel numbers were my favorite, particularly "Catch on Fire," which was the Act I finale. The highlight of Act II was a song called "Crawlin' King Snake." The actor who sings that song looks positively reptilian, it's actually a little unnerving.....
"It Ain't Nothin' But the Blues" has a few things in common with "Black Pearl Sings!" the show still running in the basement Studio, they both trace musical history, they even share "Goodnight Irene," (although the two versions are radically different), but most importantly, they both make the walls quake.....
The show is narrated by Sugaray Rayford. What struck me most about him, beyond the power of his voice, was the sheer amount of sweat that poured from him during the show. That man puts everything he has into the songs he sings. The Gospel numbers were my favorite, particularly "Catch on Fire," which was the Act I finale. The highlight of Act II was a song called "Crawlin' King Snake." The actor who sings that song looks positively reptilian, it's actually a little unnerving.....
"It Ain't Nothin' But the Blues" has a few things in common with "Black Pearl Sings!" the show still running in the basement Studio, they both trace musical history, they even share "Goodnight Irene," (although the two versions are radically different), but most importantly, they both make the walls quake.....
Wednesday, May 9, 2012
Crippled Critic Theatre Review: "Next to Normal" @ Artists Rep 5-8-12
It's really almost cruel, the trick that "Next to Normal" perpetrates on its audience-- the fact that it seems so innocuous at first glance... We know going in that it's about mental illness, but we are led to believe for awhile that we're talking about depression and anxiety... Even when Diana, (Sussanah Mars) makes sandwiches on the floor, she pulls-off the "oh silly me" response so well, that we allow ourselves to think that her brain must play little games with her--there's probably enough story there to sustain a musical; a family dealing with one member who isn't in full control of herself, and we all learn we are not as normal as we think we are.......
"Next to Normal" is not that musical, and sometimes things get so intense that you may wish it were....
My first exposure to Susannah Mars was one of her holiday cabarets at Artists Rep, my second was her performance as Becca in "Rabbit Hole." Seeing her in two wildly different roles made me wonder what it might be like if she combined her amazing vocal talents with the nearly palpable grief she exhibited in "Rabbit Hole". "Next to Normal" is the answer.
Diana has very vivid delusions, and she slowly sinks deeper and deeper into them. If you are not prepared to see a woman almost audibly crack in front of you, do not see this show. However, if you do possess the stamina to withstand such an emotionally exhausting experience, you are in for an exhilarating, enlightening ride.
The music assists in transporting you into raw and real madness. It's loud, sometimes blaring and you feel as though it might mirror what it feels like inside Diana's mind.
Willam Wadhams does a wonderful job as Diana's lost, flailing husband Dan, and the couple's neglected daughter Natalie is portrayed by supremely talented high school senior Meghan McCandless.
Everything is still tattered and frayed after the somewhat upbeat finale, you will likely be drained from the experience, but it is one that is worthwhile.....
"Next to Normal" is not that musical, and sometimes things get so intense that you may wish it were....
My first exposure to Susannah Mars was one of her holiday cabarets at Artists Rep, my second was her performance as Becca in "Rabbit Hole." Seeing her in two wildly different roles made me wonder what it might be like if she combined her amazing vocal talents with the nearly palpable grief she exhibited in "Rabbit Hole". "Next to Normal" is the answer.
Diana has very vivid delusions, and she slowly sinks deeper and deeper into them. If you are not prepared to see a woman almost audibly crack in front of you, do not see this show. However, if you do possess the stamina to withstand such an emotionally exhausting experience, you are in for an exhilarating, enlightening ride.
The music assists in transporting you into raw and real madness. It's loud, sometimes blaring and you feel as though it might mirror what it feels like inside Diana's mind.
Willam Wadhams does a wonderful job as Diana's lost, flailing husband Dan, and the couple's neglected daughter Natalie is portrayed by supremely talented high school senior Meghan McCandless.
Everything is still tattered and frayed after the somewhat upbeat finale, you will likely be drained from the experience, but it is one that is worthwhile.....
Saturday, May 5, 2012
Crippled Critic Theatre Review: "Anna Karenina" Portland Center Stage, 5/4/12
I approached "Anna Karenina nervously, because I have not read Leo Tolstoy's gigantic tome. But, I needn't have worried, Portland Center Stage's production was very accessible, with an informative playbill and the unusual and clever structure of a "Book-It" play, (local examples include "Owen Meaney's Christmas Pageant," and "Snow Falling on Cedars"), I did fine.
The first thing you''ll notice about "Anna Karenina" is just how well it fills the stage. Everything is big, there are ice-skating scenes and grand ballroom dances, with elaborate and striking costumes. And the set! Oh, the set! Not only was it fittingly large, to match the production's epic scope, but it also had an abundance of little touches that were so cool, like twinkling lights in the houses in twilight.
There is also a smattering of humor which I enjoyed for its unexpectedness, given the sometimes crushing sadness of the story.
"Anna Karenina" is among Portland Center Stage's most ambitious productions, the climatic scene at the end was so impressive and effective that I had to resist the urge to cover my face due to the oncoming train.
On a brief personal note, I went with my grandmother who loved the show, and I had the privilege of honoring a broken promise to see a production of "Anna Karenina" made by my grandfather sixty-four years ago. During intermission, we talked about how much she identified with the female-oppression themes. This really enhanced the experience for me, and so I suggest you too attend with an elderly loved-one, you might be surprised how much you learn ....
The first thing you''ll notice about "Anna Karenina" is just how well it fills the stage. Everything is big, there are ice-skating scenes and grand ballroom dances, with elaborate and striking costumes. And the set! Oh, the set! Not only was it fittingly large, to match the production's epic scope, but it also had an abundance of little touches that were so cool, like twinkling lights in the houses in twilight.
There is also a smattering of humor which I enjoyed for its unexpectedness, given the sometimes crushing sadness of the story.
"Anna Karenina" is among Portland Center Stage's most ambitious productions, the climatic scene at the end was so impressive and effective that I had to resist the urge to cover my face due to the oncoming train.
On a brief personal note, I went with my grandmother who loved the show, and I had the privilege of honoring a broken promise to see a production of "Anna Karenina" made by my grandfather sixty-four years ago. During intermission, we talked about how much she identified with the female-oppression themes. This really enhanced the experience for me, and so I suggest you too attend with an elderly loved-one, you might be surprised how much you learn ....
Saturday, April 28, 2012
Crippled Critic Theatre Review: "Black Pearl Sings" 4/27/12
"The Crippled Critic" is now on the Official Press List of Portland Center Stage, and I doubt there could've been a better show to mark my first night as an Invited Critic than "Black Pearl Sings," which opened last night in the Ellyn Bye Studio......
"Black Pearl Sings" explores the partnership of prison inmate Alberta "Pearl" Johnson and Library of Congress musicologist Sussanah Mullally. Sussanah is searching Southern prisons for old slave songs to preserve them.
In their first meeting, Pearl sings "Trouble So Hard," the clang of her leg-irons keeping time. The scene depends upon being able to hear Sussanah's awe-struck silence, but let me tell you, it's difficult to resist the urge to applaud.... Fear not, there are many opportunities for that later in the show, and even a few audience-participation moments....
Sussanah secures Pearl's release and takes her to New York. Pearl can help Sussanah in her academic ambitions and Sussanah can assist Pearl in finding her daughter. There are many shifts of power in the show-- Pearl possesses the musical treasure-trove Susannah desperately needs, and Sussanah knows the inner-workings of the system Pearl must navigate. Along the way, the play explores issues from racism to academic politics, and its real-life inspiration is the relationship between Lead Belly and musicologist John Lomax.
The play is a fascinating history lesson, many times you'll find yourself saying, "Wow! I didn't know that song was so old, and there really was a time when no one knew it..." But, what makes "Black Pearl Sings" unmissable is of course the rollicking songs that shake the walls inside the The Studio's black-box....
"Black Pearl Sings" explores the partnership of prison inmate Alberta "Pearl" Johnson and Library of Congress musicologist Sussanah Mullally. Sussanah is searching Southern prisons for old slave songs to preserve them.
In their first meeting, Pearl sings "Trouble So Hard," the clang of her leg-irons keeping time. The scene depends upon being able to hear Sussanah's awe-struck silence, but let me tell you, it's difficult to resist the urge to applaud.... Fear not, there are many opportunities for that later in the show, and even a few audience-participation moments....
Sussanah secures Pearl's release and takes her to New York. Pearl can help Sussanah in her academic ambitions and Sussanah can assist Pearl in finding her daughter. There are many shifts of power in the show-- Pearl possesses the musical treasure-trove Susannah desperately needs, and Sussanah knows the inner-workings of the system Pearl must navigate. Along the way, the play explores issues from racism to academic politics, and its real-life inspiration is the relationship between Lead Belly and musicologist John Lomax.
The play is a fascinating history lesson, many times you'll find yourself saying, "Wow! I didn't know that song was so old, and there really was a time when no one knew it..." But, what makes "Black Pearl Sings" unmissable is of course the rollicking songs that shake the walls inside the The Studio's black-box....
Cast:
Chavez Ravine.......Alberta "Pearl" Johnson
Lena Kaminsky..........Sussanah Mullally
Lydia Comer.........Guard
Friday, April 20, 2012
Tuesday, August 16, 2011
Music in the Garden of Eden: Amos Lee @ The Edgefield 8/12/11
Never have I seen such a transformation as the one that occurred at The Edgefield Amphitheater..... I had a bad experience at The Edgefield last summer at the first of two Bob Dylan/John Mellencamp shows. The wheelchair seats were in the rear of the lawn and not elevated.. I brought my concerns to the attention of the management and received what was without a doubt the fastest response I have ever gotten from anyone. The response included apologies, promises to review an alternate Wheelchair location and an offer of tickets to the next Dylan/Mellencamp show!!! Truly wonderful customer service! This summer, I saw that Amos Lee was doing a show at The Edgefield. I e-mailed the person who had been so kind to me last summer and asked if the wheelchair-seats had been moved. As this was in April, days before tickets went on sale, (yes I am that big of fan) they replied that they were unsure of the plans, but that they would be happy to offer me a spot on the VIP guest list! After I recovered from euphoria-fueled shock, I gratefully accepted. The day came, and I made my way to the VIP section, en route I spotted the new location of the wheelchair-seats, on a hill just to the side of the VIP section! I couldn't believe they were improved that much! I can't wait to use them, and plan to on Sept 4th for Ray LaMontagne. I thoroughly enjoyed the VIP Experience, and Amos Lee electrified the gorgeous summer night with his unique brand of ethereal rock-soul.
I cannot tell you how great it feels to be treated the way The Edgefield has treated me. It is so refreshing to be listened to, and be valued as a costumer, after spending a lifetime running head-first into a brick wall of apathy and indifference with just about every other company in similar situations. I humbly, almost tearfully, bestow a newly created Crippled-Critic Rating on The Edgefield: The Glittering Golden Ramp of Fame!!!
I cannot tell you how great it feels to be treated the way The Edgefield has treated me. It is so refreshing to be listened to, and be valued as a costumer, after spending a lifetime running head-first into a brick wall of apathy and indifference with just about every other company in similar situations. I humbly, almost tearfully, bestow a newly created Crippled-Critic Rating on The Edgefield: The Glittering Golden Ramp of Fame!!!
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