Ron White, the raspy-voiced, Scotch-swilling comedian of "Blue Collar" fame, brought his unique brand of humor to Spirit Mountain Casino on Saturday Night. White's jokes ranged from gleefully raunchy, (most involving his penchant for drinking; something he indulged in on stage!), to unexpectedly sweet, a brief routine revolved around a friend's participation in The Special Olympics. And then there was a bit about a grisly roller-coaster accident which was in such astonishingly bad-taste that White pretended it was his closer. (I can't lie, it was so funny that I began to choke.).
Ron White's show also ranks among my luckiest, (though not in relation to gambling, don't worry, losses were minimal) No, the show was lucky because I secured press tickets for a sold-out show, which would be lucky enough on its own, but while waiting in line, someone passed me a Meet & Greet sticker. Only the Spirit Mountain photographer was allowed to take pictures, and they will be available soon.
As I noted in my Wanda Sykes review, Spirit Mountain is exceptionally accessible, with things like removable chairs at every slot, and lowered gaming tables. It's always nice to go somewhere that's even reasonably accessible, given the hassles involved when you come upon a place that isn't, but Spirit Mountain is almost in a class by itself. If anybody who has a disability has not yet been, I highly recommend that you experience it.
Monday, September 23, 2013
Monday, September 16, 2013
"The Mountaintop" @ Portland Center Stage
My first exposure to "The Mountaintop" was an interview with Samuel L. Jackson, who played Martin Luther King in the Original Broadway Production. In the interview, Jackson referenced a small moment in the play in which King urinates, and that our collective view of King is of a man so revered that we are almost surprised that he too was subject to the elimination of bodily fluids.
Katori Hall's play is full of little revelations that might come as a bit of shock to those only familiar with the History Book King. Equally unsettling are the moments when we are reminded of our government's role in impeding the progress of The Civil Rights Movement. We like to think it was just a fight against hateful misguided citizens, and unjust laws in the Southern States, but we are shown this is false in a moment as brief as it is brilliant, when King unscrews his telephone receiver to check for bugs before he calls Room Service for a cup of coffee brought by a maid who is not who she seems on his final night on Earth, after his painfully prophetic "I've been to the Mountaintop" speech.
Rodney Hicks is up to the monumental task of the role he must play, giving us a King who is both stoic and vulnerable. Natalie Paul effortlessly imbues the character of Camae the maid with natural, easy charisma, as she draws out both sides of King's personality.
"The Mountaintop" is well-worth seeing for it's brief and penetrating look inside the life of an icon who was every bit as human and afraid as the rest of us.
Katori Hall's play is full of little revelations that might come as a bit of shock to those only familiar with the History Book King. Equally unsettling are the moments when we are reminded of our government's role in impeding the progress of The Civil Rights Movement. We like to think it was just a fight against hateful misguided citizens, and unjust laws in the Southern States, but we are shown this is false in a moment as brief as it is brilliant, when King unscrews his telephone receiver to check for bugs before he calls Room Service for a cup of coffee brought by a maid who is not who she seems on his final night on Earth, after his painfully prophetic "I've been to the Mountaintop" speech.
Rodney Hicks is up to the monumental task of the role he must play, giving us a King who is both stoic and vulnerable. Natalie Paul effortlessly imbues the character of Camae the maid with natural, easy charisma, as she draws out both sides of King's personality.
"The Mountaintop" is well-worth seeing for it's brief and penetrating look inside the life of an icon who was every bit as human and afraid as the rest of us.
Thursday, June 6, 2013
"Somewhere in Time" @ Portland Center Stage
"Somewhere in Time" is Portland Center Stage's first pre-Broadway production. Based upon the 1980 film starring Christopher Reeve, the musical is in all ways big. PCS's sets are frequently impressive, but those for "Somewhere in Time" signal a new leap forward. The acting is top-notch, with leading man Andrew Samonsky exuding effortless charm, and thus great chemistry with leading-lady Hannah Elless.
One of the most striking things about "Somewhere in Time" is the depth of the cast, I could be wrong, but I would wager that this is the largest cast ever assembled for a PCS production, what richer harmonies! And yet, one must not discount the power of the solo, my favorite number was "The Grand Hotel", sung by David Cryer as long-time porter Arthur, which ends with a show-stopping final-note.
The source material was written by Richard Matheson, who is also responsible for "What Dreams May Come", and "I Am Legend" The premise is that playwright Richard Collier goes back to 1912 to find a long-lost love, stage actress Elsie MacKeannah, by willing himself there mentally.
"Somewhere in Time" was a pleasure to watch, and I hope that it might pave the way for PCS to serve as an "incubator"--,to use Artistic Director Chris Coleman's term- for future Broadway-bound shows.
One of the most striking things about "Somewhere in Time" is the depth of the cast, I could be wrong, but I would wager that this is the largest cast ever assembled for a PCS production, what richer harmonies! And yet, one must not discount the power of the solo, my favorite number was "The Grand Hotel", sung by David Cryer as long-time porter Arthur, which ends with a show-stopping final-note.
The source material was written by Richard Matheson, who is also responsible for "What Dreams May Come", and "I Am Legend" The premise is that playwright Richard Collier goes back to 1912 to find a long-lost love, stage actress Elsie MacKeannah, by willing himself there mentally.
"Somewhere in Time" was a pleasure to watch, and I hope that it might pave the way for PCS to serve as an "incubator"--,to use Artistic Director Chris Coleman's term- for future Broadway-bound shows.
Sunday, June 2, 2013
"Ithaka" by Andrea Solowitz
"Ithaka" was the result of a local New Work Contest called The Fowler/Levin Prize. I note this first for a couple of reasons: One is that I have always felt privileged to be among the first to see work that few others have seen. The other reason is: The Prize reminds me that I live in a city which values the arts, and sadly we need such reminders these days, when our Paper of Record not only editorializes against a modest Arts Tax, but also when that tax faces hurdles to implementation, takes the opportunity to crow.....
From the Playwright's Note we learn that the events in the play are compiled from the recollections of local Veterans of the current wars. My first thought when I read that was: "Oh, that must've been so interesting!" A purely journalistic reaction, one which envied Ms. Stolowitz's opportunity to research a subject, and have people tell her their stories. Sitting here now, having seen the play, and needing a full day to digest it enough to write about it, I realized how divorced from the subject-matter my reaction was....
"Ithaka" takes its title from the island Odysseus is returning to in The Odyssey, after the Trojan War. Odysseus is briefly used as a character in the play, to serve as an early example of a soldier who gets lost on his journey home.
The play's protagonist is Capt. Elaine Edwards (Dana Millican), who is in the grip of PTSD. Millican plays the character as if she's split into thirds: a woman putting on a brave and happy face, a woman struggling to cope with the things we expect, like nightmares, and a woman teetering on the edge of sanity...
I've said before that this season has probably been Artists Rep's best, a season filled with hard-hitting shows. I must say once again that I am thankful for things like the Fowler/Levin Prize, and I am also thankful for Artists Rep, a venue willing to nurture the work.
From the Playwright's Note we learn that the events in the play are compiled from the recollections of local Veterans of the current wars. My first thought when I read that was: "Oh, that must've been so interesting!" A purely journalistic reaction, one which envied Ms. Stolowitz's opportunity to research a subject, and have people tell her their stories. Sitting here now, having seen the play, and needing a full day to digest it enough to write about it, I realized how divorced from the subject-matter my reaction was....
"Ithaka" takes its title from the island Odysseus is returning to in The Odyssey, after the Trojan War. Odysseus is briefly used as a character in the play, to serve as an early example of a soldier who gets lost on his journey home.
The play's protagonist is Capt. Elaine Edwards (Dana Millican), who is in the grip of PTSD. Millican plays the character as if she's split into thirds: a woman putting on a brave and happy face, a woman struggling to cope with the things we expect, like nightmares, and a woman teetering on the edge of sanity...
I've said before that this season has probably been Artists Rep's best, a season filled with hard-hitting shows. I must say once again that I am thankful for things like the Fowler/Levin Prize, and I am also thankful for Artists Rep, a venue willing to nurture the work.
Friday, May 31, 2013
"The Schemes of Scapino" @ Clackamas Community College
"The Schemes of Scapino" is a hilarious romp. And there can be no romp without a hammy and engaging lead. Jayme S. Hall is Scapino, and to b call him energetic would be an understatement. He seemed to be especially skilled at improv, for which the show has ample opportunity. As the title suggests, Scapino is an accomplished scam artist, he ensnares the fathers of two friends in a plot to steal their money, which will allow their sons to marry the brides of their choice. The play is adapted from Moliere, whose work was also adapted from the play "Les Foourberies." As adapted by director James Eikrem, the play makes brilliant use of both slapstick humor inspired by silent films, and pop-culture references. The set is also impressive, an expansive dock by Resident Scenic Designer Chris Whitten.
The laughs are rapid-fire and I am tempted to divulge a few, but that would be unkind. I find it irresistible not to tip my hat to Mr. Eikrem for forcing one his actors to scream "Scap-penis!" One of the best lines I've heard this season!
The laughs are rapid-fire and I am tempted to divulge a few, but that would be unkind. I find it irresistible not to tip my hat to Mr. Eikrem for forcing one his actors to scream "Scap-penis!" One of the best lines I've heard this season!
Tuesday, May 21, 2013
Ruthie Foster @ San Juan Community Theatre, Friday Harbor, WA
I was home alone. My father had his massive Itunes collection on shuffle, a Ruthie Foster song began to play and I did a double-take. I then made short work of the three albums he had. I went on her website and found that she was making three tour stops o the San Juan Islands. I knew we had to go.
The day began with a workshop, which turned out to be more like a mini-concert. The open and relaxed Ms. Foster gave insights into her writing and singing processes, and played requests for the small audience lucky enough to know of the workshop.
The evening performance appeared to be a near sell-out of the intimate and quaint San Juan Community Theatre. My description of the theatre should not indicate a low-key show. A stand-out moment was "People Grinnin' in your Face" in which Ms. Foster made her way into the crowd without missing a beat.
There were many times where it felt a bit like church. At the end, Ms Foster received a well-earned standing ovation, and I got the sense that a few in the crowd were subscribers to the theatre who had little idea what to expect, only to be stunned by passionate, sweet, utterly dynamic voice they heard. Heck, I knew what to expect, and I was pretty stunned, too.
The day began with a workshop, which turned out to be more like a mini-concert. The open and relaxed Ms. Foster gave insights into her writing and singing processes, and played requests for the small audience lucky enough to know of the workshop.
The evening performance appeared to be a near sell-out of the intimate and quaint San Juan Community Theatre. My description of the theatre should not indicate a low-key show. A stand-out moment was "People Grinnin' in your Face" in which Ms. Foster made her way into the crowd without missing a beat.
There were many times where it felt a bit like church. At the end, Ms Foster received a well-earned standing ovation, and I got the sense that a few in the crowd were subscribers to the theatre who had little idea what to expect, only to be stunned by passionate, sweet, utterly dynamic voice they heard. Heck, I knew what to expect, and I was pretty stunned, too.
Monday, May 6, 2013
"The People's Republic of Portland" @ Portland Center Stage
"The People's Republic of Portland" is a one-woman show by "The Daily Show" alum Lauren Weedman. It has the feel of a stand-up routine, or a small-group conversation with a knowing audience. The intimate Ellyn Bye Studio is a perfect fit. One of funniest bits comes at the beginning of the show when Weedman recalls overhearing a conversation where the group was complaining about our city's portrayal on the similar "Portlandia" television show. She then notes that-as if on cue- a cavalcade of the residents who "Keep Portland Weird" show up outside the coffee shop window, including a machete-wielding uni-cyclist..
Other choice moments include: Weeman's observation that residents of The Pearl are far more tolerant of dogs than children, a joke which is both probably true, as well as a gutsy one to make at a theatre situated in the heart of The Pearl District.
Taking a class with a name so New-Age I can't even recall it, hosted by none other than our homegrown streaker who dared to strip naked in protest of the TSA.
And Weedman's likely warranted self-consciousness about letting her 3 year-old watch a movie on a portable device while several other children were engaged in more interactive pastimes. She tells of draping the poor kid with her coat, to avoid the judgmental gaze of Portland Parents.
If you can appreciate our city's eccentricities, and unlike the ladies at the coffee shop, can tolerate an outsider pointing them out, you will enjoy "The People's Republic of Portland."
Other choice moments include: Weeman's observation that residents of The Pearl are far more tolerant of dogs than children, a joke which is both probably true, as well as a gutsy one to make at a theatre situated in the heart of The Pearl District.
Taking a class with a name so New-Age I can't even recall it, hosted by none other than our homegrown streaker who dared to strip naked in protest of the TSA.
And Weedman's likely warranted self-consciousness about letting her 3 year-old watch a movie on a portable device while several other children were engaged in more interactive pastimes. She tells of draping the poor kid with her coat, to avoid the judgmental gaze of Portland Parents.
If you can appreciate our city's eccentricities, and unlike the ladies at the coffee shop, can tolerate an outsider pointing them out, you will enjoy "The People's Republic of Portland."
Monday, April 22, 2013
"Clybourne Park" @ Portland Center Stage
"Clybourne Park" ties with "Venus in Fur" for my favorite production at PCS so far this season. Both have an edge, and both have biting wit.
"Clybourne Park" is a slight sequel to Lorraine Hansberry's "A Raisin in the Sun". Act I tells the story of the white family who sells their house in the Clybourne Park neighborhood to the black Younger family, over the strenuous objections of their neighbors. Act II fast-forwards 50 years, the neighborhood is now predominately black, and tensions arise when a white couple wants to tear-down the house....
"Clybourne Park" is an exquisitely constructed piece, and therefore it is difficult to highlight the best moments without ruining the surprise. I must note however that Andy Lee Hillstrom as the smarmy preacher is hilarious, and there is a joke in Act II that is at once so funny, vulgar, and offensive that the actors had to maintain their shocked expressions and stunned silence for what must have been much longer than expected, in order for the uproarious audience laughter to die down....
Once again, I think "Clybourne" is among the best of the season, and I am not alone, it also won the Pulizer Prize for Best Play.
"Clybourne Park" is a slight sequel to Lorraine Hansberry's "A Raisin in the Sun". Act I tells the story of the white family who sells their house in the Clybourne Park neighborhood to the black Younger family, over the strenuous objections of their neighbors. Act II fast-forwards 50 years, the neighborhood is now predominately black, and tensions arise when a white couple wants to tear-down the house....
"Clybourne Park" is an exquisitely constructed piece, and therefore it is difficult to highlight the best moments without ruining the surprise. I must note however that Andy Lee Hillstrom as the smarmy preacher is hilarious, and there is a joke in Act II that is at once so funny, vulgar, and offensive that the actors had to maintain their shocked expressions and stunned silence for what must have been much longer than expected, in order for the uproarious audience laughter to die down....
Once again, I think "Clybourne" is among the best of the season, and I am not alone, it also won the Pulizer Prize for Best Play.
Saturday, April 13, 2013
Jon Lovitz @ Helium Comedy Club
Jon Lovitz, frequent "Simpsons" guest star and protagonist of the criminally underrated "The Critic" is performing four shows at Portland's Helium Comedy Club. (Two last night and two more tonight at 7:30 & 10:00 PM.)
First things first, I must note that The Helium made sure I had a prime view of the stage, and I would say they are entirely wheelchair-friendly. Everything about the club is upscale, from the food to the ambiance.
For someone who I am familiar with from network television and relatively benign comedy films, Jon Lovitz's routine was much edgier than I was expecting. I can not think of a single joke I would feel comfortable reprinting here--that is not a criticism, in fact it is high praise. I imagine he gets away with a lot because of his wry smile.
It was a fantastic night, I cannot wait to return to Helium, and I highly recommend catching the final shows tonight.
First things first, I must note that The Helium made sure I had a prime view of the stage, and I would say they are entirely wheelchair-friendly. Everything about the club is upscale, from the food to the ambiance.
For someone who I am familiar with from network television and relatively benign comedy films, Jon Lovitz's routine was much edgier than I was expecting. I can not think of a single joke I would feel comfortable reprinting here--that is not a criticism, in fact it is high praise. I imagine he gets away with a lot because of his wry smile.
It was a fantastic night, I cannot wait to return to Helium, and I highly recommend catching the final shows tonight.
Jon Lovitz
Helium Comedy Club 1510 SE 9th Ave
Tonight 7:30 & 10:00 PM
Thursday, March 14, 2013
"The Whipping Man" @ Portland Center Stage
"The Whipping Man" is a gripping historical drama, focusing on a wounded Confederate soldier and his two former slaves. One of the most interesting aspects of the play is its exploration of Judaism during the Civil War, it is a theme that seems to be historically neglected.
Gavin Gregory gives an assured performance as strong and devout Simon, and Christopher Livingston shifts effortlessly between comically cunning and devastatingly serious.
Tony Cisek's giant set is spectacular. "The Whipping Man" is a thoroughly impressive production in every way. The run of the show seems to be just slightly shorter than standard, it ends on March 23rd, so I'd encourage everyone to hurry, but I believe it is certainly deserving of an extension , perhaps I'll get my wish.
Celeb: Carter Hudson
Gavin Gregory gives an assured performance as strong and devout Simon, and Christopher Livingston shifts effortlessly between comically cunning and devastatingly serious.
Tony Cisek's giant set is spectacular. "The Whipping Man" is a thoroughly impressive production in every way. The run of the show seems to be just slightly shorter than standard, it ends on March 23rd, so I'd encourage everyone to hurry, but I believe it is certainly deserving of an extension , perhaps I'll get my wish.
Cast:
Simon: Gavin Gregory
Celeb: Carter Hudson
John: Christopher Livingston
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