Portland Center Stage's "A Midsummer Night's Dream" is a marvel. With a gorgeous, appropriately dreamlike sets, extraordinary actors, and a huge dose of laughter, this is a show everyone will enjoy. There are some modern touches, most memorably a bluesy Puck, and they all work.
My favorite moments came from the Acting Troupe. Particularly James Newcomb as "Nick Bottom", the actor who thinks he can play every character in the production, as well as "Snug", played by the frequently goofy Tim True. This was my first time seeing "Midsummer" performed, so I can't state for certain, but I wager PCS's slant is much funnier than most Everyone seems to really relish getting a laugh, and many get their turn--starting from curtain-up.....
I would especially recommend this production for those who have limited exposure to Shakespeare and might be "afraid" of the complexity of the language, I cannot overstate the hilarity of the show.
The costumes also deserve special praise. The fairies have golden halo-like antennae, and the Donkey-Head that results from a curse placed on poor Nick Bottom is just priceless....
This is a play that brightens your mood, I would not delay in seeing it.....
Sunday, November 18, 2012
Saturday, October 27, 2012
"The Tell-Tale Heart" by Tears of Joy Theatre
Tears of Joy Theater is best known for their family-friendly puppet shows, but they have also not been afraid to delve into more disturbing subjects from time to time. The first of these darker shows that I saw was "The Long Christmas Ride Home" at Theatre Vertigo a few years ago--that show explored many disquieting subjects, but there was also something deeply un-nerving about an actor manipulating a puppet made to look like himself...... "The Long Christmas Ride Home" taught me that puppets need not be confined to children's entertainment, they can be truly frightening.... It was with this in mind that I jumped at the chance to see Edgar Allan Poe's "The Tell-Tale Heart" get the Tears of Joy treatment, and I wasn't disappointed, to say the least.
This was a fantastic show, and the puppetry was phenomenal. The bulk of the play features only two characters, Adam (David Clemmer), the human student of Herr Gossvetter, a renowned philosopher, cantankerous old man, and puppet, though it doesn't take long for the audience to forget the latter fact. The puppeteers, (Jon Plueard, Bill Holznagel, Jason Miranda) are shrouded in black from head to toe, making them look a bit like apparitions, this is especially effective in a nightmare sequence.
Unfortunately, I became aware of the production rather late, and it closes tonight, but if you can make it, it will certainly put you in the mood for Halloween, and it appears that the show might be an annual event, though I may have misheard an answer during the Q&A regarding sadness as the show nears closing, but I think they intimated that they took solace in knowing it would be back in a year.... Oh, and the Q&A was with the puppet, and the improvisational skills of the puppeteers were remarkable. They gave a brief explanation of the workings of the puppet, and then opened it up for questions, most of which were light-hearted... One person asked if the old man could head-bang, and the otherwise stodgy Herr Gossvetter obliged. So, I thought I'd ask who Herr Gossevetter wanted to win in the upcoming election, and very quickly he answered "Taft", and even made an excuse for any discrepancy in the timeline by noting that he was a philosopher, not a historian... To summarize, you get an inspired retelling of a classic dark tale, a splash of improv comedy, and a scene of puppet dismemberment, all in one show. I suspect you wont find that anywhere else.....
(Showing tonight at Lincoln Hall Studio Theatre, beware at least one ticketing site erroneously says The Winningstad....)
This was a fantastic show, and the puppetry was phenomenal. The bulk of the play features only two characters, Adam (David Clemmer), the human student of Herr Gossvetter, a renowned philosopher, cantankerous old man, and puppet, though it doesn't take long for the audience to forget the latter fact. The puppeteers, (Jon Plueard, Bill Holznagel, Jason Miranda) are shrouded in black from head to toe, making them look a bit like apparitions, this is especially effective in a nightmare sequence.
Unfortunately, I became aware of the production rather late, and it closes tonight, but if you can make it, it will certainly put you in the mood for Halloween, and it appears that the show might be an annual event, though I may have misheard an answer during the Q&A regarding sadness as the show nears closing, but I think they intimated that they took solace in knowing it would be back in a year.... Oh, and the Q&A was with the puppet, and the improvisational skills of the puppeteers were remarkable. They gave a brief explanation of the workings of the puppet, and then opened it up for questions, most of which were light-hearted... One person asked if the old man could head-bang, and the otherwise stodgy Herr Gossvetter obliged. So, I thought I'd ask who Herr Gossevetter wanted to win in the upcoming election, and very quickly he answered "Taft", and even made an excuse for any discrepancy in the timeline by noting that he was a philosopher, not a historian... To summarize, you get an inspired retelling of a classic dark tale, a splash of improv comedy, and a scene of puppet dismemberment, all in one show. I suspect you wont find that anywhere else.....
(Showing tonight at Lincoln Hall Studio Theatre, beware at least one ticketing site erroneously says The Winningstad....)
Monday, October 15, 2012
"The Body of an American" by Dan O'Brien at Portland Center Stage
"The Body of an American" is a play of intersections-the intersection of art and journalism by way of photography, and how they each again intersect with theatre. The play tells the story of playwright Dan O'Brien and war-photographer Tom Watson. Mr.Watson's photograph of a soldier dragged through the streets of Mogadishu forms the heart of the play.
As William Salyers re-enacts the taking of the photograph, he says the voice of the dead soldier warned him, "if you do this, I will own you forever", and much of the play deals with the truth of that statement. Mr. Watson desperately wishes to exorcise this spirit from his thoughts and dreams, and in the days following the performance I shared the feeling. This is an intense show. All of the elements come together with a common purpose--to burrow deeply into your brain and unnerve you. The starkness of the studio is a well-suited space, and the projections are used effectively, but it was the sound design that made me realize just how far I'd been pulled in.... There's a moment in which Paul describes stepping back to properly compose a photograph, and in the process he steps on the bones of an old woman, upon hearing the crunch I involuntarily let out a truly disgusted groan.....
Paul tells the story of The Pentagon being able to deny an atrocity because he was not able to obtain photographic evidence--proof of the truth--and that is what the play is about most of all. If you are prepared for truth, I recommend that you see "The Body of an American"....
As William Salyers re-enacts the taking of the photograph, he says the voice of the dead soldier warned him, "if you do this, I will own you forever", and much of the play deals with the truth of that statement. Mr. Watson desperately wishes to exorcise this spirit from his thoughts and dreams, and in the days following the performance I shared the feeling. This is an intense show. All of the elements come together with a common purpose--to burrow deeply into your brain and unnerve you. The starkness of the studio is a well-suited space, and the projections are used effectively, but it was the sound design that made me realize just how far I'd been pulled in.... There's a moment in which Paul describes stepping back to properly compose a photograph, and in the process he steps on the bones of an old woman, upon hearing the crunch I involuntarily let out a truly disgusted groan.....
Paul tells the story of The Pentagon being able to deny an atrocity because he was not able to obtain photographic evidence--proof of the truth--and that is what the play is about most of all. If you are prepared for truth, I recommend that you see "The Body of an American"....
Sunday, October 14, 2012
August Wilson's "Seven Guitars" @ Artists Rep
"Seven Guitars" has ample amounts of what we love about August Wilson: poetic language, symbolism, and an epic scope, (this play is nearly three hours itself, and it is a companion-piece to the equally sweeping "King Hedley, II" which will open December 6th at Portland Playhouse.)Reflecting back on Wilson plays I have seen or read, I realize that many of them had violent scenes, but both "Seven Guitars" and "King Hedley, II" seem to thrive on their darker edge, which puts them in my top-three favorites of the 10-play Pittsburgh Cycle.
"Seven Guitars" centers around Floyd "Schoolboy" Barton and his attempt to improve his luck in Chicago with a new record deal, after a long-ago hit song, and the poor decisions that followed it. He wishes to rekindle his relationship with his old girlfriend and have her join him on this all-important journey. Along the way, he faces resentment from friends, and obstacles that would rival Ulysses, all without leaving...
The play is performed by a top-notch cast, quite a few of whom were part of Portland Playhouse's Wilson productions, including director Kevin Jones. Victor Mack (Canewell) has a presence that can only be described as charisma unhinged.
It is so gratifying to see August Wilson presented again by one of Portland largest theatre companies. (Portland Center Stage provided my first exposure to his work-"Fences" at the inaugural-season at the Armory, and I was sad to see them abruptly pull "Joe Turner's Come and Gone" a few years back......) To see Wilson preformed is a privilege, one we get to enjoy twice this year....
"Seven Guitars" centers around Floyd "Schoolboy" Barton and his attempt to improve his luck in Chicago with a new record deal, after a long-ago hit song, and the poor decisions that followed it. He wishes to rekindle his relationship with his old girlfriend and have her join him on this all-important journey. Along the way, he faces resentment from friends, and obstacles that would rival Ulysses, all without leaving...
The play is performed by a top-notch cast, quite a few of whom were part of Portland Playhouse's Wilson productions, including director Kevin Jones. Victor Mack (Canewell) has a presence that can only be described as charisma unhinged.
It is so gratifying to see August Wilson presented again by one of Portland largest theatre companies. (Portland Center Stage provided my first exposure to his work-"Fences" at the inaugural-season at the Armory, and I was sad to see them abruptly pull "Joe Turner's Come and Gone" a few years back......) To see Wilson preformed is a privilege, one we get to enjoy twice this year....
Tuesday, October 2, 2012
"Little Shop of Horrors" @ Broadway Rose Theatre Company
The first word that comes to mind to describe "Little Shop of Horrors" is "fun." There are plenty of shows that are fun, but "Little Shop" just seems to be overflowing it; it's fun to watch, and it looks really fun for the performers. And yet, elements of it are really dark-- the ending of the film version was famously changed after focus groups reacted with intense negativity....
Portland-area theatres seem to be getting into the ghoulish spirit of Halloween. We've had the cannibalistic "Sweeney Todd" at Portland Center Stage, and now the saga of Seymour and the Man-Eating Plant Audrey II in "Little Shop of Horrors" at Tigard's Broadway Rose.
"Little Shop" is the first show I've seen at Broadway Rose's New Stage Auditorium and like the theatre's other auditorium on the campus of Tigard High School, the New Stage has excellent wheelchair-seating....
"Little Shop of Horrors" has a characteristic that is unusual in shows--one of its biggest roles is played by an unseen actor, the voice of Audrey II, and lets just say that Jerrod Neal chews more than scenery.
Rebecca Teran makes Audrey's sweetness believable and her voice is excellent. Brian Debmar Jones plays Orin the dentist with um, appropriate menace.
Don't miss this show, it runs from now until Oct. 21, and several dates have sold-out....
Portland-area theatres seem to be getting into the ghoulish spirit of Halloween. We've had the cannibalistic "Sweeney Todd" at Portland Center Stage, and now the saga of Seymour and the Man-Eating Plant Audrey II in "Little Shop of Horrors" at Tigard's Broadway Rose.
"Little Shop" is the first show I've seen at Broadway Rose's New Stage Auditorium and like the theatre's other auditorium on the campus of Tigard High School, the New Stage has excellent wheelchair-seating....
"Little Shop of Horrors" has a characteristic that is unusual in shows--one of its biggest roles is played by an unseen actor, the voice of Audrey II, and lets just say that Jerrod Neal chews more than scenery.
Rebecca Teran makes Audrey's sweetness believable and her voice is excellent. Brian Debmar Jones plays Orin the dentist with um, appropriate menace.
Don't miss this show, it runs from now until Oct. 21, and several dates have sold-out....
Sunday, September 23, 2012
"And So It Goes" @ Artists Rep
"And So It Goes" by Aaron Posner is based upon three short-stories from Kurt Vonnegut, Jr's collection "Welcome to the Monkey-House," each revolve around the theme of love. The first of these, "Long Walk to Forever" is about the narrator, Tom Newtom, and his wife Kate (a creation of this stage version.) It's a nice little story, enjoyable and simple... But, the stand-out of the show is "Who Am I this Time?" (also adapted into a film by Jonathan Demme, director of "Silence of the Lambs.") It contains the evening's funniest moments, and some nearly unbelievable acting. It chronicles the love that blooms on the stage of the community theatre within the small Connecticut town, between Harry (Alex Hurt) and Helene, (Kayla Lian) as they perform "A Streetcar Named Desire." Harry is the town's go-to actor, and Helene is a brand-new transplant. Harry works as a clerk in the hardware store, he is exceptionally ordinary and terribly shy, until he is on the stage.... During auditions, the staff endures performances from Harry's boss, Verne,(Leif Norby) who turns in a hilariously awful impression of Marlon Brando as Stanley Kowalski. (Watching Verne warm-up for his embarrassing performance is worth-seeing all by itself....) When it's Harry's turn, he shyly makes his introductions, and then slowly takes off his glasses, by the time he folds them up, he has transformed into Stanley, the famous brute of "Streetcar." (I suppose in some ways actors always transform, but it is rare to see it happen right in front of you, and it's something to behold.) Helene quickly finds that Harry can only express emotion while acting, so they decide to act in everyday life, the piece ends with Harry and Helene in character for "The Importance of Being Earnest"
Tim True does a superb job as the narrator, and nowhere was his talent more evident then when an inconsiderate audience member was not quick enough to turn off the sports radio broadcast he was listening to during intermission. True's improvised digs at the man were some of the best lines of the show, so good in fact that you almost felt sorry for the transgressor. Almost.
See "And So it Goes" while you still can, I had trouble getting in myself, and it only runs from now to Oct 7th......
Tim True does a superb job as the narrator, and nowhere was his talent more evident then when an inconsiderate audience member was not quick enough to turn off the sports radio broadcast he was listening to during intermission. True's improvised digs at the man were some of the best lines of the show, so good in fact that you almost felt sorry for the transgressor. Almost.
See "And So it Goes" while you still can, I had trouble getting in myself, and it only runs from now to Oct 7th......
Saturday, September 22, 2012
Sweeney Todd: The Demon Barber of Fleet Street @ Portland Center Stage
"Sweeney Todd" opened Portland Center Stage's 25th Anniversary Season, and everything about the production befit the momentous occasion. Portland Center Stage's version began uniquely; the opening scene in which London's Street People invite us to "attend the tale of Sweeney Todd" features anachronistically dressed police officers, a deliberate allusion to the "Occupy Portland" protests.
"Sweeney Todd" is the story of a renowned barber bent on revenge, whose thirst for blood grows worse, and soon London's most famous barber partners with a purveyor of meat-pies and they happen-upon a ghastly new recipe.....
Sweeney is played with simmering anger and boundless energy by Aloysius Gigl. Another stand-out performance is given by Matthew Alan Smith, as Judge Turpin. To call him repellent would be an understatement. Maybe it was body language, or maybe his scraggly hair, but despite his position of prestige and nearly unquestioned authority in the play, there's something about him that suggests he is unclean. Of course, his actions and desires bear that out figuratively, but the scene in which he proposes to his young Ward, even without considering their age-difference or the circumstances of their relationship, it is still a stomach-churning idea, (I think the Street Walkers would turn him down...)
The set is by the man who designed Portland Center Stage's first production, and they invited him to return for the anniversary, and looking at the truly impressive, fittingly large, and frequently morphing set, one can see why they brought him back, and I'm sure the aptness of having someone named William Bloodgood design the set for "Sweeney Todd" was not lost on anyone.....
Also worthy of praise is the haunting lighting by Diane Ferry Williams. In short, Portland Center Stage has pulled out all the stops for this production, and all would be wise to attend the tale.....
"Sweeney Todd" is the story of a renowned barber bent on revenge, whose thirst for blood grows worse, and soon London's most famous barber partners with a purveyor of meat-pies and they happen-upon a ghastly new recipe.....
Sweeney is played with simmering anger and boundless energy by Aloysius Gigl. Another stand-out performance is given by Matthew Alan Smith, as Judge Turpin. To call him repellent would be an understatement. Maybe it was body language, or maybe his scraggly hair, but despite his position of prestige and nearly unquestioned authority in the play, there's something about him that suggests he is unclean. Of course, his actions and desires bear that out figuratively, but the scene in which he proposes to his young Ward, even without considering their age-difference or the circumstances of their relationship, it is still a stomach-churning idea, (I think the Street Walkers would turn him down...)
The set is by the man who designed Portland Center Stage's first production, and they invited him to return for the anniversary, and looking at the truly impressive, fittingly large, and frequently morphing set, one can see why they brought him back, and I'm sure the aptness of having someone named William Bloodgood design the set for "Sweeney Todd" was not lost on anyone.....
Also worthy of praise is the haunting lighting by Diane Ferry Williams. In short, Portland Center Stage has pulled out all the stops for this production, and all would be wise to attend the tale.....
Sunday, September 16, 2012
Crippled Critic Comedy Review: Wanda Sykes @ Spirit Mountain
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.
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, 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....
Subscribe to:
Posts (Atom)