"The Realistic Joneses" @ Third Rail Rep

Will Eno is strange. He looks at things in a slightly askew way. The last two plays I saw of his, this one, "The Realistic Joneses" and "Middletown" both at Third Rail, have been among the most unusual I've ever encountered. But, i wish I could remember more about the first Eno play I saw, "The Flu Season" at Theatre Vertigo many years ago, and if memory serves, also starring Darius Pierce, as all three have. I don't remember that one being quite so "out there." As it was with "Middletown," the best part of "The Realistic Joneses" is the dialogue. It's silly yet serious, and deeply affecting. Darius Pierce is the kind of actor I'd pay to see read the phonebook, so to hear him tackle such funny and yet mundane, yet lyrical dialogue is worth a recommendation all on its own.

"Carrie: The Musical" @ Stumptown Stages

Most who see "Carrie: The Musical" will be looking for a Halloween treat, and they'll find it. The novel and film are widely known, but the musical is not, because its original production in 1988 is among Broadway's biggest flops. That dubious distinction is unlikely to haunt this production because the goings-on of Broadway have little appeal outside of New York City. In fact, the only reason I'm aware of its history is due to my obsession with another Broadway flop, Paul Simon's "The Capeman" Both shows have had smaller-scale shots at redemption, "The Capeman" at the Brooklyn Academy of Music, (which I saw!) and Central Park, and "Carrie" at the Off-Broadway Lortel, and in Seattle, which I believe was meant to be the start of a touring show that never materialized.

When I saw that Stumptown Stages was mounting the reworked and stripped-down Lortel version, I knew I had to see it. I found it to be an intriguing and, above all, brave choice.

The stripping-down has advantages and disadvantages--One advantage is the absence of the infamous "Out for Blood" which contains the lyric, "It's a simple little gig/You help me kill a pig." A disadvantage would be the choice to do the actual spilling of that blood with red-lighting, the scene in the film version is iconic. The biggest advantage of the new version is the sharpened focus on the relationship of Carrie and her mother. In these moments, the characters shine. The mother is played by the exquisitely-voiced Susan Jonsson, (who also gets huge bonus-points for being a founding board member of Well Arts, producers of "Fierce Love".) Carrie is played by Malia Davis, as an abused innocent with piercing eyes.

I am quite glad to have been added to Stumptown's Press List, their choices are certainly off the beaten path, including "The Adventures of Dex Dixon: Paranormal Dick". This is especially refreshing and gratifying when one considers that the city's bigger venues seem to view risk as taboo this Season.

"Sex with Strangers" @ PCS

"Sex with Strangers" certainly does not live up to its provocative title. Director Brandon Woolley says in his Note that the title is what made the play stand out from the pile. I got the feeling again and again as the play wore on that the title gave the play a ton of unearned mileage.

I didn't hate "Sex with Strangers," it's just that it is persistently, insistently underwhelming. You see, I made special arrangements to avoid taking my mother, expecting to see and hear things I would feel uncomfortable having experienced with her in the next seat. While there was some-I guess you could say-- frank discussion, most of the prior- to-the-act scenes would have probably passed the Hays Office. This should not be construed as a plea for nudity, PCS' own production of "Venus in Fur" had no nudity and at times veered toward pornography. It even shared literary themes with "Sex with Strangers," and handled those in a far more interesting way as well. There was a moment when I thought I caught a whiff of cruel romantic betrayal ala the Poor Man's David Mamet, Neil LaBute, who has made a career of writing the same play several times, and despite this fact, they still manage to be entertaining. It is very sad indeed when you find yourself pining for a derivative twist pioneered by a man who has a reputation for being derivative himself and frequently of himself.  Every play I thought about when reflecting upon "Sex with Strangers" is better than "Sex with Strangers." None more so than PCS' "Threesome,"" a play with an equally salacious title, which delivered on its promises. Its final scene, in which a character screams desperately for her clothes, is ringing in my head at this very moment. My thoughts about "Sex with Strangers" on the other hand, will end with this sentence.

"Cuba Libre"

"Cuba Libre"is almost certainly Artist Rep's most ambitious production. It boasts impressive choreography, and of course a vibrant score. It is so nice to see a company like Artist's Rep. have the opportunity to flex it's muscles in a larger space--The Winningstad Theatre inside the Portland Center for the Performing Arts.

As they did with "Tribes" Artist Rep. makes elegant use of subtitles, but again, as with "Tribes" sometimes they were obscured or disappeared too quickly.

There are tragic moments in the show, but everything is made brighter with Tiempo Libre's buoyant score, which concludes with an audience participation dance-off. The show has Broadway buzz, so see it while you can.

"Adrift in Macao" @ Broadway Rose Theatre

"Adrift in Macao" struck as what it might be like had the writers of "Airplane!" penned a musical. This is a good thing. Add in the film noir setting, and you have a show tailor-made for many of my tastes. "Adrift in Macao" is my favorite type of Broadway Rose show, they have the musical-mystery down to a science. One of my favorite elements of this particular one was the lighting by Phil McBeth. Expressive lighting is essential to creating the film-noir look. In fact, it is the mood and design of the show that impressed me most. So much so, that my choice of production photo is the one I feel captures it best:

Dave & Phil Alvin @ The Aladdin Theater

My ears are still ringing from Dave and Phil Alvin's incredible and incredibly loud show at the Aladdin Theater last night. The volume of the show was somewhat unexpected given the first section of the performance, which was relatively subdued. This only served as build-up to the indescribably energetic songs later in the night. One song featured such a long interlude that Dave Alvin remarked from the stage that the audience could go for a meal and return before it was over. There was also an unbelievable drum solo by a female, which made me smile because my twin sister is a drummer and I thought of her. Another stand-out was a song about their brotherly feud. I do not know what started the bad blood between them, but I am very glad it has ended. The Alvin Brothers are one of the best duos in music today.

Marc Broussard @ The Aladdin Theater, 9-19-15

Marc Broussard never disappoints. His performance style always serves as an embodiment of why I love music. He puts every ounce of himself into a song. He performed many songs from his newest album, "A Life Worth Living," my favorite after his best-known album "Carencro" His songs are bayou soul at its finest. A Broussard show is the musical equivalent of a Charismatic Revival. It is truly something to behold. Au Long De La Rivere" a song that is as of now only available on the recording "Live from Full-Sail University" and just cries out for a studio-version.

Everyone should join me at his next show. I can almost guarantee he will become one of your favorites.

"Our Town" Portland Center Stage

"Our Town" is the kind of show you hear about all the time, but seldom see because there is a prevailing feeling that everyone has done it. Sort of like "Inherit the Wind," which I have read but have yet to see. "Our Town" is the story of life in Grover's Corners and follows its characters from birth to death. The image that has stuck with me since seeing it is the set in the Third Act, in which many actors sit in suspended chairs, in a version of the afterlife. It drew an audible gasp and its own applause from the audience.

I enjoyed the show, but I must agree with the two gentlemen I overheard, who lamented that something edgier was not selected instead, given that this was the Season Opener. Still, it is a truly ambitious undertaking, and worth your time.

"The Understudy" at Artist's Rep

"The Understudy" is a play about theatre and acting. This made me wary.  Sometimes writers writing about their own world isn't always exciting. "The Understudy" however is hilarious, though it must be noted that quite a bit of the humor is of the insider variety, including a brilliant off-handed takedown of Jeremy Piven and his dubious departure from "Speed-the-plow" due to mercury poisoning. The play could probably be described as a satire, but the word suggests viciousness, and "The Understudy" is very much a love-note to theatre. In fact, my favorite moment is the dance sequence at the end, a silly and yet elegant metaphor for the value of doing art for its own sake. I also conversed with someone after the show who said that in the script the only instruction is "they dance," which makes the unabashed goofiness of the dance all the funnier. If you are interested in watching what it takes to put on a show, and having a few laughs while you're at it, you will enjoy "The Understudy"

Crippled Critic Concert Preview: Marc Broussard @ The Aladdin Theater September 19th 2015

Marc Broussard's music is best described as bayou soul. He sings with all of himself, truly inhabiting the music. I first heard his work on the album "Carencro", and have been a huge fan ever since. Broussard's compositions cover a wide range of styles. There are songs like the thudding "Home" contrasted with sweet, tender tributes to each of his children. Perhaps the best of these tribute songs is "A Life Worth Living," the title track of his most recent album. The song celebrates his recently departed grandmother, and it is quite moving--especially live.  Other stand-outs from his most recent release include "Hurricane Heart" and "Man Ain't Supposed to Cry."

This will be an explosive show. As a small illustration of what I mean: I once saw Broussard in a intimate and brief radio-studio session concert, the the number of musicians on that stage would almost certainly rank among the most ever held on that small stage. They blew the roof off.

But, as testament to the "range" I mentioned earlier, I have also witnessed Broussard's low-key side, in a -if memory serves- mostly acoustic concert, with two other musicians trading off. This show was every bit as fantastic as the high-energy shows that he usually performs.

I am filled with excitement for this show, and I hope to see some of you there. You won't regret it.