Saturday, June 29, 2013

Choreography Routines: Even a Dog Can Dance

Musical theater can be a challenge. Singing, dancing and acting can really put you to he test. Me, I personally have two left feet when it comes to organized dancing. (Disorganized I'm okay with.) The thing is getting down the routine, which takes hours of practice. Well, even a dog can do that. Watch and be amazed (maybe even inspired). ...5, 6, 7, 8:


Friday, June 28, 2013

FREE SHAKESPEARE in the PARK

Two sets of twins make for mistaken identities and error.
The Portland nonprofit theater company Original Practice Shakespeare will present "Comedie of Errors" from 2 to 4 p.m. in Esther Short Park on Sunday, July 7. The event is free.

The troop, actually somewhat practiced by now, travels through the area parks presenting the Bard's material each summer.

And if you've not seen much Shakespeare, "Comedie of Errors" is probably the best introduction because it actually is very funny.

You can find out more and see a video of their shows on the OPS website by clicking here.

Classic Gilbert and Sullivan "The Mikado" over 4th of July Weekend ONLY

The Wittiest Execution in Town!


For one weekend only, Pacific Stageworks presents Gilbert and Sullivan’s comic opera THE MIKADO, July 5-7 ONLY at the Heathman Lodge, 7801 NE Greenwood Dr., Vancouver at 2 p.m. Saturday and Sunday, and at 8 p.m. Friday, Saturday and Sunday.

Director Tony Bump has set the performance "in a modern cocktail party/fundraiser for a local theatre company."  Audience members are encouraged to dress in a kimono and sing along with familiar songs such as “Three Little Maids from School,” “Tit Willow,” and “To Sit In Solemn Silence.”

Will Johnson (L) and Kristen Johnson (R)
with Tony Bump in "The Mikado."
The show was set in the town of Titipu, where the tailor Ko-Ko (Tony Bump of Vancouver) is promoted to Lord High Executioner. His ward, Yum-Yum (Kristen Johnson of Vancouver), whom he plans to marry, has fallen in love with a traveling musician, Nanki-Poo (Will Johnson of Bellingham). Nanki-Poo is, in fact, the Mikado’s son, and has escaped the court to avoid the attentions of an intimidating older noblewoman, Katisha (Jennifer Johnson of Camas). Ko-Ko learns of a decree from the Mikado (David Hicks of Portland) that, unless an execution occurs within a month, the city will be reduced to the rank of a village. Neither the noble lord Pish-Tush (Gary Bock of Ridgefield) nor the Lord High Everything Else, Pooh-Bah (IZ Darling of Portland), will volunteer to be executed. Complications occur with the arrival of the Mikado, accompanied by the ever-formidable Katisha.

Additional cast members include Jeanna Reed (Battle Ground), Kathleen Jung (Ridgefield), Ashley Hall (Bellingham), Garry Bastian and Zak Campbell (Vancouver), and Kaylen Ostrom (Camas).

Witty lyrics and brilliantly constructed plot twists make this light-hearted tale of forbidden love, deception, and beheadings a favorite among theatre-goers since 1885. This is a zesty operetic musical-comedy sparkling with wit and whimsy. 

Tickets are $15 in advance or $17 at the door. Audience members wearing a kimono will receive a $1 discount. Tickets may be ordered at www.pacificstageworks.com or 360-213-5174. Please do not contact the Heathman Lodge with questions.

Thursday, June 27, 2013

Journey Theater to Present "Music Man"

Journey Theater Arts Group is excited to present THE MUSIC MAN. An affectionate tribute to Smalltown, U.S.A. of a bygone era, by Meredith Willson. The musical follows fast-talking traveling salesman Harold Hill as he cons the people of River City, Iowa into buying instruments and uniforms for a boys' band he vows to organize--this despite the fact he doesn't know a trombone from a treble clef. His plans to skip town with the cash are foiled when he falls for Marian the librarian, who transforms him into a respectable citizen by curtain's fall.

This award winning, critically acclaimed Broadway classic is an all-American institution, thanks to its quirky characters, charmingly predictable dramatic situations, and one-of-a-kind, nostalgic score of rousing marches, barbershop quartets and sentimental ballads which have become popular standards. By turns wicked, funny, warm, romantic and touching, THE MUSIC MAN is family entertainment at its best.

Book, Music and Lyrics by Meredith Willson from a story by Meredith Willson and Franklin Lacey. This is a combined effort, featuring adults as well as children, from all the area Journey chapters, but most of the cast is from Vancouver, thus we will be reviewing the show.

Performances at The Mago Hunt Theatre at University of Portland. August 9 – 18, 2013. Fridays at 7:30 p.m., Saturdays at 2 p.m. and 7:30 p.m., and Sundays at 2 p.m. Pre-sale Adult tickets are $18. Student and Military tickets are $15 (with ID). Youth and Senior tickets are $12. All tickets for the Saturday, August 10, 2 p.m. performance are $12. All tickets $2 more at the door. Tickets are on sale now at JourneyTheater.org and 360.750.8550.

Wednesday, June 26, 2013

Murdered for Being Gay is Subject of Serendipity's "The Laramie Project"

"THE LARAMIE PROJECT" written by Moises Kaufman and directed by Tony Broom opens next month at Serendipity Playhouse.  It will run July 26 - August 18 and our review by Dennis Sparks will run here July 27.

THE STORY: In October 1998 a twenty-one-year-old student at the University of Wyoming was kidnapped, severely beaten and left to die, tied to a fence in the middle of the prairie outside Laramie, Wyoming. His bloody, bruised and battered body was not discovered until the next day, and he died several days later in an area hospital. His name was Matthew Shepard, and he was the victim of this assault because he was gay.

Moisés Kaufman and fellow members of the Tectonic Theater Project made six trips to Laramie over the course of a year and a half in the aftermath of the beating and during the trial of the two young men accused of killing Shepard. They conducted more than 200 interviews with the people of the town. Some people interviewed were directly connected to the case, and others were citizens of Laramie, and the breadth of their reactions to the crime is fascinating. 

Kaufman and Tectonic Theater members have constructed a deeply moving theatrical experience from these interviews and their own experiences. "THE LARAMIE PROJECT" is a breathtaking theatrical collage that explores the depths to which humanity can sink and the heights of compassion of which we are capable.

We imagine that due to subject matter viewer discretion is advised.

"One of the ten best plays of the year. A pioneering work of theatrical reportage and a powerful stage event."—Time Magazine. "Astonishing. Not since Angels in America has a play attempted so much: nothing less than an examination of the American psyche at the end of the millennium." —Associated Press. "…nothing short of stunning…you will be held in rapt attention." —New York Magazine

Bully! British Dialect and Proper Pronunciation

I know this will be useful to many of you active in local theater. This will be excellent for honing your dialect. I found it on YouTube, thanks to PGD.


Tuesday, June 25, 2013

Summer Offering for Theater Kids with Journey Theater Arts Group


Journey Theater Arts Group presents the following Musical Theater Day Camps in Battle Ground, Beaverton, Portland and Vancouver beginning June 25, 2013. 

Musical Theater Day Camps are a great way for kids to get the most out of their summer vacation! Eight to thirteen year-old campers rotate through drama, voice and dance classes while six and seven year-old campers have all three in one classroom. Campers also participate in team competitions and full company rehearsals. All campers receive a camp t-shirt and perform in the Showcase on the last day of camp.

Broadway Bound Camp Dates and Locations: July 15 – 19 in Portland. August 5 – 9 in Vancouver. August 12 – 16 in Beaverton.

Super Heroes Camp Dates and Locations: July 8 – 12 in Battle Ground. July 22 – 26 in Beaverton. July 29 – Aug. 2 and Aug. 12 – 16 in Vancouver.

Cost: $165 per camper. First time families: save $25 off total registration! Use coupon code: 'FirstJourney' when you register online.

Once Upon Another Time Middle School Day Camp for 12 – 14 year olds; July 29 – Aug. 2 in Vancouver. $200 per camper.

Register online now at www.journeytheater.org or by calling 360-750-8550.

Sunday, June 23, 2013

Melodrama on Tap at Stageworks Northwest

This one crept up on me unawares. The melo-drama "Dirty Deeds at the Crossroads" is coming to Stageworks Northwest in Longview.

The show opens July 12 and runs through the July 28 with 7:30 p.m. performances on Fridays and Saturdays. Sunday performances are at 2 p.m.

Stageworks' melodramas are always a hoot and done quite well. We'll see if we can review it opening night.

AUDITIONS: Agatha Christie Mystery at Magenta Theater

Magenta Theater announces auditions for "Black Coffee" written by Agatha Christie and directed by Amanda Goff, 6:30-9:30 p.m. (doors open at 6:00 p.m.), Monday July 22, 2013.

The play features the beloved Christie character Hercule Poirot  who is summoned by England's most prominent physicist, Sir Claud Amory. Amory fears that someone in his household is attempting to steal his latest discovery, a formula critical to England's defence. Poirot, with Captain Hastings at his side, rushes to get there, but arrives too late: Amory has died, his formula is missing and anyone in his country house, full of relatives and guests, could have been responsible.

Auditions Details:
 
- Cold Read-Through Audition
- Please Bring a Headshot and Resume
- Bring Any Rehearsals Conflicts
- No Pay

* Casting will be partially based on ability to realistically play the age of the role
* British accents unless otherwise noted
* The role of Hercule Poirot has been pre-cast

Women’s Roles:

Lucia Amory (late 20’s-30’s) [speaks with Italian Accent]
Miss Caroline Amory (40’s-50’s)
Barbara Amory (late 20’s-30’s)

Men’s Roles:

Tredwell (30’s-50’s)
Richard Amory (30’s-40’s)
Edward Raynor (30’s-40’s)
Dr. Carelli (30’s-40’s) [speaks with Italian Accent]
Sir Claud Amory (late 50’s-60’s)
Captain Arthur Hastings (40’s-50’s)
Dr. Graham (40’s-60’s)
Inspector Japp (40’s-50’s)
Johnson (30’s-50’s)

Rehearsal Schedule:

6:30 p.m. - 9:30 p.m., August 29; September 9, 13, 23, 30 ; October 1, 7, 10, 14, 15, 16, 17, 18, 21, 24, 28, 29, 30; November 1, 4, 5, 6, 7

10:00 a.m. – 4:00 p.m., September 21, 28; October 5, 12, 19, 26; November 2

Construction Help Date:

October 13

Performances:

November 8, 9, 13, 14, 15, 16, 20, 21, 22 at 7:30 p.m.
November 16, 23 at 2:00 p.m.
November 23 (strike follows performance)

Upcoming Audition Dates:

Black Coffee - July 22
Dixie Swim Club - October 6
Romeo & Juliet - November 19

NOTE!:

More detailed info will be posted when dates get closer. Please do not email requesting more info or questions. The emails will not get to the directors.

Saturday, June 22, 2013

Love Street Playhouse, The Columbia Theatre to Collaborate on "The Trial of Ebenezer Scrooge!"

The Teasing Tickler Tile released early this week.
The Columbia Theatre in Longview, Wash. and Love Street Playhouse in Woodland, Wash. are teaming up to present "The Trial of Ebenezer Scrooge" a holiday sequel to the Charles Dickens classic Christmas tale.

The play was written by Mark Brown, an award-winning writer and actor (his plays include "Around the World in 80 Days").

The show will be produced by the Columbia Theatre and directed by Melinda Leuthold, Owner and Artistic Director of the Love Street Playhouse in Woodland, Wash.

ABOUT THE PLAY


"The Trial of Ebenezer Scrooge"
One year after his miraculous transformation, Ebenezer Scrooge appears to have reverted to his old ways. Amidst plenty of mayhem and laughter Scrooge indignantly files suit against Jacob Marley and the ghosts of Christmas Past, Present and Future. The charges: breaking and entering, kidnapping, attempted murder and the intentional infliction of emotional distress. With Scrooge representing himself (to save a pound), and London’s charismatic and clever barrister, Solomon Rothschild representing the ghosts, what will become of the spirit of Christmas? The classic Dickens’ characters return to take the witness stand in this courtroom farce. The final verdict: Disorder in the court!

AUDITION NOTICE:


Auditions for this 8 character, full-length play will be Monday, August 12th at 7:30 pm at the Columbia Theatre, 1231 Vandercook Way, Longview, Wash. (360.575.8499). Full details and an audition form can be obtained from the Love Street website http://www.lovestreetplayhouse.com Call 360.907.9996 for additional information.

WHY THE COLLABORATION?


“Over the past three years, we have been exploring opportunities to collaborate on a number of community projects in order to make the most of the Columbia as a cultural asset,” says Columbia Theatre executive director Gian Paul Morelli. 

“I was especially keen on 'spicing up' the holiday season with a homegrown effort. It was our technical director, Kelly Ragsdale [who has been doing the lighting designs at LSP since Joe Jenkins moved to Utah], who kept urging me to visit Love Street to see Melinda’s work. I did. I was charmed and delighted by the quality,” he continued.

“If this project succeeds, the Columbia hopes it will be the start of an annual holiday tradition—an event that showcases the richness and depth of talent Southwest Washington has to offer. Working with Melinda [Leuthold] and the Love Street Playhouse gives both our organizations an opportunity for more exposure in each other’s community.”

Melinda Leuthold
“As the owner and artistic director of Love Street Playhouse it is my joy and passion to present quality theater to the southwest Washington region,” said Melinda Leuthold. “Over the past 7 years Love Street has reached thousands of patrons and now, with the opportunity to present at the Columbia Theatre, we can reach an even larger audience.”

“Collaborating with the Columbia and getting to work with some of my favorite people in the industry is just another step toward reaching more people in our area," said Leuthold.

"I am thrilled to get to work at this lovely theater while offering my local theater patrons the option of attending 'The Trial of Ebenezer Scrooge' up north in Longview and/or joining us at Love Street for another traditional Christmas production in early December. This Christmas season will be a real treat for Love Street fans!”

MARK YOUR CALENDARS!


The comedy will run five performances, December 19 - 22 at the Columbia Theatre. Ticket prices are $16.50 for Students/Seniors and $21.50 for Adults. Tickets will be on sale beginning July 1st through the Columbia Theatre Ticket Office.

For more information call 360.575.8499 or at www.columbiatheatre.com or http://www.lovestreetplayhouse.com. In addition, tickets are also available (cash and check only) at Columbia Bank, 782 Goerig St., Woodland, Wash.

Tuesday, June 18, 2013

Love Street Playhouse and Columbia Theatre to Collaborate

The Woodland, Wash. Love Street Playhouse recently announced a collaboration with the Longview, Wash. Columbia Theatre on Facebook, but hasn't said what that collaboration means. Instead they've chosen to tease readers with clues, first with a sepia photograph of London and Big Ben and then a sepia photo of a courtroom. The third clue is up today.  Are you following them on Facebook.

Popular guesses have included productions of Peter Pan or Mary Poppins (which seem logical because they are lofty visions for a small theater like LSP), but many English plays have been suggested.

But then it might not be a play at all. It could be something far more grandiose. A long range partnership perhaps? A theater camp? The ideas are limitless. My guess is that we'll just have to wait to find out.

I'll keep you posted as news is released.


Saturday, June 15, 2013

REVIEW: FPA's "The Screwtape Letters" One Heck of a Good Show


Fellowship for the Performing Arts presented a limited engagement of THE SCREWTAPE LETTERS, the "wickedly funny" theatrical adaptation of the C.S. Lewis novel about spiritual warfare from a demon’s point of view at the Portland Center for the Performing Arts this weekend.

Screwtape examines a letter.
It was a hit in NYC where it played 309 performances at the Westside Theatre in 2010. Prior to that it ran for six months in Chicago. The Chicago Tribune described THE SCREWTAPE LETTERS as the "most successful show in the history of Chicago's Mercury Theatre." It, also, had two engagements at The Shakespeare Theatre in Washington, D.C. where it played for ten sold-out weeks.


The national tour of THE SCREWTAPE LETTERS will play in over
fifty major cities and performing arts venues through-out the United States. It had three performances this past weekend at the Portland Center for the Performing Arts Newmark Theatre. It continues on elsewhere for he remainder of the tour.

About the Play


The play, set in a eerily stylish office in hell, follows the clever scheming of Satan's chief psychiatrist, Screwtape, as he entices a human 'patient' toward damnation. In this topsy-turvy, morally inverted universe God is the “Enemy” and the Devil is “Our Father below.” The stakes are high as human souls are hell's primary source of food.

The minion, Toadpipe.
As His Abysmal Sublimity Screwtape, award winning actor Brent Harris, creates a “master of the universe” character who mesmerizes the audience as he allures his unsuspecting 'patient' down the “soft, gentle path to Hell.” At his feet is Screwtape's able assistant, Toadpipe, (played alternately by Marissa Molnar and Tamala Bakkensen) a grotesque creature demon, who transforms her elastic body into the paragons of vices and characters Screwtape requires to keep his patient away from the "Enemy."

Max McLean, the show's creator,
in the role of Screwtape.
Along with The Chronicles of Narnia (including "The Lion, the Witch and the Wardrobe," The THE SCREWTAPE LETTERS is still one of Lewis’ most popular and influential works. The book's success is due to its piercing insight into human nature and the lucid and humorous way Lewis makes his readers squirm in self recognition. When first published in 1942 it brought immediate fame to this little-known Oxford don which included being featured on the cover of Time Magazine.

About the Production


The play was adapted and directed by Jeff Fiske and Max McLean, with scenic design by Cameron Anderson, costumes by Michael Bevins, lighting by Jesse Klug, and sound by John Gromada. All done with excellence. I especially enjoyed the technical aspects of the show (and the use of sidelight was the highlight of the overall brilliant design).

Brent Harris (not pictured) played
Screwtapeat this presentation.
This cast consisted of but two players, Brent Harris as Screwtape and Tamala Bakkensen as Toadpide, his minion, both quality performers. The show was dramatic and beautifully executed in every way. Bakkensen was a hoot and her performance was agile and, with just demonic gibberish, quite entertaining.  Harris carries the bulk of the show and is a demanding presence. BUT, in the end, it amounts to a ninety-minute discourse in theology--dramatic as it may be.

I found the play, like the book, heavy handed and difficult. There is not a single C.S. Lewis book that I have read that I liked (be it fiction or non). I like his stories and his intellect, but not his way of telling. Many do, I understand that, for he brings great insight into theology and Christian issues (though I am inclined to disagree with his take on certain issues).

This work is certainly an eye-opener, and though many find it funny, I did not. It cuts to the marrow with its message, so be prepared to look for lessons and be challenged. You should be convicted. It is a creative and stellar work that examines human frailty and the shortcomings of the Christian church (blaming it on demonic influence).



All photographs and video provided.

Friday, June 14, 2013

REVIEW: Magenta's "Around the World in Eighty Days" Jolly Good Show

The book Around the World in Eighty Days has always been French author Jules Verne's best known and loved work. It is also his most humorous novel, even though it was written during hard times for both France and Verne.

Though the author is known as "the father of science-fiction," unlike his other works (of which there are more than sixty)--most notably 20,000 Leagues Under the Sea, and Journey to the Center of the Earth--Around the World in Eighty Days is not a work of science-fiction. All of the technology and modes of transport were contemporary for Verne. Okay, enough of the background and interesting factoids.


Magenta Theater presents the madcap comedy-adventure "AROUND THE WORLD IN EIGHTY DAYS" adapted for stage by Mark Brown. The production is ably directed by Bryan Schmidt. I guess it's Magenta's niche. If not, it's what they'll be known for--those zany, frenzied shows where the few play the many in dozens of locales all depicted sparingly.

David Roberts (center) plays Phileas Fogg at
Vancouver, Washington's Magenta Theater.
And it's a wild ride, so,yes, hold onto your seats for the original amazing race as Phileas Fogg and his faithful manservant race to beat the clock and win the bet.You can expect stampeding elephants, raging typhoons, and runaway trains as five actors portray thirty-nine characters as they traverse seven continents in this whirlwind of a show.

The Cast


David Roberts takes the lead as Phileas Fogg, British aristocrat. He is charming, all business, and keeps a stiff upper lip. A delightfully good performance, though you'd think by now Roberts could get a British accent down. (Sorry Dave, work on that.)

Bethie Duvall is equally charming as Auoda (and she plays other roles as well). Tony Provenzola again plays a multitude of roles (fifteen in all), though there's not a lot of difference between them except costume. His Proctor was best. Justin Tanner was jolly good in his assortment of roles and was best at the mugging Detective Fix, Andrew Stuart (Bully!) and as Rev Wilson's servant (in drag...again).

It was Matt Newport who really stole the show as the French manservant Passepatout (though he was equally great in the small role as the Englishman John Sullivan). His was one of those truly magnificent performances. He stayed with that French accent and did a very droll Brit as well. The audience loved him! (And so did I.)

The Creds


As typical of (and as mentioned) with Magenta's wild romps through multiple locations, the set (by Justin Tanner) is sparse and merely suggestive of the many scenes (though often comically so--and in a good way). Four steamer trucks provide the bulk of the set and are used to good effect.

From L to R: Matt Newport, Justin Tanner, Tony Provenzola, David Roberts
and Bethie Duvall in "Around the World in Eighty Days." Photo provided.
The costumes (by Bethie Duvall) and lighting design (by Andrea van de Bruggan) were quite nice--though not all costumes were period. Cheap beards and wigs were used to comic effect (as are several props). The running crew did a smash job as well.

Jolly good show, I say! The audience was kept roaring with laughter throughout. The production runs now through June 29. For tickets click here.

By Gregory E. Zschomler
Photos provided.

Thursday, June 13, 2013

"Around the World in 80 Days" Opens at Magenta Friday

Don't forget that "Around the World in 80 Days" opens at Magenta tomorrow night, Friday, June 14.

I'll be there and my review will be posted Saturday morning.

Be sure to check back.

Monday, June 10, 2013

C.S. Lewis' "Screwtape Letters" Hits the Boards in Portland, Oregon

I WILL be seeing this play Saturday.  And I will review it (in case anyone might want to do it in the future). I'm also announcing this PNW premiere in case you might wish to see it. It has a limited engagement (for this weekend only).


THE SCREWTAPE LETTERS is a smart, provocative and wickedly funny theatrical adaptation of the C.S. Lewis novel about spiritual warfare from a demon’s point of view.

It was a hit in NYC where it played 309 performances at the Westside Theatre in 2010. Prior to that it ran for six months in Chicago. The Chicago Tribune described THE SCREWTAPE LETTERS as the "most successful show in the history of Chicago's Mercury Theatre." It, also, had two engagements at The Shakespeare Theatre in Washington, D.C. where it played for ten sold-out weeks.

The national tour of THE SCREWTAPE LETTERS will play in over fifty major cities and performing arts venues throughout the United States.

The play, set in a eerily stylish office in hell, follows the clever scheming of Satan's chief psychiatrist, Screwtape, as he entices a human 'patient' toward damnation. In this topsy-turvy, morally inverted universe God is the “Enemy” and the Devil is “Our Father below.” The stakes are high as human souls are hell's primary source of food.

DATES: Fri., June 14, 2013 at 8 p.m. and Sat., June 15, 2013 at 4 p.m. and 8 p.m. - 3 SHOWS ONLY!

PLACE: Newmark Theatre, Portland Center for the Performing Arts, 1037 SW Broadway.

TICKET PRICES*: Tier 1 - $59, Tier 2 - $49, Tier 3 - $39 - Limited time discount offer:

BUY NOW & SAVE $10.00 OFF TIER 1 & 2 TIX! - Use code: HPR10 *Venue facility and service fees will be added to all purchases.

ONLINE: Buy tickets now If you have a promotional code please enter at purchase.

PHONE: TicketsWest: 800.273.1530

IN PERSON: PCPA Main Box Office, 1111 SW Broadway. Hours: 10am-5pm, Mon-Sat.

GROUPS: Call 866.476.8707 for 10 or more tickets. Students: $25*, valid student ID required. *Service fees apply.

Run Time: 90 minutes without intermission. Age Appropriate: 13 and up. Children under 4 will not be admitted into theatre.

Friday, June 7, 2013

REVIEW: OSF's "The Unfortunates"

You know how I generally like musicals. And happy theater. And musicals are usually happy, right? Well, not this time. Here's an unhappy musical and I didn't really like it on that level.

Continuing and completing my review of three Oregon Shakespeare Festival plays I take a look at the world premiere of  the musical"The Unfortunates."

Armless and big fisted.

The Message:


"A musical pilgrimage through uniquely American genres [jazz, blues, gospel] delivers five prisoners to salvation — or at least keeps the terror at bay. Facing an uncertain end, they bring to life the story of Big Joe, a tough bartender who risks everything to save the armless courtesan Rae from a deadly plague. Combining the heat of a gospel revival with the sweet sorrow of the blues [and hip hop], 'The Unfortunates' convinces us that any great challenge can be faced with dignity, grace, and compassion. [Even if all's not well and doesn't end well.]

It is difficult material, sad and brooding for the most part (much like Les Miserables), though it ends with a lively tune (Lord, Raise Me Up) that indicates the hope of the hereafter.

The Music:


A dance number on the set of "The Unfortunates."
I love the blues, I love gospel, but not so much when it comes to hip hop and this is an amalgamation of the three--a synthesis opera of sorts. Generally that did worked for me.

The music was a mix of recorded pieces and live music from a small ensemble (Casey Hurt on bandleader and guitar, Jesse Baldwin on keys, accordion and guitar, Mike Fitch on drums and Joseph Porto on bass). They were quite good.

The writers, Jon Beavers, Casey Hurt, Ian Merrigan, Ramiz Monsef were all in the show. Obviously genius musicians and writers, not all were as good at performing the material. I speak primarily of Ian Merrigan who wasn't particularly strong in his lead role(s)--not strong enough anyway. Especially compared to the other members of the talented cast which included Kjerstine Rose Anderson, Rodney Gardiner, Cristofer Jean, Barret O'Brien, Christina Acosta Robinson, Ken Robinson, Jon Beavers and Chavez Ravine as well.

Ramiz Monsef, right, as the doctor.
In top form, however, was Ramiz Monsef, a superb actor. Monsef was splendid in his roles as the heavies (especially as the doctor) and Ken Robinson was tops as the religious-irreligious Preach.

The Making:


The production values were exceptional. The sound (Corinne Carrillo) and lighting (Jiyoun Chang) design, the sets (Sibyl Wickersheimer) and costumes (Katherine O'Neill) all glorious. Technically the show was a marvel with an overall Cirque du Soleil feel in a serious funk. Color changers, fog, moving lights and gobos, lifts, chases and much more added to a simply striking look. The choreography, by Tiffany Rachelle Stewart, was also stunning.

Ian Merrigan the foreground as King Jesse.
As indicated, the show was a downer and often bawdy--I wouldn't recommend it for children due to the dark material, some blasphemous religiosity and sexuality. Having said that, the show was entertaining for its quality music and production.

Very advant garde and, if you like that sort of thing, you ought to see it. The direction, by Shana Cooper, was well done.

The musical's running time clocks in at about 90 minutes (which was long enough) and it is showing now through November 2. More information and tickets are available here.



By Gregory E. Zschomler
A link to a review by Dennis Sparks here.
All photographs and video provided.

Thursday, June 6, 2013

REVIEW: OSF's "Two Trains Running"

"It’s 1969, and change is in the air. But for the owner of a threadbare diner in a dying Pittsburgh neighborhood, the civil rights movement may just be an impractical dream. Torn between whether to gamble on an urban-renewal buyout or sell his building to a predatory businessman, he finds himself caught between idealism and brutal reality.

August Wilson’s searing portrait of African-American life in the ’60s tells a complex story of the inner lives of ordinary people at an explosive turning point in American history."

Here I continue my review of shows at the Oregon Shakespeare Festival. Yesterday I saw "A Streetcar Named Desire," tomorrow I'll see "The Unfortunates," but, for now, here's my review of "Two Trains Running."


"Two Trains Running" is Right on Track


This is an exceptional production in every way. It constantly held my interest even though the run time is roughly three hours. Didn't seem like it. However, I did feel some of the pacing could have been picked up. The waitress (Bakesta King as Risa) slowly shuffles through her blocking--it was intentional and has some humor to it, but seems unnecessary; and with her pace picked up a good fifteen minutes could have been cut from the show. That is my only dis; and  I'm sure some would disagree, though others feel me.

Tyrone Wilson (Hambone), Bakesta King (Risa) and Terry Bellamy (Memphis) in
the Oregon Shakespeare Festival's "Two Trains Running." All photos provided.
I loved this show! The writing, by Wilson, is excellent and every line is meaningful. Every word seems ideal though sometimes the character of Memphis launches into a monologue that tells rather than shows. But the beauty of the play is in the dialogue and so much can be gleaned from this gem. Very rarely is this show crass and swear words are used sparingly, but the 'n' word is used freely and frequently. At times the show is sad, touching, and funny, but always eye-opening. Very satisfying.

The Cast:


King, Josiah Pillips (Holloway), Wilson and Kevin Kenerly (Sterling).
Terry Bellamy as Memphis, Kenajuan Bentley as Wolf, Bakesta King as Risa, Josiah Phillips as Holloway, Kevin Kenerly as Sterling, Jerome Preston Bates as West and Tyrone Wilson as Hambone.

All performed admirably--each bringing a unique character to life, under the direction of Lou Bellamy. A couple bordered on caricature, but never quite stereotypical.

Bentley brings a great deal of smooth to his role--the way he moves his body, his facial expression--but that smooth did not come through vocally. I loved the performance, but felt a tad more jive was in order. Bates stood out in his depiction of West--a fast talking, wheelin' dealin' undertaker. Of course, I couldn't help but fall in love with the bum Hambone, which of course is the point.


Risa (King) and Sterling (Kenerly) have their moment.
Wilson played him with panache. And while King seems bland and emo-tionless in act one, she brings the heart to act two. Don't mistake the act one perform-ance for a 'dial in'; it's part of the defensive persona. All were interesting to watch even when they weren't the center of attention--they never left character.

Of course, August Wilson's alpha male in this show is Memphis and Terry Bellamy ably carries the the show in the role. Perhaps his second act drunk performance is the best I have ever seen. Bellamy handles the emotional roller-coaster and stresses of the character with great aplomb.

The Creation:


Working man Memphis faces off with beggar man Hambone.
The set, as you can see from the photos and video, is marvelous. But the photos don't do it justice, you can't see the whole thing nor appreciate its dimension and depth. The attention to detail is exceptional. The sound design, as well, was a delight and a model to follow. The lighting design was perfect, dramatic and beautifully executed.

I highly recommend you see this! You need to see this. "Two Trains Running" has been running at OSF for a while and is winding down it's run and YOU are running out of time to see it. You have only until July 7. See the schedule and get ticket information here. It is worth the drive.


I want my ham! Doesn't everyone?

For more fascinating views of the set and behind the scenes videos click here.

By Gregory E. Zschomler
All photographs and video provided.
Read a review by Dennis Sparks here.

Tuesday, June 4, 2013

REVIEW: OSF's "A Streetcar Named Desire"

I never much cared for Tennessee Williams' Pulitzer Prize-winning classic drama "A Streetcar Named Desire," but then, I'd only seen the movie. Those who regularly read my blog know I'm not one for "gloomy" theater.

I recently took a trip to New Orleans and had the opportunity to see first hand the city where Williams lived and wrote--and wrote about.

Furthermore, I have always wanted to go but had never been to the Oregon Shakespeare Festival in Ashland, Ore. Thanks to Dennis Sparks and the comp press tix from OSF I was finally able to go.

Kate Mulligan (Blanche) and Danforth Comins (Stanley).
All Photographs and Video provided by OSF.
Needless to say the experience so far has been quite good. I really enjoyed "Streetcar" even though it addressed some darker issues. It was well presented, well acted and, of course, well written. There was still a lot of comedy, too, and, overall, highly entertaining (though I do not recommend it for children).

The Tale:


Southern aristocrat Blanche, down on her luck, is reduced to living with her sister Stella and Stella’s pugnacious blue-collar husband, Stanley. Life with them in their tiny tenement apartment is unbearable until a kindly suitor appears and seems to offer Blanche a ticket to a better life. But Stanley, bristling at Blanche’s high-handed dismissal of him, sets out to dismantle her genteel facade, hurtling them toward an epic battle.

The Talent:


Stanley pleads with Stella to return.
The cast was simply delightful. Nell Geisslinger slightly underplayed her role as Stella while Kate Mulligan slightly overplayed her role as Blanche. The rest of the cast matched each other in the playing of their roles. In other words they worked on the same level of realism. Blanche is a difficult role to nail and Mulligan seemed just a little over the top, bringing a fantasy level to the character. Jeffery King played Harold with an excellent touch of nervous and nice. But it was Danforth Comins who played Stanley to perfection. He was ideal in accent, physicality, facial expression and emotion.


The Technical:


The set was beautiful--a wrought iron, three-story build which was 'weighted' toward the top and leaning over the primary acting area--suggesting a tipping sanity. At one point rain dripped down the partially clear facade adding a nice effect. The set was well lit to great effect and the cues were beautifully executed. Haze was used  in such a way that it added a dreamy quality to the upper stories of the set and highlighted the lighting.

Costume and set dressing were particularly well done with great attention to detail--even a JAX Brewery box (a NOLA tradition). The sound design was excellent. The direction, by Christopher Acebo, was nicely handled.


Content Notes:

"For viewers familiar solely with the popular movie, the original stage version of 'Streetcar' may be a surprise with its more explicit dialogue" [although tame in comparison to many contemporary plays]. There is some explicit touch (groping) and sexuality, the use of profanity (including the Lord's name), smoking, drinking to excess, domestic violence, and male buttocks are seen briefly.

Streetcar runs now through November 2. Dates, times and ticket information here. This is a quality production and I highly recommend a trip to Ashland to see this play and experience OSF.

By Gregory E. Zschomler
Get Dennis Sparks' review here.
All photographs and video provided.

Monday, June 3, 2013

In Earnest About EARNEST

I tell you what? Let's all do "The Importance of Being Earnest" this season and we'll compare productions. Only a few of you left who need to come on board.

In fact, we can compare our productions to to one another's and all the times we've previously seen the show, too. Can you ever see it enough?

Sunday, June 2, 2013

Ashland or Bust: OSF Bound

Three days in Ashland at the Oregon Shakespearean Festival coming up with Dennis Sparks this week and that means three (actually six) reviews for you.


We'll see a play each day for three days beginning Tuesday. Look for the first review to be posted Wednesday, with one following Thursday and one on Friday.

We'll be seeing "A Streetcar Named Desire" by Tennessee Williams on day one. Southern aristocrat Blanche, down on her luck, is reduced to living with her sister Stella and Stella’s pugnacious blue-collar husband, Stanley. Life with them in their tiny tenement apartment is unbearable until a kindly suitor appears and seems to offer Blanche a ticket to a better life. But Stanley, bristling at Blanche’s high-handed dismissal of him, sets out to dismantle her genteel façade, hurtling them toward an epic battle in Williams’ Pulitzer Prize–winning classic.



We'll also be seeing "Two Trains Running." It’s 1969, and change is in the air. But for the owner of a threadbare diner in a dying Pittsburgh neighborhood, the civil rights movement may just be an impractical dream. Torn between whether to gamble on an urban-renewal buyout or sell his building to a predatory businessman, he finds himself caught between idealism and brutal reality. August Wilson’s searing portrait of African-American life in the ’60s tells a complex story of the inner lives of ordinary people at an explosive turning point in American history.



Finally, there's the new musical "The Unfortunates." A musical pilgrimage through uniquely American genres delivers five prisoners to salvation — or at least keeps the terror at bay. Facing an uncertain end, they bring to life the story of Big Joe, a tough bartender who risks everything to save the armless courtesan Rae from a deadly plague. Combining the heat of a gospel revival with the sweet sorrow of the blues, "The Unfortunates" convinces us that any great challenge can be faced with dignity, grace, and compassion.

Saturday, June 1, 2013

Serendipity's "Fuddy Meers" Funhouse of Life

The dark comedy is written by David Lindsay-Abaire, and directed by Tony Broom and Joni Moore plays through June 8 at Serendipity Playhouse, 500 Washington St., Vancouver, Wash.

Depending on the individual, life can be seen from many different angles or perspectives. It’s like, in this case, looking through a prism or kaleidoscope, where everything appears distorted or jumbled. And dysfunctional families can appear to be pretty normal, considering the basis for comparison. In other words, if normal is crazy, in this world, then what is crazy. An interesting premise and the core of this story.

As we look through these distorted, funny mirrors (“fuddy meers”) of a funhouse we meet Claire (Alicia Marie Turvin), a patient in her own home, with a type of amnesia that allows you the skills of  function but, by the next day, your memories of who you are, will have disappeared. Her husband, Richard (Tory Mitchell), attempts to help her by creating a memory album or log of her past, conveniently eliminating certain aspects of it for her own good.

Gary Romans as Millet with (puppet) Binky.
All photos by Christopher Paradee.
Her son, Kenny (Mac Alexander), is a doper and is of no help. Enter her “brother, Zack” (Brian Reed), a disfigured, limping man, and a cohort, Millet (Gary Romans), who has his own little friend, a foul-mouthed puppet named, Binky. They abduct Claire, and take her to her real home, with her stroke-recovering mother, Gertie (Jan Rosenthal), whose speech is garbled by her recent illness.

But, not to be outdone, Richard and Kenny do not take kindly to this kidnapping and charge to the rescue, only to be intercepted by a nosy cop, Heidi (Cecelia Harper). Suspecting dope, she attempts to detain them, but is taken prisoner instead. The chase ends with all the suspects at Gertie’s house where, little by little, the true story is revealed.

 I can’t tell much more of the story without giving away plot twists. But it’s safe to say that not everybody is who they appear to be. For instance, what are manacles doing on two of the characters’ wrists? How did her brother really get his scars? And who is “Philip” that Claire keeps calling for?

The set/lights, also by Turvin, reflect nicely the crazy-quilt atmosphere of the show. And the transitions between the many scenes are reasonably smooth. The direction by Broom and Moore do well in reflecting the chaotic pacing of the story, with a couple of nicely done fight scenes. But they need to stress to the cast, the need for picking up cues, as that is crucial, especially in a comedy.

Alicia Marie Turvan and Brian Reed in "Fuddy Meers"
Turvin, as Claire, is the heart of the show and it beats a steady rhythm with her in the lead. It’s not an easy character to portray, as she must ride that thin line between madness and sanity, as well as become a sympathetic person for the audience to identify with. She does this with ease. Another difficult character is played by Rosenthal, as Gertie, as many of her lines are deliberately garbled and yet must be communicated by the actor, as though she knows what she’s talking about. This, also, is a well performed.

Reed, as the not-too-bright, scarred man is wonderful in the way he slurs his speech, has uncontrollable fits of rage, and lumbers about the sets like a bull in a china shop. Again, well done. Romans, as his partner, Millet (and like-wise, his partner, Binky) are a joy to watch. Again, a difficult character, well executed. And Mitchell, as her kinetic care-giver, Richard, is a live-wire on stage. His energy alone makes up for some of the lost timing of the others.

Jan Rosenthal in Serendipity's "Fuddy Meers"
Harper, as the “cop,” Heidi, comes on like a loose cannon. She barrels through the scenes like a dynamo, giving good contrast to the other eccentric characters. But Alexander, as the son, is a little too subdued and needs more direction/force to compete with the madness of the surroundings.

I would recommend this show but, keep in mind, the adult language and situations are not everybody’s cup of tea. If you do go, please tell them Dennis sent you.


WARNING: This play is not for everyone as it contains raw language and humorous references to substance use.

Mac Alexander, Tory Mitchell and Cecelia Harper.
Opening night is May 31 at 8:00 PM. The production run includes performances at 8 PM on June 1, 6, 7, 8, 14, 15, 21, 22, with Sunday matinee performances at 2:00 PM on June 9, 16, and 23. Thursday, June 6th at 8 PM is a "Pay What You Will" performance. All performances take place at The Serendipity Playhouse, 500 Washington St, Vancouver,Wash. For further information, check out their website at www.serendipityplayers.org

Tickets are $15 general admission and may be purchased online at www.serendipityplayers.org, or reservations can be made by calling 360-834-3588. Tickets are also available at the door. Doors open 30 minutes before the performance.

GET YOUR TICKETS HERE

By Dennis Sparks, Guest Reviewer
www.dennissparksreviews.blogspot.com