Here are a few more items I’m not likely to see myself, so tell me what you thought. Then hang on—the calendar for September is chock-full.
A re-worked City of Gold from Hand2Mouth Theatre
Looking for Olivia from La Bodega Productions
’Night Mother from Tonic Productions
TBA:06 from PICA
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48 comments:
Looking for Olivia rocks!!! It's funny and shmulzty and a dang good time....it's not trying to re-invent the wheel it's well done fun...and Paul Angelo as Henry Thompson is a real find --what a wonderfully real and honest actor...keep an eye on La Bodega...with stuff like Cannibal the Musical coming up---I just can't wait....it's nice to see a company out there that's just trying to entertain people-- so much theatre seems to get heavy and "say" something not that that's bad but there's room for all of it in my viewing world!!! Well done Steve Coker and La Bodega.
Yes... I hate it when things "say" something.
Or worse -- something's that both says something and is entertaining at the same time.
If you read the first comment with a voice of complete straight-face sarcasm, it really works.
works even better read as over-the-top sarcasm, complete with eye rolling and histrionic posturing.
Saw the first half of Olivia and decided to rock the nickel arcade instead of enduring the second act. Screwball comedies aren't supposed to depress you by their sheer awfulness. The whole time I was watching that first act I was thinking to myself: "How did they get through all those rehearsals without someone raising their hand and mentioning the fact that the script they were all reading was total crap." I almost wanted to bumrush the stage like KRS-One did to PM Dawn and save the audience from the horror of it all. Instead I just slinked across the street to the Avalon during the intermission and played Lord of the Rings pinball for 20 cents a pop until my faith in humanity was restored.
The superior attitudes on this blog are always good for a an eye roll and a belly laugh....
I wish there was a better way to put this...but Looking for Olivia sucked. And I really wanted it not to.
'Night, Mother was pretty strong.
I came away wanting to see more of both of these actors.
You're not planning to see anything at TBA? Could you expand on why? BTW, your initial post implies that the shows you're not able to see are not in September and I think they all are including TBA, September 7 - 17.
Anon. 2:09: To answer your question, what I see is generally (though not always) determined by what's Drammy eligible -- which alone is more than even I can get to. The few shows I see outside of that dilineation are dependent on my schedule, my budget and my personal interests. I might have been able to beg a press pass from the TBA folks (or take in just the free performances), but my new schedule is making it a challenge to simply keep up with the Drammy-eligible shows alone.
As for the post, all but TBA:06 are currently running.
Regarding the "entertainment" vs. "message" dialogue, check out this clipping, courtesy of ArtsJournal:
Can Theatre Make A Social Difference? "As theater’s foothold in American culture has steadily shrunk over the last 50 years or so, the chance that a play could have any significant influence on social or political discourse has also waned. To be influential a playwright’s voice has to be heard, and it’s become harder to hear the lonely cry of the outraged playwright as the media landscape has been monopolized by more profitable and more easily mass-marketed forms of entertainment." The New York Times 09/04/06
http://www.nytimes.com/2006/09/03/theater/03ishe.html?_r=1&ref=arts&oref=login
Despite its (many) shortcomings, I enjoyed Looking for Olivia. It was funny and mindless and cheap.
There's nothing wrong with producing "unimportant" shows. You have to pay the bills somehow. But there must be a balance. A company that only produces revivals of The Odd Couple isn't going to have much credibility as artists.
Steve Coker's doing his thing with his own funds because he loves it. All the power to him. But what of the larger companies in town? ART is off to a good start with Metamorphoses, but what's with the alien show in the spring? And what kind of tone is PCS trying to set by opening their seaon and their new theater with West Side Story? Sure, the music's great, but is the show really relevant?
Third Rail has a great thing going: immaculately professional, entertaining productions of challenging, sometimes frightening plays. Same with Vertigo and Imago. So why the Sharks vs. Jets at the Armory?
I think WSS is very relevant -- Portland's gangs may be an easy correlation (and something none of us thinks much about outside of reading a headline in the newspaper from time to time), but just think about the whole change in demographics and the face-to-face of cultures happening right here, right now (a huge growth of hispanic population in the metro region) -- perhaps not that different from NYC when WSS opened years ago. And immigration issues, too -- what it means to be here, live here, to be American -- all make this musical very relevant to our here-and-now-today.
http://www.seeklyrics.com/lyrics/West-Side-Story/America.html
Not to mention that's it's just about one of the best classic musicals around.
I love West Side Story, and spent my formative years dancing around the kitchen to the broadway cast recording, but the idea that the Sharks and the Jets bear any resemblance to actual gangs in Portland or elsewhere is honestly pretty ridiculous. It's a great musical, but it's got about as much relevance and cultural cache as the Nutcracker. By which I mean, there's a place for it (for us, maybe I should say) and it SHOULD be performed many times over-- but not as PCS's inaugural show at the Armory, not as the show that symbolizes where they're going as the largest theatre in Portland. The fact that they're doing WSS tells me that what they're interested in is playing it safe.
I've heard a lot of people taking issue with the choice of show to open the new Gird-Your-Loins theatre (which, frankly, I could care less about what title was the very first show in this space -- big whoop) --
So here's the question, La Foi (and others): In your opinion, what show WOULD be "the perfect" show to say something about the theatre, the city, our times, the place, the Armory -- whatever ... what title would be a knockout opening?
Hmm...I rather like "The Odd Couple"...when performed with aplomb.
Regarding 'message' vs 'entertainment', I fall squarely into the camp that believe these two notions are in no way mutually exclusive. I think the real question is: what qualifies as a 'message'? Does "The Odd Couple" have a message? Does "Olivia"? Does Brecht? Coward? Stoppard? Frayn? Wilson? Kaufman? Ferber? Shaw? Who gets to be the police for what is a meaningful enough message? What an arrogant thought to presume to know these answers.
As artists, we seem too often to be in the business of narrowing the boundaries - drawing careful lines around what is and is not acceptable or worthwhile art. To me, this practice is almost always self-serving. . . or at least self-centered. It always seems to me an effort to validate one's own "bent". I tend to respect artists that have the humility to cast a wider net - artists who, at the very least, derive joy from calling diverse expressions to the table and discussing them. I am disheartened by the air of supremacy and exclusivity that I hear from traditionalists as well as from proponents of more contemporary works.
The one thing that this blog always seems to lack is moderates...is there room to appreciate an enduring script (whether it is socially groundbreaking is another matter) and also appreicate a cutting edge new work?
For example, the battles rage on about whether it is possible to do traditional musical theatre shows and still maintain artistic integrity (I vote a resounding 'YES', BTW) or whether theatre must be brand-spanking new and to-the-hilt-avant-garde in order to be considered worthwhile.
Is there room for a spectrum within one artform, or are we to the point where these two worlds must part ways and accept that they truly are, at their respective centers, two different mediums?
Sometimes, we are as partisan as politics, it seems.
What about David Edgar's two part CONTINENTAL DIVIDE, which is about the buildup to a governor's election in a western US state?
That would have been awesome.
In regards to the question of what show SHOULD PCS open with, I think there are several criteria that would be important.
First, I think it should be an American classic. This has been the bread and butter of American regional theatre for the last 70 years and despite what they might WANT to be, PCS is a member of this. This would guarantee large houses for the opening of the theatre as well as provide oportunites to bring in groups from local schools to show their committment to helping educate our young lads and lasses.
Second, it should be both challenging and entertaining. These are the two things that theatre does best when done well. It would show that PCS is committed to both entertaining and challenging work, thereby not alienating either faction who sees theatre as purely entertainment or a social barometer. (And I know there are a million factions in between these two groups).
Third, I think the show should be a large cast show that uses a high percentage of Portland actors, especially in leading roles. This would say to the theatre community "you are important to us and we will produce work that you will be a part of." It would also show the Portland community at large that they are committed to showcasing the best of local talent.
So, what does that leave us? As weird as it may sound, I think they should have opened with "Inherit the Wind". I leave it to you kind folks to now rip this choice to shreds.
If anyone is familiar with the TBA lineup, could you recommend a few things worth seeing?
I got a copy of the huge program and have been studying it for some time, but there is a lot to go through.
For people who are not going to get a pass to the entire thing, what are a few selected theater / performance events you would recommend?
Yubiwa Hotel should be great. The floating contraption tomorrow on the Willamette, too. Wau Wau Sisters are rumored to be a must-see. Jollyship the Whizbang, also.
WSS doesn't seem like an unlikely choice to me. Granted, I don't see much theatre at the big two companies, and I'm not much of a fan of musical theatre, but isn't their Artistic Director a huge musical fan? Is it only because they're the towns biggest theatre that some people want something else from them? Hasn't PCS probably gotten where it is, in part, by showing the Portland community that it can do chestnuts like this as well as, or better than, anybody else in the area? Again, I'm probably not going to see it, not by bag; I count on the small to mid size comapanies to deliver stuff I like, not PCS. I didn't expect that to change just because they got a new building.
harlan asked:
>Hasn't PCS probably gotten where it is, in part, by showing the Portland community that it can do chestnuts like this as well as, or better than, anybody else in the area?
In a word, no.
I barely made it through "Gypsy" and only Ron Daum made "The Fantasticks" remotely palatable. (Both assessments IMHO)
I admire Chris Coleman's love of musicals, and his desire to keep them in the PCS rotation, but I respectfully wish he would bring in more qualified people to direct them.
I'm certain that some folks liked these shows better than I did, but it's pretty far off to say that PCS rivals the big musical houses in the Portland area in the musical milieu.
Of the several musicals I've seen at PCS, the only one I was impressed by was My Fair Lady, and even that one didn't seem thought through to completion. Broadway Rose has really mastered musicals in Portland.
I don't think a musical is a bad way to open a season--it's big, fun, and brings in new audience members--but why not do something a teensy bit more challenging than WSS? Cabaret, maybe?
I am pretty excited that Westside Story is being done. No one seems to do it, and I think the Armory is the perfect setting. Besides possible social issues that may or may not be relevant, I can't wait to see some great dancing from some up and coming talent. Westside was a showcase for unknowns when it first opened - a kind of renaissance if you will. To me, sounds like PCS is on to something - Cheers and BREAK LEGS!
Cabaret would be excellent! Now THAT is a show that seems eerily timely right now!
Again, don't get me wrong, WSS is a wonderful musical. But why not do something that responds a little more sharply to the current events?
Another idea: Sweeney Todd. Anyone heard about the production of it on Broadway right now (actually I think it might have closed now) in which the nine actors play all parts and also all the intruments? I wouldn't expect PCS to be able to pull something like that off but... come on, do SOMETHING.
I don't mean to be a complainer, I just see that when they do take some risks, it pays off. For instance: Merchant of Venice, which I didn't see but which caused a delicious fervor in Portland, and O Lovely Glowworm. Things like this get people excited and talking and I would think they'd choose something like that for their first show in the Arm.
When it comes to the PCS season, I'm stumped by "Bad Dates" -- not only do I find it an odd choice, but it was just done by Triangle a year or two ago with Daria.
Regarding PCS, as just-a-normal-person who goes to shows, I'm glad to see them returning to a schedule of things I'm actually willing to spend money to see. I pretty much gave up on them a while back, because it seemed like their entire season was weird stuff I wouldn't sit through if you paid me. Experimental/edgy/confrontational theatre is fine if you have a paying audience who's willing to endure it, but at the end of the day it's an entertainment business, and they need to sell a product that people are willing to buy. Give me some Shakespeare or even Charley's Aunt, any time!
This could be an interesting discussion topic - the differences between what theatre people and the general public enjoy.
Seems like a real (and necessary) skill as a theatre person to see through the public's eyes and understand what they want.
I think part of the idea of PCS having two stages in the new space is that they can do both big, audience-pleasing stuff and smaller-scale, edgy stuff or new plays. (Not that they couldn't do big, edgy stuff on their mainstage and intimate, character-driven stories on the other.) Ideally, they can maintain subscribers and mainstream single-ticket buyers and build a future audience looking for a challenge.
Regarding seeing through the audiences eyes: I don't know what it's like for those of you who do theatre. But as a sometime working musician, I gave up trying to figure out how to please people that aren't musicians (or anybody else for that matter) a long time ago. The most sure way to go seems to be to do what you are interested in and like doing. I respect and am interested in the perspective of non-musicians about music, but I don't hear it the same way they do. Now maybe it's different in big theatrical organizations when you've got people involved in choosing shows that aren't necessarily actors or directors or what-have-you.
Well, yes, but isn't music usually easier to stage and enjoy (as a participant) even if no audience shows up?
no.
To Anonymous 10:55 and anyone else who's trying to decide what to see at TBA, I had a wonderful time at Nature Theater of Oklahoma last night (go early especially if you don't have a TBA pass; they will sell out) I don't want to spoil any surprises, but the show is a gradual build into pure delight. Excellent use of the space, surprises, humor, tension.
I was completely blown away by Tanhi Holt in Room. This is an opportunity to watch a performer be absolutely present and vulnerable onstage. I wasn't as fond of Linda Austin's half of the show but I was so blissed out by the first half that I didn't care.
Also looking forward to Ten Tiny Dances at The Works tomorrow night and I hope I can see Julie Atlas Mus.
Jollyship the Whizbang will be at the Works tonight, and I saw their show last night, it was fun - somewhere between a puppet show and a rock band.
As a tangent to the TBA discussion, I'm curious how readers here distinguish between a theater event and performance art? There's obviously a grey area joining the two, but how does one differentiate something that's purely in one camp or the other? Is it, perhaps, a matter of abstraction?
All theater is performance art and vice versa. But calling your work performance art lets you get away with creating a performance that no one likes.
I don't know many performer/creators who use the term "performance art" to describe their own work anymore. It seems to have become a derisive term that people sling around to describe performances of all kinds that they don't like: maybe shows with overt political content, hybrid performance forms, or anything that deviates from the traditional (whatever that is).
I agree with Anonymous 9:53 in part. There is such a melding of forms and traditions now that the term "performance art" is practically meaningless as a definition. I think that in general audiences are more accepting of this trend and theatre artists are more versitile as well as more interested in crossing boundries. So terms like physical theatre or dance theatre are increasingly obsolete. It's all theatre. It's all a performance. As an audience member you need to rely more on description of the piece rather than a label to decide if it's something you want to see.
Personally I'm excited to see artistic silo's continue to crumble. I'm really glad there's an organization like PICA in Portland, although I wish they had more programing throughout the year.
I went to two TBA events and was disappointed.
The first was YUBIWA HOTEL. This felt insubstantial. I did not get much out of it. Did anyone like it? Why?
The second was Mark Russell's lecture at W + K. This took me back to college and various wannabe deconstructionist debates of the late 80's. Actually felt like a bit of a time warp. Very flimsy.
I guess I look for more intention, artistic vision, and craft than what seems to characterize these type of "happening" events.
Whether it's looking for a doctor, electrician, car mechanic, swim coach, or artist, I look for someone who is experienced, talented, focused, and knows what they are trying to achieve and what they want to say.
Simply marshalling random found object attributes of the immediate environment into a collage doesn't do much for me.
Hearing something like "we have no way to predict what may happen here today but whatever does will be exactly what we wanted" scares me every bit as much in the theater as it would in the car repair shop or dentist's office.
I guess my antithesis to Russell would be an artist like Mike Leigh. Every single micro fiber of the endeavor is painstakingly created.
For an example of theater that is as perplexing, out there, surprising, challenging, and obtuse as it gets, and yet still radiates a tightly coherent vision - both on the part of playwright and director - check out defunkt's "Second-hand Smoke" by Mac Wellman.
Amazing show.
I've seen almost everything TBA has to offer this year, and I would say that 1/3 of the things blew my mind, 1/3 perplexed and intrigued me, and 1/3 sucked and/or were disappointing. As a whole, I've found the experience more invigorating and inspiring than anything else I've seen the rest of the year in Portland, so I would urge anyone who loves theatre and performance to go for the long haul. But if I'd only picked two things to see, and they were the wrong two things, I'd have a different view. Blinglab, Jennifer Monson and Neal Medlyn were, in my opinion, embarrassing. On the other hand, Kiki & Herb, Julie Atlas Muz, Ten Tiny Dances, Universes, the Wau Wau Sisters and Deborah Hay blew my mind and are still haunting me. In the end, whether you call it theatre, dance, or performance art, there is brilliant work and there is crap, and I was happy to see brilliant work in the majority for the TBA festival this year.
What's the word from the re-tooled "City of Gold"?
anyone?
La Bodega's web site says "Cannibal the musical" has been postponed until 2007 and that the company is on hiatus, working on an independent feature film.
Anybody know what happened? Did the show just get shelved cuz they got a film gig?
Given that Steve Coker and his wife are La Bodega, I'd guess that getting a film contract will keep them busy enough to preclude any theater for the time being.
Here are some comments submitted by a reader about Address Unknown at Readers Theater Repertory, Blackfish Gallery, September 15, 2006.
Emotionally wrenching drama of friendship and fatal betrayal by correspondance between two art dealers in SF,USA and Hitler's Munich,Germany. Master actors Tobias Andersen and Michael Mendelson directed by Mary McDonald-Lewis portray a German and a Jew caught in the early years of the Nazi nightmare and brilliantly launch the current season.
In addition to the comments above, here is more information about Address Unknown from the RTR Web site:
This production of Address Unknown is a precursor to two additional productions of the play, produced by RTR: a second staged reading with Andersen and Mendelson at Mt. Hood Repertory Theatre in the Fall, and a fully-mounted production in conjunction with the Oregon Holocaust Resource Center in the Spring.
To avoid starting a new thread, I'll just tuck this little statistic here:
This site recently surpassed its 60,000th visit, now averaging about 175 visits per day.
Oh that's just me visiting obsessively like 120 times a day to see if anyone new has started bitching about something anonymously and bringing drama into my otherwise boring life.
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