Portland Center Stage
July 22-23, 2006 plus various related events
In addition to the show-specific comments listed below, I offer here space for general impressions of the overall event as well as a home for feedback on related events, such as the playwrights’ slam, etc., that I wasn’t able to attend. For me, JAW/West left me hopeful, reassured, re-energized, excited.
Showing posts with label Just Add Water/West. Show all posts
Showing posts with label Just Add Water/West. Show all posts
Monday, July 24, 2006
Sunday, July 23, 2006
Working Title and Telethon
Just Add Water/West
July 23, 2006
Eric Andrews’ curtain raiser Working Title featured a golden scenario of newbie on Fred Meyer’s dime, but despite good pacing with a cast of a thousand customers, the play shops short of completing the transaction. Without knowing what happens to newbie, I’m left hanging from the cliff. Find irresistible resolution.
Kristin Newbom’s Telethon take on family-is-where-we-find-it initially discomforting, irreverently whacked. Comic pathos of motley crew worked at onset, then joke wore down, befuddled over final scene. Can entire play talking around table work? Scenario was a hoot, but what, ultimately, was the story? Good vehicle, destination in sight, path unsure.
July 23, 2006
Eric Andrews’ curtain raiser Working Title featured a golden scenario of newbie on Fred Meyer’s dime, but despite good pacing with a cast of a thousand customers, the play shops short of completing the transaction. Without knowing what happens to newbie, I’m left hanging from the cliff. Find irresistible resolution.
Kristin Newbom’s Telethon take on family-is-where-we-find-it initially discomforting, irreverently whacked. Comic pathos of motley crew worked at onset, then joke wore down, befuddled over final scene. Can entire play talking around table work? Scenario was a hoot, but what, ultimately, was the story? Good vehicle, destination in sight, path unsure.
The Early Applicant and A Feminine Ending
Just Add Water/West
July 23, 2006
Anthony Levy’s amusing curtain raiser The Early Applicant was like high school seniors cracked up on Seuss, wherein girl, boy and Yale entrance essay conspire with audience in racing 11-beat meter. Sparkling performances, even if preliminary pitch had little room to rise. Where rhymes took unexpected twists were sweet surprises.
Sarah Treem’s play A Feminine Ending split votes: what colleagues called whiny, I found complete, affirming; hilarious-yet-human, filled with naturally smart performances by wicked cast acknowledging today’s tipping point: no-longer-20-something, things didn’t happen the way you expected, suspended between self-destruction and self-empowerment. Sweet, sensitive acknowledgment, though instinct predicts short shelf-life.
July 23, 2006
Anthony Levy’s amusing curtain raiser The Early Applicant was like high school seniors cracked up on Seuss, wherein girl, boy and Yale entrance essay conspire with audience in racing 11-beat meter. Sparkling performances, even if preliminary pitch had little room to rise. Where rhymes took unexpected twists were sweet surprises.
Sarah Treem’s play A Feminine Ending split votes: what colleagues called whiny, I found complete, affirming; hilarious-yet-human, filled with naturally smart performances by wicked cast acknowledging today’s tipping point: no-longer-20-something, things didn’t happen the way you expected, suspended between self-destruction and self-empowerment. Sweet, sensitive acknowledgment, though instinct predicts short shelf-life.
Insanity/Sane? and The Listener
Just Add Water/West
July 22, 2006
Meghan McNeill’s curtain raiser Insanity/Sane? delivered pithy (and audience-pleasing) ping-pong patter, but I was left unclear of ultimate point of this light-hearted take on gender issues. Tone of performances seemed to escalate swiftly, even for bigger-than-life 10-minute ruse -- theatrical appetizer where storytelling still excels with distinct beginning, middle, end.
Liz Duffy Adams’ The Listener seemed inflated with recycled quasi-mythic, anihilist-future environment – like second-rate summer sci-fi relying on set-up alone rather than continuing plot, character development. There’s more to Listener’s desperation, but right now it’s glacially-paced, drowned in expository dialogue, overshadowed by predictable ending. Faux-forward slang interpretation made me ill-at-ease.
July 22, 2006
Meghan McNeill’s curtain raiser Insanity/Sane? delivered pithy (and audience-pleasing) ping-pong patter, but I was left unclear of ultimate point of this light-hearted take on gender issues. Tone of performances seemed to escalate swiftly, even for bigger-than-life 10-minute ruse -- theatrical appetizer where storytelling still excels with distinct beginning, middle, end.
Liz Duffy Adams’ The Listener seemed inflated with recycled quasi-mythic, anihilist-future environment – like second-rate summer sci-fi relying on set-up alone rather than continuing plot, character development. There’s more to Listener’s desperation, but right now it’s glacially-paced, drowned in expository dialogue, overshadowed by predictable ending. Faux-forward slang interpretation made me ill-at-ease.
Saturday, July 22, 2006
Neon Orange and Lost Wavelengths
Just Add Water/West
July 22, 2006
Evan Thomas’ curtain raiser Neon Orange was a fantastic kick-off to JAW/West’s weekend of staged readings, giving one-two playground punches to a war-time audience wilty and soggy from the heat and humidity. Within mere minutes, high-energy, on-point performances from Chris Murray and Kurt Conroyd lured us in, then kicked ass.
“Awkward graduated into eccentric.” Steve Patterson’s Lost Wavelengths was delightfully understated, pleasingly reassuring slice of endearing Americana “anotherness.” Top-drawer performances (especially McFeron, Calfas and True) exceeded many fully-rehearsed/staged productions. Quibbles: Cymbal, fades-away songs broke rhythm. Alternating split-focus tiresome tennis match. Characters forsaking journeys makes for promising ending that peters out.
July 22, 2006
Evan Thomas’ curtain raiser Neon Orange was a fantastic kick-off to JAW/West’s weekend of staged readings, giving one-two playground punches to a war-time audience wilty and soggy from the heat and humidity. Within mere minutes, high-energy, on-point performances from Chris Murray and Kurt Conroyd lured us in, then kicked ass.
“Awkward graduated into eccentric.” Steve Patterson’s Lost Wavelengths was delightfully understated, pleasingly reassuring slice of endearing Americana “anotherness.” Top-drawer performances (especially McFeron, Calfas and True) exceeded many fully-rehearsed/staged productions. Quibbles: Cymbal, fades-away songs broke rhythm. Alternating split-focus tiresome tennis match. Characters forsaking journeys makes for promising ending that peters out.
Rest Room and It Goes: You Me You Me You Me You Me
Site-specific offerings at Just Add Water/West
July 22, 2006
In Many Hats’ Rest Room, movement, music and monologues drew us into a particularly public/private space, literally/figuratively, where we saw new facets of three characters (and actors). It Goes… playfully volleyed several dramatists up-and-down stairs, in-and-out doors and around corners, proving that the defunkt performers never take themselves too seriously.
What I love about site-specific work is how new constructs spur new thinking. As much as a traditional theater’s stage is a tabula rasa, it can also be the path of least resistance. Shaping plays for women’s lavatory or stairwell invites re-thinking of connection, distance, dialogue between artist and audience.
July 22, 2006
In Many Hats’ Rest Room, movement, music and monologues drew us into a particularly public/private space, literally/figuratively, where we saw new facets of three characters (and actors). It Goes… playfully volleyed several dramatists up-and-down stairs, in-and-out doors and around corners, proving that the defunkt performers never take themselves too seriously.
What I love about site-specific work is how new constructs spur new thinking. As much as a traditional theater’s stage is a tabula rasa, it can also be the path of least resistance. Shaping plays for women’s lavatory or stairwell invites re-thinking of connection, distance, dialogue between artist and audience.
Subscribe to:
Posts (Atom)