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F r e d m e y e r j e w e l e r s. c o m | 1 - 8 0 0 - d I A m o N d w w w. k A l l At I . c o m
A LETTER FROM THE ARTISTIC DIRECTOR WHO ARE THEY? WHO AM I? WHAT IS THIS MYSTERY THAT IS PROPELLING ME FORWARD? These are questions that humans have been wrestling with as long as we have had awareness to wrestle. And they are the fundamental questions at the center of the final two plays of our season together, The Lion and Three Days of Rain.
In The Lion, Benjamin Scheuer begins his journey when his father, a gifted musician who remains out of the reach of his son’s connection, hands him a toy banjo. The father doesn’t stick around, as the story reveals to us near its beginning, but the yearning to understand him, the desire to connect with him, the anger at feeling left behind – form the fundamental need that propels Benjamin’s journey. It is a journey that is built in music: The music is both the means of traveling the road and the vehicle for sharing the story. Benjamin is a gifted folk musician who, a few years ago, found himself in a meeting at the Goodspeed Opera House with a theater director named Sean Daniels. Sean, who had recently lost his father, connected to Benjamin’s songs and the stories he was telling through them. They struck up a friendship and the idea for a song cycle that would tell the story of a kid with a toy banjo began to take shape. Fast forward to successful runs in N.Y., London, and now Portland.
In Richard Greenberg’s story, Three Days of Rain, the yearning to understand the father also stands at the center of the action. As the play travels through time from its starting point in 1995, back to its end in 1960, the characters (and the audience) find themselves yearning to place the accurate puzzle pieces together that will illuminate what has been, fundamentally, a mysterious relationship with a towering figure who was both a father and one of the great architects of the 20th century. Why this play? Why now? It’s really Sasha’s fault. I read a few years ago in The Pearl magazine that Sasha Roiz (who plays Pip and Theo) had bought a condo in
the Pearl District and one of the things he enjoyed was attending Portland Center Stage. Ahem. Interesting. I tracked down his email address and invited him for coffee. We hit it off and began brainstorming about projects we might work on together. It took a while to get schedules lined up, but in the 18 months that followed, he introduced me to Silas Weir Mitchell and we read several pieces that the two of them might work on together. Three Days of Rain interested us all because it is both challenging and intriguing, offers great opportunities for each of them, and tells a completely fascinating story.
To each of you who have joined us for this journey, whether you’ve been with us for 27 years, three months or this is your first outing — I offer my gratitude. Human beings have been gathering together to share stories as long as we’ve been on the planet, and it remains an enormous privilege to be able to continue that rich tradition here with you in Portland. –Chris Coleman
The Lion title art by Michael Buchino; photo of Benjamin Scheuer © 2014 Nilaya Sabnis. Three Days of Rain cover art by Michael Buchino. Portland Center Stage operates under an agreement among the League of Resident Theatres (LORT), Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States, and the Society of Stage Directors and Choreographers. PCS is a member of LORT, Theatre Communications Group, Portland Business Alliance and Travel Portland. Portland Center Stage is a participant in the Audience (R)Evolution Program, funded by the Doris Duke Charitable Foundation and administered by Theatre Communications Group, the national organization for the professional not-for-profit American theater.
The Scenic, Costume, Lighting and Sound Designers in LORT are represented by United Scenic Artists Local USA-829, IATSE
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MAY 2 – JUNE 14, 2015 ELLYN BYE STUDIO
ARTISTIC DIRECTOR | CHRIS COLEMAN
presents
THE LION
WRITTEN AND PERFORMED BY BENJAMIN SCHEUER DIRECTED BY SEAN DANIELS Scenic Designer Neil Patel
Lighting Designer Ben Stanton
Sound Designer Leon Rothenberg
Costume Consultant Jennifer Caprio Stage Manager Kelsey Daye Lutz
The Lion was developed in part at a retreat at the Weston Playhouse Theatre Company, Weston, Vt; at Goodspeed Musicals, East Haddam, Ct; and with support from the Johnny Mercer Foundation. Originally produced in the United States by the Manhattan Theatre Club, NY, Lynne Meadow, Artistic Director, Barry Grove, Executive Producer, on June 10, 2014.
PERFORMED WITHOUT INTERMISSION. The videotaping or other photo or audio recording of this production is strictly prohibited. The actor and stage manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
SEASON SUPERSTARS
SUPPORTING SEASON SPONSORS
This season is supported in part by a grant from the Oregon Arts Commission and the National Endowment for the Arts.
PORTLAND CENTER STAGE THE LION | P 3
THE LION | CAST BENJAMIN SCHEUER Writer and Performer
Benjamin Scheuer is the recipient of the 2014 OffWest End Award for Best Musical, the 2013 ASCAP Foundation Cole Porter Award for songwriting, the 2013 Musical Theatre Network Award for Best Lyrics, and is a nominee for the Lucille Lortel Award for Best Solo Performance. Scheuer gave the American premiere of The Lion at Manhattan Theatre Club in June 2014. The show was then produced in London at the St. James Theatre, and returned to New York City in February 2015 for a commercial run at The Lynn Redgrave Theater. The Lion will see a North American tour throughout 2015 and 2016. The animated video for Scheuer’s song “The Lion” (dir. Peter Baynton) has been featured
in the 2014 British Animation Awards (Public Choice for Best Music Video), 2013 Annecy Film Festival in France (Special Jury Award for Best Commissioned Film) and the 2013 Crystal Palace International Film Festival (Best Music Video, Best Animated Video). With his band Escapist Papers, Scheuer has released two albums: Escapist Papers and The Bridge (produced by Geoff Kraly). Scheuer is currently recording the album Songs from THE LION. He has toured with Mary Chapin Carpenter, has been a writer-in-residence at the Goodspeed Opera House and the Weston Playhouse, and is an alumnus of the Johnny Mercer Songwriters’ Project. With photographer Riya Lerner, Scheuer is the cocreator of the book Between Two Spaces. He lives in New York City. @BenjaminScheuer BenjaminScheuer.com
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NOW ON THE MEZZANINE HOURS OF SERVICE
P 4 | PORTLAND CENTER STAGE THE LION
BRUNCH
Noon before weekend matinees
LUNCH
10:30 a.m. before Thursday matinees
DINNER
6:00 p.m. before evening performances
Benjamin Scheuer’s idea for the The Lion initially began with songs from the album The Bridge he’d written with his band Escapist Papers. In January 2012, Scheuer began performing these songs in small clubs, telling stories in between numbers, as many artists do. Eventually, he started jotting down the stories he would tell and slowly realized he had the skeleton of a script for a musical. By 2013, Scheuer was meeting with various directors about the idea and, as director Sean Daniels recalls: “While everybody else pitched him their vision, I was the first director to say ‘I’m happy to work with you, but you don’t have a musical. You have four songs. We’d need to start over at the beginning.’” Scheuer agreed and they began working together to map out the story and develop it into a script for the stage. The first drafts of the script were developed at Weston Playhouse in Vermont. “It was Sean who was my mentor and guide, who helped me put together the outline of the piece and was my gentle bully as I wrote the show,” Scheuer told Playbill, “he was dramaturg and editor and encourager and psychologist and best pal and breakfast-maker.” That breakfast came one morning after Daniels suggested that Benjamin write a postcard to his father to process some of the unresolved emotions he had surrounding their relationship. The suggestion made Benjamin cry, which had Daniels running across the street for some good bacon to whip up a meal worthy of a much-needed break. “The process was part working on a show and part therapy,” said Daniels of the early development. “My primary role was to help him figure out how to crystalize the story.” Eventually, much of the original music was discarded in favor of new material that got to the core of the narrative. “Ultimately,” said Daniels, “Scheuer’s story was about the idea that really great things can come from really awful things. It’s a story we all really want to hear and we all desperately want to believe it can be true.” As that truth emerged, a 45-minute version of the show called The Bridge was ready for
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LION its debut at the Edinburgh Festival Fringe in 2013. It was around this time that Portland Center Stage seized the opportunity to bring Scheuer’s tale to Portland. “What every PCS audience member needs to know is that Chris Coleman believed in this show long before any other theaters were interested. Back when other theaters were turning it down, Chris listened to some of the songs and signed us before it had even opened in New York. When you’re developing a new piece, you need people to believe in the work to make a show happen. Chris was one of those people for us,” reported Daniels on a phone call from New Orleans a few weeks before he headed to Portland for this production.
After the 2013 Edinburgh performance, the show continued to morph. Scheuer and Daniels knew it still needed work, so they headed to New York to workshop the script for three weeks at the Manhattan Theatre Club. They added new songs and more guitars (including the first use of an electric guitar) and the show finally emerged with its new title, The Lion. The American premiere in 2014 at MTC was hugely successful – garnering rave reviews and sold-out performances – and they’ve been busy ever since. “It’s really been this amazing sky rocketing ever since that tiny, 45-minute show in Edinburgh,” said Daniels of the success of The Lion. After the New York premiere, Scheuer and Daniels headed back to the U.K. for the debut on London’s West End, and then back to New York again for the first commercial run Off-Broadway at The Lynn Redgrave Theater. In March of 2015, the national tour of The Lion was announced.
With the Portland production and the impending national tour, the focus for Daniels as the director has turned to identifying the best way to tell this story in different venues. “The intimacy has to be adjusted for each space,” said Daniels, “We want it to feel like it’s your friend coming over to your house and telling you this story.” Now that Scheuer and Daniels have this show dialed in, they’ve had the chance to start brainstorming on the next musical Scheuer has planned. Daniels is also currently working on developing another musical theater piece, BOUDIN, about New Orleanians’ relationship to music. When asked why Daniels is drawn in particular to directing musical projects, he said, “I’m always fascinated by the type of shows that can only happen in a specific medium. Ben coming out on stage and being a friend to you and baring his soul to you is something that has to happen in person. It’s this art form’s competitive advantage.” –Claudie Jean Fisher, Public Relations and Publications Manager
Photo of Benjamin Scheuer © 2014 Nilaya Sabnis. PORTLAND CENTER STAGE THE LION | P 5
THE LION | CREATIVE TEAM SEAN DANIELS Director
Sean Daniels has directed at Manhattan Theatre Club, Culture Project (N.Y.C.), The Kennedy Center, St. James Theatre (West End, London), Actors Theatre of Louisville, Geva Theatre Center, PlayMakers Repertory Company, Cleveland Play House, Alliance Theatre, California Shakespeare Theater, Southern Rep Theatre, Swine Palace, Neo-Futurists, Aurora Theatre, Crowded Fire Theater, and at the Edinburgh Festival Fringe. He is the artistic director of Merrimack Repertory Theatre, having just finished up as the artist-at-large for Geva Theatre Center, after several years at the Tony Award-winning Actors Theatre of Louisville as the theater’s associate artistic director. Mr. Daniels is also the former associate artistic director/resident director of California Shakespeare Theater and before that spent a decade as the artistic director and co-founder of Dad’s Garage Theatre Company in Atlanta, Ga. @seandaniels NEIL PATEL Scenic Designer
Mr. Patel’s designs are well known on and off-Broadway and at regional theaters and opera houses in the U.S. and abroad. Recent New York credits include Mr. Burns, a Post-Electric Play, Stage Kiss, Indian Ink, Father Comes Home from the Wars (Parts 1, 2 and 3). Other work includes production design for the HBO series In Treatment, the DIRECTV series Billy and Billie and the feature films Some Velvet Morning (Tribeca Film) and Loitering with Intent (Parts and Labor). neilpateldesign.com BEN STANTON Lighting Designer
Broadway: Fun Home (Circle in the Square), An Enemy of the People (Friedman Theater), Seminar (Golden Theater). Recent Off-Broadway: Fun Home (Lucille Lortel nomination, The Public Theater), I’m Gonna Pray for You So Hard (Atlantic Theater Company), Our Lady of Kibeho, Kung Fu, Angels in America (Signature Theatre), Murder Ballad (Lucille Lortel nomination, Manhattan Theatre Club/Union Square Theater), Belleville (Lucille Lortel nomination, New York Theatre Workshop), Into the Woods (The Delacorte Theater), The Whipping Man P 6 | PORTLAND CENTER STAGE THE LION
(Lucille Lortel Award, Drama Desk nomination, Manhattan Theatre Club). Regional credits include: Ahmanson Theatre, Mark Taper Forum, Kirk Douglas Theatre, La Jolla Playhouse, The Old Globe, South Coast Repertory, Goodman Theatre, Shakespeare Theatre Company. Concert and tour designs for Regina Spektor, Sufjan Stevens, Beirut and St. Vincent. Touring lighting design for The National (summer/fall 2014). LEON ROTHENBERG Sound Designer
Broadway: Violet, The Realistic Joneses, The Nance (Tony Award), The Heiress, Joe Turner’s Come and Gone (Tony nomination) and Impressionism. Select N.Y./Off-Broadway: Primary Stages, Second Stage Theatre, Tectonic Theater Project, Women’s Project Theater, Manhattan Theater Club, The Public Theater, LCT3 and New York City Center. Select Regional: Arena Stage, Seattle Repertory Theatre, La Jolla Playhouse, The Old Globe, New York Stage and Film, Two River Theater, North Shore Music Theatre, Long Wharf Theatre, McCarter Theatre, Intiman Theatre and Theatre By The Sea. International: Cirque du Soleil’s Kooza and Wintuk, National Theater of Cyprus, Dijon Festival. klaxson.net
KELSEY DAYE LUTZ Stage Manager
Kelsey Daye is a North Carolinian dairy farmer’s daughter. PCS credits include: stage manager for The People’s Republic of Portland (second engagement), Vanya and Sonia and Masha and Spike, The Typographer’s Dream, The Last Five Years and A Small Fire and production assistant for Clybourne Park, Venus in Fur, A Midsummer Night’s Dream, The North Plan and Anna Karenina. Kelsey Daye is a graduate of University of North Carolina at Greensboro. She would like to thank her boys for all their unconditional love, and Shamus for being wonderful.
FOR THIS PRODUCTION
JENNIFER CAPRIO Costume Consultant
Broadway credits include The 25th Annual Putnam County Spelling Bee. OffBroadway credits include The Lion, Little Children Dream of God at Roundabout Theatre Company, Tail! Spin! starring Rachel Dratch at the Culture Project, Little Miss Sunshine at Second Stage Theatre, In Transit at Primary Stages (Lucille Lortel nomination), Fugitive Songs for Dreamlight Theatre Company, Modern & Post-Modern Living for La MaMa Experimental Theatre Club. Ms. Caprio has designed costumes for the national tour of Joseph and the Amazing Technicolor Dreamcoat starring Ace Young and Diana DeGarmo. International credits include The Collected Works of Billy the Kid at the Edinburgh Festival Fringe, and tours of The Great American Trailer Park Musical and Queen Esther Marrow and the Harlem Gospel Singers. Regional credits include Florida Grand Opera, Minnesota Opera, Opera Boston, Opera Colorado and theatrical costume designs at over 60 U.S. regional theaters.
Props Artisans Teresa Pilar Huarte Shawn Mallory Live Sound Mixer and Sound Engineer Em Gustason Assistant to the Director Katie Watkins Assistant Scenic Designer Cate McCrea Guitar Technicians Brian Harrison Christian Selleron
Join us July 23 -25, 2015 For two weeks every summer, Portland Center Stage bursts at the seams with new play energy. JAW (short for Just Add Water) fills the Armory with playwrights, actors, directors, dramaturgs, stage managers, production assistants, and sometimes even dogs and babies. Rehearsals fill up every nook and cranny of the building while the copy machine whirs day and night with new pages and fresh scripts churning back into the rehearsal rooms. The two-week blur of activity ends with staged readings that are free and open to the public, July 23-25, with a smorgasbord of performances throughout the Armory from local theater and arts ensembles.
DON & MARY BLAIR
Be the star of our next production, book your event today with Portland Center Stage! Rooted in Portland’s history and home to the rising stars of Portland’s present, the Gerding Theater at the Armory is a truly show-stopping venue for your next meeting, fundraiser, conference, or wedding! Contact our rentals team today to learn more about our inclusive rental packages and arrange for your own personalized tour.
The Gerding Theater at the Armory 128 NW 11th Ave. Rentals@PCS.org • 503-445-3824 Weddings ∙ Meetings ∙ Conferences ∙ Tradeshows Dinners ∙ Auctions ∙ and More!
Visit pcs.org/rent-the-armory
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PORTLAND CENTER STAGE THE LION | P 7
Gerding Theater at the Armory 128 NW Eleventh Avenue
503.445.3700 pcs.org
Chris Coleman Artistic Director
10 THINGS YOU MIGHT NOT KNOW ABOUT SEASON TICKETS FREE VIP TICKETS? CHECK. $30 TIX FOR FRIENDS? CHECK. MONTHLY PAYMENT PLANS? CHECK. Everything packages start at $231.30 for 9 plays and just $87 for 3 plays. 1. FREE & UNLIMITED EXCHANGES Season tickets are super flexible. Switch performance dates at your leisure, as many times as you’d like. We’ll always get you the best possible seats. Even call us the day of a performance to change to a later date. We encourage spontaneity. 2. HOOK UP YOUR FRIENDS FOR $30 You can purchase unlimited add-on tickets at our discounted rate. Pay $30 for extra seats, no matter what day, seat location or show. Bring your friends, colleagues, family … heck, you can even make your annoying brother happy! 3. FREE VIP TICKETS With each Everything package you buy, you’ll get one free VIP ticket to use for any performance – that’s any seat and any day for any show. Use it to bring a friend, see a show a second time, or make that stocking stuffing a little more fun.
6. MONTHLY PAYMENT PLANS AVAILABLE Season tickets won’t make a big dent in your bank account. Packages start for as little as $87. You can even spread out your payments into as many as 6 monthly payments, provided you start your plan by September 15. Just give us a call and we’ll set up a plan that works for you. 7. ACCESS TO THE BEST SEATS Get seated before single tickets go on sale to the public. Got a favorite place to enjoy shows when attending the U.S. Bank Main Stage? Lock them in for the season! 8. VIRTUAL VALET E-SERVICE Get an email reminder before each show. These reminders include weekly deals and great info about the productions. 9. EXTRA SAVINGS IF YOU’RE UNDER 35, A TEACHER OR ADA For teachers and individuals 30 or younger, season tickets are drastically reduced. See all 6 performances on the U.S. Bank Main Stage for just $150, and add 3 more in the Ellyn Bye Studio for just $25 more per ticket. We have a great deal for those between the ages of 30-35, too! And our ADA patrons also get a $25 ticket deal.
4. THE BEST CUSTOMER SERVICE IN TOWN
10. EVEN OUR TICKETS ARE MAGIC: OUR TICKETS ARE PRINTED WITH HEAT, NOT INK.
Yep, we said it. Season ticket holders get a personal ticketing agent dedicated to taking care of all their PCS needs. Simply email and call your agent directly and they’ll treat you right.
We use a special thermal paper that changes color when exposed to heat. If you drag your finger nail across your ticket, it will generate enough heat to leave a faint line.
5. SPECIAL DEALS AROUND TOWN Season ticket holders get a discount card for local eateries and retail stores. Last year our season ticket holders were treated to a ‘Buy One, Get One’ offer for jumbo cupcakes, along with plenty of other great deals.
CHECK OUT THE NEW SEASON LINEUP AND FIND A PACKAGE TO FIT YOUR BUDGET AT PCS.ORG. For more information, give our box office a call at 503-445-3700, open noon to six daily.
The Second City’s A Christmas Carol:
TWIST YOUR DICKENS* By Peter Gwinn and Bobby Mort On the U.S. Bank Main Stage December 9 – December 31, 2015
ANNOUNCING THE 2015-2016 SEASON!
GREAT EXPECTATIONS Adapted from Charles Dickens by Lucinda Stroud On the U.S. Bank Main Stage January 16 – February 14, 2016
FOREVER By Dael Orlandersmith | In the Ellyn Bye Studio
OUR TOWN By Thornton Wilder | On the U.S. Bank Main Stage September 12 – October 11, 2015
SEX WITH STRANGERS By Laura Eason | In the Ellyn Bye Studio October 10 – November 22, 2015
AIN’T MISBEHAVIN’ By Murray Horwitz and Richard Maltby On the U.S. Bank Main Stage October 24 – November 29, 2015
THE SANTALAND DIARIES* By David Sedaris; Adapted for the stage by Joe Mantello In the Ellyn Bye Studio December 2 – December 27, 2015
January 30 – March 20, 2016
EACH AND EVERY THING By Dan Hoyle | In the Ellyn Bye Studio February 6 – March 27, 2016
STUPID FU**ING BIRD By Aaron Posner | On the U.S. Bank Main Stage February 27 – March 27, 2016
THE PIANIST OF WILLESDEN LANE Based on the book The Children of Willesden Lane by Mona Golabek and Lee Cohen. Adapted and directed by Hershey Felder | On the U.S. Bank Main Stage April 2 – May 1, 2016
A STREETCAR NAMED DESIRE By Tennessee Williams | On the U.S. Bank Main Stage May 14 – June 12, 2016
Visit www.pcs.org for tickets! *Special engagements at Portland Center Stage (Twist Your Dickens and The Santaland Diaries are not part of a season ticket package, but season ticket holders get special pricing!) Photography by Patrick Weishampel. Left to Right: Lexi Rhoades, David Jennings and the cast of Dreamgirls, Nick Ballard and Carol Halstead in Vanya and Sonia and Masha and Spike.
MAY 17 – JUNE 21, 2015 ON THE U.S. BANK MAIN STAGE
ARTISTIC DIRECTOR | CHRIS COLEMAN
presents
THREE DAYS OF RAIN BY RICHARD GREENBERG DIRECTED BY CHRIS COLEMAN
Scenic Designer Scott Fyfe
Costume Designer Alison Heryer
Diane Ferry Williams
Sound Designer Casi Pacilio
Composer Jana Losey Crenshaw
Dialect Coach Mary McDonald-Lewis
Stage Manager Liam Kaas-Lentz
Production Assistant Kristen Mun
Rose Riordan and Brandon Woolley
Lighting Designer
Casting
CAST SILAS WEIR MITCHELL..................................................Walker Janeway/Ned Janeway LISA DATZ .......................................................................................... Nan Janeway/Lina SASHA ROIZ.............................................................................. Pip Wexler/Theo Wexler Three Days of Rain was originally produced in New York City by the Manhattan Theatre Club on October 21, 1997. Commissioned and first produced by South Coast Repertory. Three Days of Rain is presented by special arrangement with Dramatists Play Service, Inc., New York.
PERFORMED WITH ONE INTERMISSION. The videotaping or other photo or audio recording of this production is strictly prohibited. The actors and stage manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
SEASON SUPERSTARS
SUPPORTING SEASON SPONSORS
SHOW SPONSORS EVIE CROWELL
This season is supported in part by a grant from the Oregon Arts Commission and the National Endowment for the Arts.
P10 | PORTLAND CENTER STAGE THREE DAYS OF RAIN
DRS. ANN SMITH SEHDEV & PAUL SEHDEV
TRAVELING THROUGH TIME WITH Three Days of Rain
“Richard Greenberg may be the best, most prolific American dramatist you’ve never heard of,” proclaimed The Telegraph in 2009, the year it praised his play Three Days of Rain as “one of the finest American plays of recent years.”
With over 25 plays and many successful Broadway productions under his belt, Greenberg certainly is prolific – he’s been known to pen plays in just three days. One of the scripts produced in such a burst of writing just happens to be Three Days of Rain. Prior to writing this script, Greenberg had been focused solely on writing for film. One day, while walking home in the rain, he ran into playwright, novelist and film director Peter Hedges. As Greenberg reported to American Theatre Magazine: “We started talking, and we got excited about writing plays again — which neither one of us had been doing at that moment. It started this flurry of activity that has made me write like crazy.” Three Days of Rain was one of the first plays he penned in this newly inspired swirl of writing, and Greenberg later dedicated the play to Hedges. The title of the play comes from a line in W. S. Merwin’s poem, For the Anniversary of My Death: AS TODAY WRITING AFTER THREE DAYS OF RAIN HEARING THE WREN SING AND THE FALLING CEASE AND BOWING NOT KNOWING TO WHAT In Three Days of Rain, Greenberg plays with time and perception by setting the first act in 1995 and going backwards to a previous generation for the second act, with the actors playing their characters’ own parents in 1960. “The first act is the present dreaming the past, and the
second act is the past dreaming the future. The play is really about the gulf between those two ideas,” Greenberg said in an interview with Playbill in 1997 prior to the world premiere of Three Days of Rain. He toys with the constructs of time in several of his other plays as well, including his most recent Broadway hit, The Assembled Parties, in which the second act takes place 20 years after the first. Greenberg credits the hugely popular 1967 BBC television adaptation of John Galsworthy’s The Forsyte Saga for his fascination with time. “That television experience was the foundation of my sensibilities,” Greenberg told the Los Angeles Times prior to a revival of Three Days of Rain at South Coast Repertory where the play was first produced, “I want to get an entire life onstage while conveying a sense of how time feels, how unstoppable it is, and how we don’t really know what’s going on because as we’re trying to weave, it’s weaving us.” This production marks the debut of a Richard Greenberg play at Portland Center Stage, as well as the exciting debuts of all three actors performing the multi-generational roles: Silas Weir Mitchell, Sasha Roiz and Lisa Datz. Much like Greenberg, we’re big fans of playing with time at PCS. The traversing of ages in Greenberg’s script provides a particularly exciting opportunity for the local artisans we’ve gathered to create the 1995 and 1960’s Manhattan worlds you’ll witness in this production. All told, over 25 professional craftspeople have joined these actors and the creative team
to assemble this production. The scenery and props were built in PCS’s scene shop in NW Portland; an army of painters was assembled to hand paint the brick walls of the set; the costume shop, located here in the Armory, has been busy whipping up the fashions of 1995 and 1960; a crew of fifteen skilled stage hands helped bring all the technical elements together, including props, lights and sound; and a stage manager, wardrobe and run crew are on site right now supporting the actors at this performance. There have been many productions of Three Days of Rain nationally and internationally since its world premiere in 1997, but one of the great things about local theater is that this production has been designed and created specifically for these actors, in this space, at this time, in this rainy city, to be enjoyed by you, our community. –Claudie Jean Fisher, Public Relations and Publications Manager
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PORTLAND CENTER STAGE THREE DAYS OF RAIN | P1 1
SNAPSHOT OF A GENERATION 1995
• Bill Clinton is the 42nd President of the United States, with Al Gore serving as his Vice President.
• The New York Times’ Best Sellers list includes John Grisham’s The Rainmaker, Anne Rice’s Memnoch the Devil and Nicholas Evans’ The Horse Whisperer.
• Pop chart hits include TLC’s “Waterfalls,” Seal’s “Kiss From A Rose” and Madonna’s “Take A Bow.”
• Terrence McNally’s Love! Valour! Compassion! wins the Tony Award for Best Play.
• The San Francisco Museum of Modern Art opens in its current location, in a building designed by Mario Botta.
• The JavaScript computer language is released in the beta version of Netscape Navigator 2.0.
• The DVD (digital versatile disc or digital video disc) is invented.
• O.J. Simpson is acquitted of the murder of his ex-wife, Nicole Brown Simpson and Ronald Goldman.
• The Oklahoma City bombing kills 168 people. • Amazon.com sells its first book. • PCS completes its first season as an independent theater company.
1960
• Dwight D. Eisenhower is 34th President of the United States, with Richard Nixon serving as his Vice President.
• The New York Times’ Best Sellers list includes Hawaii by James Michener and To Kill a Mockingbird by Harper Lee.
• Pop chart hits include Elvis Presley’s “It’s Now Or Never” and Chubby Checker’s “The Twist.”
• William Gibson’s The Miracle Worker wins the Tony for Best Play.
• Climatron, a greenhouse enclosed in a geodesic dome designed by Murphy & Mackey, is completed for the Missouri Botanical Garden in St. Louis.
• The Greensboro sit-ins in North Carolina gain national media attention and reverse the segregated seating policy at Woolworth department stores.
• The first presidential debate is broadcast live on national television.
• TIROS-1 becomes the first successful weather satellite launched by the United States.
• Primatologist Jane Goodall begins her study on chimpanzees.
• Oregon Shakespeare Festival (the organization that founded PCS as its Portland branch in 1988) produces the first non-Shakespearean play from the Elizabethan era, The Duchess of Malfi.
P12 | PORTLAND CENTER STAGE THREE DAYS OF RAIN
THREE DAYS OF RAIN | CAST LISA DATZ Nan Janeway/Lina
Lisa Datz’s theatrical roles include Madeleine Astor in the Tonywinning production of Titanic on Broadway; Pam Lukowski in the Tony-nominated production of The Full Monty; Yitzhak in the Off-Broadway production of Hedwig and the Angry Inch with John Cameron-Mitchell; and Violet in Violet (Jeff Award nomination). Recently, Datz guest starred as Mackenzie Solloway on Bones (FOX); as Mary Fuchs on Castle (ABC); in the feature film Time Out of Mind, directed by Oscar nominee Oren Moverman and starring Richard Gere; and Sponge Bob 2 with Antonio Banderas. Other film credits include Melody Oates in The Perfect Holiday with Gabrielle Union and Terrence Howard. In Los Angeles, she performed with Grammywinning composer Frank Wildhorn in Frank Wildhorn & Friends at the Pantages Theatre. She played leading roles in the critically acclaimed For the Record series in Los Angeles and at the SXSW Film Festival. In New York, she performed the role of Rowena opposite rock legends Joe Jackson and Todd Rundgren in the 20th anniversary concert of Up Against It at The Public Theatre. Other film credits include Ghost Town (Paramount), leads in the indie films Stumptown and Fractured, and Spectropia (Lincoln Center Film Festival). Other television credits include Law & Order, Law & Order: Trial by Jury, The West Wing, Hope & Faith, Guiding Light, All My Children, One Life to Live, As the World Turns and Blue’s Clues. Regional theatre credits include Meg in Crimes of the Heart, Julia in The Two Gentlemen of Verona, Kari in The Pavilion and Ace at The Old Globe. Datz is an avid equestrian, former competitive figure skater, hip hop dancer, Star Wars/ Downton Abbey geek and Chicago native who currently divides her time between Los Angeles and New York. She attended the Boston University Theatre Institute and received her B.F.A from The University of Michigan School of Music, Theatre and Dance. She extends her heartfelt thanks to Chris, Sasha and Silas and dedicates this to her endlessly supportive friends and to her amazing parents. @lisadatz, lisadatz.com
SILAS WEIR MITCHELL Walker Janeway/ Ned Janeway
Silas Weir Mitchell currently stars in NBC’s fantastical mystery/crime show Grimm, playing Portland’s own vegan horologist, Monroe. Prior to Grimm, Mr. Mitchell was most widely known for his recurring role on the tautly paced FOX drama Prison Break, starring as lead actor Wentworth Miller’s deeply unstable cellmate, Charles “Haywire” Patoshik. He is also known for the role of Donny Jones, (another) ex-con and friend of the title character played by Jason Lee in the NBC comedy My Name Is Earl. Other TV includes NYPD Blue, The X-Files, ER, Cold Case, The Mentalist, 24, Law & Order: SVU, The Closer, CSI, CSI: Miami, CSI: NY, Burn Notice, Dexter, Monk, Six Feet Under, Boomtown, The Shield, Portlandia. Films include: The Patriot (Steven Seagal); Inferno (JeanClaude Van Damme); Rat Race; The Whole Ten Yards. After graduating from Brown University with degrees in both Theatre Arts and Religious Studies, Silas went on to earn his M.F.A. at the University of California, San Diego. From there, he moved to New York and did a few plays (including Tennessee Williams’ Tiger Tail at Harold Clurman Theater and Whenever I Fall at Your Feet at HERE Theatre). Thence to L.A., where he started to get film and TV jobs, as well as continuing to make his own work acting and directing in theater. L.A. directing credits: The Water Principle by Eliza Anderson (also producer) at The Complex; Three Sisters (also Tuzenbach and producer) at The Stella Adler Theatre; Frankie and Johnny in the Clair de Lune at The Hudson Theatre; Bus Stop (also producer) at The MET Theatre, where he was artistic director from 2001–2005. Acting includes: Hurlyburly (Eddie), Amerikafka (Kafka); Gatsby in Hollywood (S.J. Perelman) all at the MET. Blood! Love! Madness! and The Women of Lockerbie at The Actors’ Gang; Lascivious Something and The Chinese Massacre at Circle X. Silas would like to express deep gratitude to his acting mentor of many years, Harry Mastrogeorge, for imparting perennial wisdom in such an egoless, penetrating way. He is delighted to be back on stage, and to be making his first appearance at PCS. silasweirmitchell.com
SASHA ROIZ Pip Wexler/Theo Wexler
Sasha Roiz is about to begin his 5th season on the Portland-based NBC hit supernatural drama Grimm. Roiz plays the mysterious, part-royal, part-creature Police Captain Sean Renard. Prior to Grimm, Roiz portrayed the role of the brutal mob enforcer Sam Adama on the acclaimed science fiction drama Caprica (with Eric Stoltz and Polly Walker). Roiz has worked extensively in television. Some of his credits include: CSI, The Mentalist, House M.D., Castle, Warehouse 13, It’s Always Sunny in Philadelphia and NCIS. Last year, Roiz played the role of the formidable Roman centurian, Marcus Proculus, in the blockbuster film Pompeii (alongside Kit Harington and Kiefer Sutherland). Other film credits include: The Day After Tomorrow (with Jake Gyllenhaal), 16 Blocks (Bruce Willis), Man of the Year (Robin Williams) and Unthinkable (Samuel L. Jackson). Roiz’s first starring film role was in the independent science fiction thriller Extracted, which premiered at the South by Southwest (SXSW) Film Festival in 2012. Roiz is delighted to return to the theater and is grateful to Chris Coleman and PCS for this opportunity. Select theater work includes: Past/Perfect at Centaur Theatre Company, Montreal, Canada (Best Supporting Actor nominee at Les Masques Awards); Vinci at Centaur Theatre Company and Travels with My Aunt at Knowlton Theater, Quebec. Roiz trained theatrically at Dawson College in his home town of Montreal, Canada; as well as at the Guildford School of Acting conservatoire in Guildford, England. Roiz came to Portland by way of Los Angeles, where he spent several years. Grimm brought him to Portland, which he now proudly calls home. He is an active member of this community and just this past year spearheaded the Grimm Gala, which raised over $300,000 for the Grimmster Endowment at the Doernbecher Children’s Hospital. Sasha would like to thank the Portland community for its continued support and hospitality.
PORTLAND CENTER STAGE THREE DAYS OF RAIN | P1 3
THREE DAYS OF RAIN | CREATIVE TEAM RICHARD GREENBERG Playwright
Richard Greenberg is the author of Take Me Out (Drama Desk Award; NY Drama Critics Circle Award; Outer Critics Circle Award; Lucille Lortel Award; Tony Award for Best Play), which moved to Broadway after successful runs at The Public Theater in New York City and The Donmar Warehouse on London’s West End. Other works include The Violet Hour, The Dazzle (Outer Critics Circle Award; John Gassner, Lucille Lortel nominations), Everett Beekin, Three Days of Rain (L.A. Drama Critics Award; Pulitzer finalist; Olivier, Drama Desk, Hull-Warriner nominations), Hurrah at Last, Night and her Stars, The American Plan, Life Under Water and The Author’s Voice, among many other plays. His adaptation of Strindberg’s Dance of Death was seen on Broadway starring Ian McKellen, Helen Mirren and David Straithairn. Greenberg received the Oppenheimer Award for a new playwright as well as the first PEN/ Laura Pels Award for a playwright in mid-career. He is an associate artist at South Coast Repertory and a member of Ensemble Studio Theater. CHRIS COLEMAN Director
Chris joined Portland Center Stage as artistic director in May 2000. Before coming to Portland, he was artistic director at Actor’s Express in Atlanta, a company he co-founded in the basement of an old church in 1988. Chris recently returned to Atlanta to direct the world premiere of Edward Foote at Alliance Theatre. He also directed Phylicia Rashad and Kenny Leon in Same Time Next Year at True Colors Theatre Company in Atlanta in 2014. Favorite PCS directing assignments include Threesome, Dreamgirls, Othello, Fiddler on the Roof, Clybourne Park, Sweeney Todd, Shakespeare’s Amazing Cymbeline (which he also adapted), Anna Karenina, Oklahoma!, Snow Falling on Cedars, Ragtime, Crazy Enough, Beard of Avon, Cabaret, King Lear, Cat on a Hot Tin Roof, Man and Superman, Outrage, Flesh and Blood and The Devils. Chris has directed at theaters across the country, including Actor’s Theater of Louisville, Oregon Shakespeare Festival, ACT-Seattle, The Alliance, Dallas Theatre Center,
P14 | PORTLAND CENTER STAGE THREE DAYS OF RAIN
Pittsburgh Public Theatre, New York Theatre Workshop and Center Stage in Baltimore. A native Atlantan, Chris holds a B.F.A. from Baylor University and an M.F.A. from Carnegie Mellon. He is currently the board president for the Cultural Advocacy Coalition. Chris and his husband, Rodney, are the proud parents of an 18 lb. Jack Russell/Lab mix, and a 110 lb. English Blockhead Yellow Lab. SCOTT FYFE Scenic Designer
Scott Fyfe holds a B.F.A. in sculpture from S.U.N.Y. New Paltz. Scenic design highlights include Portland Center Stage’s production of Othello and Village Theatre main stage productions of Million Dollar Quartet, Stunt Girl, Chasing Nicolette, Anne of Green Gables (Footlight Award), Take Me America, Big River, Les Misérables (Gypsy Rose Lee Award nominee, Gregory Award nominee), The Tutor and Mary Poppins. Scott is thrilled to be back working with the exceptional production team here at PCS. ALISON HERYER Costume Designer
Alison Heryer is a costume designer for theater, film and print. She is thrilled to be returning to Portland Center Stage, after recently designing costumes for Threesome. Other theater credits include The Bluest Eye (New Victory Theater); The Fall to Earth, A Lesson Before Dying, Orange Flower Water and World Set Free (Steppenwolf Theatre Company); Pippin, The Whipping Man, A Little More Alive and The Who and The What (Kansas City Repertory Theatre); The King and I, 33 Variations, RENT and Doubt (ZACH Theatre), Jackie and Me at (Indiana Repertory Theatre), Bum Philips All-American Opera (La MaMa) and The Price at Artists Repertory Theatre. Recent awards include the Austin Critics Table Award and the ArtsKC Inspiration Grant. Alison is a faculty member at Portland State University. She is a graduate of Washington University in St. Louis and The University of Texas at Austin and a member of United Scenic Artists.
DIANE FERRY WILLIAMS Lighting Designer
Diane Ferry Williams is pleased to be returning to Portland. Diane has worked for many theaters around the country and abroad. Her most recent design is a national tour of How to Succeed beginning in Beijing, China. In the US, she has worked for many theaters around the country, including the Marriott Theatre in Chicago, Alliance Theatre, Theatre Under the Stars, Goodspeed, Chicago Shakespeare Theater, Goodman Theatre, Pittsburgh Public Theater, ACTSeattle, Alabama Shakespeare Festival, Ford’s Theatre, Hubbard Street Dance Chicago and Regional Dance America. Other international work includes The Harlem Gospel Singers in Paris and the European tour, and Die Shone Und Das Biest in Berlin and the European tour. She has also lit several national tours and premieres. Awards include a Jeff Award, an After Dark Award, a Carbonelle Award, five Drammy Awards (the most recent being The Whipping Man) and seven Jeff nominations. Diane has an M.F.A in Theatrical Design from Northwestern University. CASI PACILIO Sound Designer
Casi keeps busy with a variety of work and play in Portland and around the country. PCS credits include Cyrano, The People’s Republic of Portland (2013 and 2015), Other Desert Cities, Threesome, Dreamgirls, The Last Five Years, Othello, A Small Fire, Twist Your Dickens (2013 and 2014), The Mountaintop, Fiddler on the Roof, Oklahoma!, The North Plan, Shakespeare’s Amazing Cymbeline, Black Pearl Sings!, Opus, Ragtime (PAMTA Award 2010), The 25th Annual Putnam County Spelling Bee, The 39 Steps, Snow Falling on Cedars, Crazy Enough, The Little Dog Laughed, Sometimes a Great Notion, Cabaret, The Pillowman, I Am My Own Wife, West Side Story and Celebrity Row; Vanya and Sonia and Masha and Spike, Chinglish and futura with composer Jana Losey; and eight seasons of JAW. National shows: Holcombe Waller Surfacing and Wayfinders; Hand2Mouth Theatre credits: Left Hand of Darkness, My Mind is Like an Open Meadow (Drammy Award 2011), Something’s Got Ahold Of My Heart and PEP TALK. Other theatrical credits include Squonk Opera’s Bigsmorgasbord-WunderWerk (Broadway,
THREE DAYS OF RAIN | CREATIVE TEAM PS122, national and international touring); I Am My Own Wife, I Think I Like Girls (La Jolla Playhouse); Playland, 10 Fingers and Lips Together, Teeth Apart (City Theatre, PA). Film credits include Creation of Destiny, Out of Our Time and A Powerful Thang. Recordings: Glitterfruit’s fruit snacks. JANA LOSEY CRENSHAW Composer
Jana Losey Crenshaw is a singersongwriter originally from rural Pennsylvania. With a history that includes Broadway, international touring, a solo career, and a reality TV show, she has recently resurfaced in the Portland music scene. Recent theater projects include: Please Validate Your Identity, a devised theater piece for Fertile Ground Festival; composing the score for Hand2Mouth Theatre’s production of Left Hand of Darkness by Ursula K. Le Guinn; composing and arranging for Liminal’s recent production of Our Town at The Headwaters Theatre; and composing musical transitions for Portland Center Stage’s futura, Chinglish, Vanya and Sonia and Masha and Spike and Other Desert Cities. See more at janacrenshaw.com MARY MCDONALD-LEWIS Dialect Coach
Mary McDonald-Lewis has been a working artist since 1979 as SAG-AFTRA voice actor and on-camera performer, and in theater for much longer as an actor and director. MaryMac has been a dialect coach since 1999, and is house coach for Hallmark Hall of Fame, the series Leverage, Grimm and others. Film, television and stage clients range from overnight sensations to Drammy, Obie, Emmy and Oscar winners, and include a Knight of the British Empire. She is blessed to be resident artist, speech and text director at Artists Repertory Theatre and house coach at Portland Center Stage, and is just thrilled to say this is her 23rd show as coach at PCS. MaryMac thanks Finnegan, Sullivan and Flynn for always wagging their tails when she comes home from telling her tales. marymac.com
LIAM KAAS-LENTZ Stage Manager
Liam is a native of Bellingham, WA. He is an ensemble member of Sojourn Theatre, having served as their stage and production manager for the past ten years and thirteen productions. He has also stage managed for Hand2Mouth Theatre, Portland Playhouse, Artists Repertory Theatre, the Pacific Conservatory for the Performing Arts, Geva Theatre Center, Oregon Children’s Theatre, Pixie Dust Productions, The Kitchen, River to River Festival, Teatro Milagro and many others. He received his B.F.A. in stage management from Southern Oregon University and his M.Ed. in curriculum and instruction from Portland State University. Liam has also taught stage and production management with a focus on ensemble, devised, and site-specific contexts and methodologies at Georgetown University, Northwestern University, Portland State University, Reed College and Lewis and Clark College. He is a proud member of Actors’ Equity Association, and lives with his wife and two cats in southeast Portland. KRISTEN MUN Production Assistant
Kristen Mun is originally from Hawaii and graduated from Southern Oregon University with a B.F.A. in Stage Management. Previous Portland Center Stage credits include production assistant on Threesome, Lizzie and 2nd production assistant on Fiddler on the Roof. Outside of Portland she has worked at the Oregon Shakespeare Festival, Idaho Repertory Theatre and Actors Theater of Louisville. In Portland she has worked as a production assistant and stage manager with other theater companies such as Artists Repertory Theatre (And So It Goes …, Red Herring), Oregon Children’s Theatre (A Year With Frog and Toad, Charlotte’s Web, Ivy and Bean), Northwest Classical Theatre Company (King John, Measure for Measure, As You Like It), and Post5 Theatre (Hamlet). Outside of stage managing, Kristen is also a fight choreographer and stage combat teacher.
The art of storytelling is so deeply rooted in our lives… We would be lost without it.
Thank the stars that we have generous patrons who support Portland Center Stage.
Join those already giving the gift of theater and make a contribution today. It feels pretty darn great.
And…you’ll make us jump for joy!
Your support is invaluable to the cultural vitality of our community. To make a gift, call Karen Johnson 503.445.3744 or visit pcs.org/give Thank you for your support! Photos by Patrick Weishampel/blankeye.tv. Gavin Hoff man and Leif Norby in Othello; Kate Eastwood Norris in Bo-Nita; Mary Patton in Dreamgirls; Eden Malyn, Andrew Sellon, Carol Halstead and Nick Ballard in Vanya and Sonia and Masha and Spike.
PORTLAND CENTER STAGE THREE DAYS OF RAIN | P1 5
CREATIVE TEAM BARBARA HORT, PH.D. Dramaturg
Barbara Hort, Ph.D., has maintained a private practice in Portland for over 25 years, working primarily from the psychological perspective developed by the Swiss psychoanalyst Carl Jung. At the invitation of Chris Coleman, Dr. Hort has served as a dramaturg on the PCS productions of Sweeney Todd, Clybourne Park, the 2013 JAW festival, Fiddler on the Roof, Othello, Dreamgirls, Threesome and now Three Days of Rain, providing material on the psychological dynamics of the play that can be used by the artists who are creating the performance.
FOR THIS PRODUCTION
Painters Elecia Beebe Lauren Newey Shawn Mallory Kiona McAlister Sean Casey Props Artisans Teresa Pilar Huarte Shawn Mallory Sound Programmer and Engineer Scott Thorson Associate Sound Designer Em Gustason Sound Board Operator Molly Gardner Additional Set Construction OMSI
P16 | PORTLAND CENTER STAGE THREE DAYS OF RAIN
LEAD CORPORATE CHAMPION Umpqua Bank Actors take chances. Sometimes they work. Sometimes they don’t. But none of these actors would be on stage tonight without taking chances. It’s part of growth, and we’re all made to grow. That’s why we’re such a proud supporter of Portland Center Stage. Let this performance inspire you to take the chances that power your own growth.
SPONSOR STATEMENTS ARGYLE WINERY
Argyle Winery and Portland Center Stage have a lot in common. We both celebrate the art of storytelling, we both value being part of the community, and we both are an enduring part of many happy memories. Cheers to Portland Center Stage on another successful season! Keep doing what you are doing.
BERRY WEALTH STRATEGIES
It is our founder’s daughter who is responsible for Berry Wealth Strategies’ sponsorship in this performance here at Portland Center Stage. Her passion for theater blossomed into a love affair with the performing arts that is now shared by the entire family. So when Berry Wealth Strategies began looking for a venue to express our appreciation for the trust our clients place in us, the decision was an easy one. Enjoy the performance.
DRS. ANN SMITH SEHDEV AND PAUL SEHDEV We are pleased to continue our support of Portland Center Stage and encourage everyone to get out and enjoy the show!
STOEL RIVES LLP
We believe theater plays a critical role in stimulating creativity and ensuring a vibrant community. For more than 25 years, Portland Center Stage has entertained, challenged and inspired us by bringing stories to life in unexpected ways. Stoel Rives applauds PCS for its amazing work, and eagerly looks forward to more.
TEEN THEATER INTENSIVES SUMMER 2015
Photography by Patrick Weishampel
Gerding Theater at the Armory 128 NW Eleventh Avenue Portland, Oregon 97209
MORE INFO: 503.445.3795 or education@pcs.org
REGISTER: pcs.org/education
Calling all teens: Let PCS introduce you to the confidence-building fun of learning performance skills in a stimulating, supportive environment through the city’s flagship theater. Our teaching professionals, drawn from Portland’s theater elite, eagerly await the chance to share their experience with you.
Advanced Acting & Audition Intensive
Musical Theater
Incoming Freshmen–Seniors
Entrance to Professional Theater
June 15–26, Monday–Friday
July 27– Aug. 7, Monday–Friday
July 27– Aug. 7, Monday–Friday
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9 am–4 pm
9 am–4 pm
Incoming Juniors & Seniors
Incoming Freshmen–Seniors
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Hotel to the s ’ d n a Ar ortl
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IN THE HEART OF PORTLAND’S WEST END DISTRICT
409 SW 11TH AVE, PORTLAND | 503.224.3293
P18 | PORTLAND CENTER STAGE THREE DAYS OF RAIN
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BOARD OF DIRECTORS Mary Boyle, Chair Civic Volunteer Mardilyn Saathoff, Vice Chair Senior Vice President and General Counsel, NW Natural Mike Golub, Second Vice Chair President of Business Operations, Portland Timbers Peter V. Potwin, Treasurer Retired, CFO, Benson Industries, Inc. Brigid Flanigan, Secretary President, Shamrock Holdings, LLC Steve Hedberg, Immediate Past Chair COO, Perkins Coie Chris Coleman, President Artistic Director, Portland Center Stage Rukaiyah Adams, Chief Investment Officer, Meyer Memorial Trust N. Christian Anderson, III, Chairman, Oregonian Media Group Ted Austin, Senior Vice President, The Private Client Reserve of U.S. Bank Sharon Barnes, Community Volunteer Sarah Crooks, Partner, Perkins Coie, LLP Evelyn Crowell, Retired, Portland State University Tracy Curtis, Regional President of Oregon and Southwest Washington, Wells Fargo & Company Gail Hayes Davis, Civic Volunteer Steve Domreis, Architect Emeritus, GBD Architects Randy Foster, Partner, Stoel Rives LLP Diana Gerding, Community Volunteer Tasca Gulick, Executive VP, Gulick Acres, LLC Lani Hayward, Executive VP, Creative Strategies, Umpqua Holdings Corp Betsy Henning, CEO and Founder, AHA! Strategic Communications Yuki “Lynne” Johnston, Advocate for the Arts Jim Knoll, President, Knoll Mediation Karen O’Connor Kruse, Partner, Stoel Rives LLP Dedre Marriott, Community Volunteer Bob Packard, Managing Partner, Zimmer Gunsul Frasca Architects Bruce Ramseyer, Senior Vice President, Private Banking, Washington Trust Bank Pat Ritz, Chairman and CEO, Footwear Specialties International Dave Robertson, Vice President, Public Policy, PGE Joe Sawicki, Vice President and General Manager, Mentor Graphics, Design - To - Silicon Division Marcy Schwartz, Senior Vice President, CH2M HILL Michael Sheridan, VP, Financial Advisor, The Newhouse Sheridan Group, Merrill Lynch Ann E. Smith Sehdev, Physician, Cascade Pathology Doug Smith, Senior Vice President, AMEC John Taylor, Co-founder, Arcadia Investment Corporation Brian Wilson Steven E. Wynne, Executive Vice President, Moda Health J. Greg Ness, Director Emeritus, Chairman, President and CEO, Standard Insurance, StanCorp Financial Group Julie Vigeland, Director Emeritus, Civic Volunteer In Memoriam Bob Gerding
INFO | PCS Website:
www.pcs.org
Ticket Office 445.3700 Group Sales 445.3794 Admin. Offices 445.3720 Contributions 445.3744 Volunteer Info 445.3825 Lost and Found 445.3700 Emergency # 445.3727 Audition Hotline 445.3849 Education 445.3795 Capital Campaign 445.3729 Building Rentals 445.3824
boxoffice@pcs.org groups@pcs.org karenj@pcs.org robynh@pcs.org boxoffice@pcs.org casting@pcs.org pauljs@pcs.org lisas@pcs.org rentals@pcs.org
128 NW ELEVENTH AVE. BOX OFFICE HOURS
Phone: Noon – 6:00 p.m., Daily Walk-Up Window: Open Until Showtime Single tickets and season tickets may be purchased in person, online at WWW.PCS.ORG, or by phone at 503.445.3700. PLEASE ARRIVE EARLY. Late seating may be
offered but is at the discretion of the House Manager; late seating is not guaranteed. Those arriving late to a performance or exiting the theater during the performance may be asked to view the show on the lobby monitor until intermission. Refunds and/or exchanges are not available for late arrivals. NO LATE SEATING AVAILABLE IN THE STUDIO.
Because of the intimate nature of the Ellyn Bye Studio, it is not possible to accommodate late seating. NO CAMERAS OR RECORDING EQUIPMENT.
No recording devices of any kind are allowed in the theaters. PLEASE SILENCE ALL CELL PHONES. You may
check your cell phones with the concierge and they will notify you in case of an emergency. CHECK BACKPACKS and LARGE PARCELS. For safety purposes, please check large backpacks and parcels at the coat check. THE GERDING THEATER IS FULLY ACCESSIBLE FOR PEOPLE WITH DISABILITIES. Anyone with
a special seating need (such as moderate sight or hearing impairment) is encouraged to inform the Box Office in advance to accommodate the request. ASSISTED LISTENING DEVICES ARE AVAILABLE.
Listening devices are available at the concierge desk free of charge. CHILDREN, UNDER THE AGE OF SIX, NOT ADMITTED. While we encourage you to bring
interested children to the theater, as a courtesy to other patrons and actors, we do not admit anyone under the age of six years to PCS performances. FOOD IS NOT ALLOWED INSIDE THE THEATER.
Beverages are allowed, but must be in a compostable cup with a lid. All food must be consumed in the lobby. PLEASE DO NOT WEAR STRONG PERFUMES/ COLOGNES. Strong perfumes or colognes can be
distracting for other patrons and for people with allergies. Please use moderation when applying strong fragrances before the performance.
DONORS
THANK YOU, DONORS!
Portland Center Stage gratefully acknowledges the supporters of our 2014–2015 season. Their generosity allows us to inspire Portland Center Stage gratefully acknowledges the supporters of our 2013–14 season. Their generosity allows us to inspire our community byour bringing storiesby tobringing life in unexpected thank them. community stories to ways. life in We unexpected ways. We thank them.
CORPORATE GIFTS OVATION SOCIETY ($100,000+)
Umpqua Bank LEADERSHIP CIRCLE ($25,000+) Curtis T. Thompson, M.D. and Associates, LLC Express Employment Professionals Oregonian Media Group U.S. Bank Wells Fargo SEASON STARS ($10,000+) AHA! Anderson Krygier, Inc. Benson Industries Inc. Berry Wealth Strategies Davis Wright Tremaine Gerding Edlen Development Co. KPFF Consulting Engineers Lucky Limousine M Financial Group Moda Health NW Natural Stoel Rives LLP Work for Art
PLAYMAKERS ($5,000+) Boeing Company GBD Architects Hoffman and Associates Hoffman Construction KeyBank Perkins Coie The Standard Washington Trust Bank
STARS ($250+) Drever Capital Management
Classic Pianos Culinary Artistry & Lincoln Restaurant IN-KIND Cupcake Jones 3 Monkeys Cynthia Duran Aaron & Renee Meyer Daily Café Acme Scenic and Display Davis Wright Tremaine Aesop Dazzle Alaska Airlines Deponte Cellars Allison Inn & Spa Devil’s Food Catering PRODUCERS ($2,000+) Arciform Diago/Ketel One Arciform Argyle Winery Diane Benjamin Ball Janik LLP Art of Catering Document Technologies Inc. Bank of America Artemis Foods Drs Skye & Jane Lininger Brown & Brown NW Asia America EcoVibe Cambia Health Azul Elephant’s Deli Dunn Carney Allen Higgins & Bailey’s Vanilla Cinnamon Elizabeth St Inn Tongue LLC Barbara & Phil Silver Food in Bloom Klarquist Sparkman LLP Barbara Baker Free Geek Merrill Lynch Ben & Jerry’s in the Pearl Ginger Carroll PCC Structurals, Inc. Benson Industries Incorportated Grayling Jewelry Prem Group Bill Dickey Grimm Cast & Crew Providence Health Plan Bluehour Heathman Hotel Vernier Software & Technology Blush Beauty Bar Hip Hound Car 2 Go Holland America BENEFACTORS ($1,000+) Cargo, Inc. Hotel DeLuxe Break-Away Tours Carolyn Gomez Jamie Bosworth Photography Harder Mechanical Contractors Cassidy’s Restaurant Jan Baross Pacific Office Automation Charlie Frasier & Rick Taylor Jefe Stolowitz Ford Cowger LLP Chehalem Wines Jenna St. Martin Photography Zimmer Gunsul Frasca Chez Joly Jimmy Mak’s Chrys Martin & Jack Pessia Joni Photo
Ka’anapali Golf Courses Karen Story Keith and Sharon Barnes Lela’s Bistro Little Bird Bistro Local Ocean Restaurant Luck Me Boutique Lucky Limosine & Towncar Services Mark Spencer Hotel Marlene Montooth McCann Engineering LLC Multnomah Whiskey Library Nikasi Brewing Northwest Natural Nossa Familia Oregon Coast Aquarium Oregon Shakespeare Festival Pat Ritz Pearl Gallery & Framing Performance Promotions Pinch. A Design Office Pinkham Millinery Portland Paramount Hotel Portland Piano Company Portland Rose Festival Portland Spirit Portland Timbers Portland Trail Blazers Portland Wine Storage Precision Graphics Ralph & Ellie Shaw
Rex Post Rhino Digital Printing Richard & Marcy Schwartz Rocco Winery Sallie & Dan Dutton Santa Fe Taqueria Sara Sherwood Signa & Richard Gibson Simpatica Catering Stan & Suzanne Penkin Studio Luxe Sue McGrath & Rob Rieke Tasca & Paul Gulick The Standard U.S. Bank Umpqua Bank Vibrant Table Catering & Events Vivian Coffee West Coast Event Productions Widmer Brothers Brewing Company Willamette Valley Vinyards Zeppo Zipcar
FOUNDATION & GOVERNMENT SUPPORT (AS OF MARCH 24, 2015) OVATION SOCIETY ($100K+) Collins Foundation James F. & Marion L. Miller Foundation The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County, and the Arts Education and Access Fund
LEADERSHIP CIRCLE ($25K+) The Paul G. Allen Family Foundation Doris Duke Charitable Foundation The Kinsman Foundation Meyer Memorial Trust The National Endowment for the Arts Oregon Arts Commission Shubert Foundation Theatre Communications Group The Rose E. Tucker Charitable Trust
SEASON SUPERSTARS
SEASON STARS ($10K+) Anonymous Clark Foundation Jackson Foundation Work for Art, including contributions from more than 75 companies and 2,000 employees
PLAYMAKERS ($5K+) Samuel S. Johnson Foundation Harold & Arlene Schnitzer CARE Foundation Herbert A. Templeton Foundation ARTISTIC DIRECTOR’S CIRCLE ($3K+) Holzman Foundation H.W. & D.C.H. Irwin Foundation
PRODUCERS ($2K+) Autzen Foundation D. Margaret Studley Foundation BENEFACTORS ($1K+) American Endowment Foundation STARS ($250+) Big Sky Fund of Equity Foundation Leupold Stevens Foundation Swigert-Warren Foundation
SUPPORTING SEASON SPONSORS
This season is supported in part by a grant from the Oregon Arts Commission and the National Endowment for the Arts.
P20 | PORTLAND CENTER STAGE
INDIVIDUAL GIFTS (AS OF MARCH 27, 2015) The membership levels and names listed below are determined by your individual gift membership renewal date and are recognized for twelve months. We make every attempt to acknowledge your name accurately. If you find a mistake, want to make a change or think your name should be listed and want to inquire further, please don’t hesitate to call 503.445.3744 to let us know. We are more than happy to make changes for the next playbill. Those donors whose names are in bold are a part of our Sustaining Supporters group. We want to honor those donors who have given every year for the last five years. Your consistent support to Portland Center Stage means a great deal to us and keeps our theater thriving. Thank you for your loyalty and generosity. OVATION PRODUCERS ($100,000+) Keith & Sharon Barnes Don & Mary Blair Mary & Tim Boyle Heather Killough Richard L. Lawson LEADERSHIP PRODUCERS ($25,000–$100,000) Anonymous (2) Broughton & Mary Bishop Family Advised Fund, a charitable fund if the Community Foundation of Southwest Washington Andy & Nancy Bryant Dream Envision Foundation Stephen Domreis Brigid Flanigan Ronni Lacroute Pat & Trudy Ritz/Ritz Family Foundation Barbara & Phil Silver Helen & Jerry Stern Mr. & Mrs. W.T.C. Stevens Christine & David Vernier Dan Wieden & Priscilla Bernard Wieden Ben & Elaine Whiteley SEASON STARS ($10,000–$24,999) John & Linda Carter Roger Cooke & Joan Cirillo Evie Crowell Ray & Bobbi Davis Mark & Ann Edlen The Wayne & Sandra Ericksen Charitable Fund Diana Gerding Tasca & Paul Gulick Steve & Marypat Hedberg Dr. Barbara Hort Marilyn & Ed Jensen Judy Carlson Kelley Charles & Carol Langer Dedre J. Marriott Reynolds Potter & Sharon Mueller Richard & Marcy Schwartz Drs. Ann Smith Sehdev & Paul Sehdev Douglas & Teresa Smith John & Jan Swanson PLAYMAKERS ($5,000–$9,999) Dr. Don & Jessie Adams Gerry & Marylin Cameron Bill Dickey
Jess Dishman William & Karen Early Lois Seed & Dan Gibbs Roy Schreiber & Carole Heath Rocky & Laura Henderson Craig & Y. Lynne Johnston James & Morley Knoll Drs. Dolores & Fernando Leon Chrys A. Martin & Jack Pessia Peter K. McGill Steve Cox & Vikki Mee Neilsen Family Fund of The Oregon Community Foundation Leonard & Lois Schnitzer Family Fund of the Oregon Jewish Foundation Pat & Duane Smith
ARTISTIC DIRECTOR’S CIRCLE ($3,000–$3,999) Anonymous Rukaiyah Adams Carole Alexander Scott & Linda Andrews Peter & Susan Belluschi Family Fund of The Oregon Community Foundation Bill Byrne & Dennis Scolard J. Michael & Ginger Carroll Glenn Dahl & Linda Illig Martin & Karen Daum Joan & Jim English Randy Foster Rob Goodman Jon & Sheila Levine Laurie & Gilbert Meigs John D. & Nancy J. Murakami Steven C. Neighorn James H. O’Lennick Jim & Linda Patterson Franklin & Dorothy Piacentini Charitable Trust Fred L. Ramsey Robert Reed Dave & Lori Robertson Stephen & Trudy Sargent CollierTrust Jay Wilt Winnowski Family Foundation Mary & Pat Wolfe
PRODUCERS ($2,000–$2,999) Cheryl Balkenhol Julia & Robert S. Ball Mr. & Mrs. John C. Beckman Chris Blattner & Cindy McCann Jack Blumberg & Tom Anderson Ann Brayfield & Joe Emerson Richard Louis Brown Marianne Buchwalter Chris & Renee Cline Michael & Denise Cooper Dave & Debbie Craig Karen & John Durkheimer Family Fund of The Oregon Community Foundation Carol Edelman Chris Finley Christina Flaxel & B. Randall Paul & Samantha Harmon Brad & Judy Johnson Dennis C. Johnson Raymond & Marilyn Johnson Douglas & PJ Jones Stephen & Marjorie Kafoury Tim Kalberg Regan & Gina Leon Edwards Lienhart Family Foundation Jean & Steve Mann Marilyn Mclver George Middleton J. Greg & Terry Ness Bruce Ramseyer Pat & Al Reser Bob & Marilyn Ridgley Bobbie & Joe Rodriguez Rosemarie Rosenfeld Teri Rowan Raj Sarda MD Mark Schlesinger & Patti Norris Trina & Michael Sheridan Barbara A. Sloop Marilyn Slotfeldt Drew & Sue Snyder Burt & Barbara Stein E. Walter Van Valkenburg & Turid L. Owren Ted & Julie Vigeland Don & Eunice Waggoner John Taylor & Barbara West Steven & Deborah Wynne
CORPORATE CHAMPIONS WE SUPPORT OUR CORPORATE CHAMPIONS WHO GIVE OVER $10,000 ANNUALLY
Umpqua Bank
AHA! Anderson Krygier, Inc. Benson Industries Inc. Berry Wealth Strategies Curtis T. Thompson, M.D. and Associates, LLC
BENEFACTORS ($1,000–$1,999) Anonymous (3) Ruth & Jim Alexander Aletha & N. Christian Anderson III Phyllis Arnoff Kathi & Ted Austin Robin & Thomas Barrett Phil & Julie Beyl Lawrence S. & Susan W. Black Fund of The Oregon Community Foundation Linda & William Brown Walter & Mary Bush Tim O’Leary & Michelle Cardinal Tim & Susan Carey Rick Caskey & Sue HornCaskey Dr. Richard & Nancy Chapman Mary Chomenko Hinckley & Gregory K. Hinckley Kelli & David Christian Ms. Marguerite Cohen & Mr. Joe Roberts M. Allison Couch & Tom Soals Sarah Crooks Leslie & James Culbertson Judy Dauble Edward & Karen Demko Paul & Mickey Devore Craig Dewey & Julie Coop Michael Doherty & Daphne Cooluris David Dotlich Gerard & Sandra Drummond James & Patricia Edwards John & Jane Emrick Robert Falconer John Briggs & Jeffrey Feiffer Mike & Chris Feves Per-Olof Jarnberg & Joan Foley Marc Franklin Larry & Deborah Friedman Daniel & Leah Frye Cynthia M. Fuhrman Mary Jo Glynn Mike Golub & Sam Shelhorse John & Jacque Guevara Dylan Gulick Heather Guthrie & Gil Parker Del Hall Donald F. Hammond Sis Hayes Lani Hayward Sharon & Henry Hewitt
Davis Wright Tremaine Express Employment Professionals Gerding Edlen Development Co. KPFF Consulting Engineers Lucky Limousine M Financial Group Sue & Mike Hollern Neil & Karen Hutchinson Don & Claudia Hutchison Kathy & Steve Johnson Richard Kaiser Gregg & Diane Kantor Dr. Laurie Kash & Michael Carter Carla Kelley Selby & Doug Key Dennis King Ruth Knepell Keith Larson David Lofland & Zach Stepp Shari & Frank Lord Mr. & Mrs. James Manuel Stephen Mason & Christine Fisher Robert Matheson & Kimberly Porter Shelly McFarland Lindsey & Marilen McGill Jack & Carolyn McMurchie Rob & Kate Melton Robert & Violet Metzler Lora & Jim Meyer Hester H. Nau Bradford & Linda Needham Deborah Neft & Salvatore D’Auria Allan & Madeline Olson Duane & Corinne Paulson Joan Peacock Carol Pelmas Stanley & Susanne Penkin Brenda Peterson Dr. & Mrs. Charles Poindexter Walter C. Hill & Family Foundation David Pollock Judson Randall Stephen Reynolds & Paula Rosput Reynolds Mary & Craig Ruble Mardi Saathoff Halle & Rick Sadle April Sanderson Darryl Saunders & Randy Mannen Mary & Gene Sayler Carol Schnitzer Lewis Fund of The Oregon Community Foundation Marian & Elihu Schott Family Fund of The Oregon Community Foundation Michael & Karen Sherman John & Joan Shipley Geoff & Susie Strommer Ray & Pat Straughan
Moda Health NW Natural Oregonian Media Group Stoel Rives LLP U.S. Bank Wells Fargo Work for Art
Mary & Jeff Strickler Donald & Roslyn Sutherland Bill & Kim Swindells Ronald E. & Ivy L. Timpe Fund of The Oregon Community Foundation Katherine & Nickolas Tri Joan & David Weil Vikki Wetle Codiligent LLC Trudy L Wilson & Terry Brown David & Sherri Zava
STARS ($500–$999) Charles & Gloria Adams Margaret & Stuart Albright Stacy Allison Grover & Susan Bagby Thomas & Brada Bailey Susanne Baumann & John Gragg David & Bonnie Bennett Dr. Janet Bennett Christian, Lisa & Ella Bisgard Bob Schuler & Debra Blanchard Lesley Bombardier Joan Brandaw Stephen & Marge Brenneke Brooke Psychologists, LLC Ms. Bonnie Bruce & Mr. Michael Peterson Brentley & Caroline Bullock Mr. Bruce C. Carey & Joe Rogers Leslie Copland Herbert & Pamela Crane Kathryn Crawford Erik Cubbage Kirk & Marsha Davis Linda & Jerry Dinan Paul Dockter Richard & Betty Duvall Stephen Early & Mary Shepard Gregory Flick Charlie Frasier & Rick Taylor Carol Fredlund & John Betonte Charles & Kyle Fuchs Julie & Tony Furnary Teresa Gall Richard & Kristine Gates David & Lisa Gearing Paul & Faye Gilbarg Frank & Mary Gill Cathie Glennon Scott Goins Melissa & Robert Good Richard & Janis Gottlieb
PORTLAND CENTER STAGE | P 2 1
DONOR LIST (CONTINUED) Michael & Nancy Graham Gail & Walter Grebe Rick & Susan Gustafson John G. Hall Julia & John Hall Bill & Elaine Hallmark Brett & Jessica Hamilton Thaddeus Hanscom Kregg & Andrea Hanson Regina Hauser & Chris Carson Richard L. Hay Patsy Heinlein Herman Charitable Foundation Paul & Ruth Herrington Dan Holmes Dale Hottle Arthur Hung & Jim Watkins Susan Immer & Larry Juday Arnold & Virginia Israelit Jeff Jetton Jessie Jonas Jean & Rich Josephson Susan E. Jossi & Bob Conners Kevin & Suzanne Kahn Gerri Karetsky & Larry Naughton Chelsea King Jim & Lois King Peter H. Koehler Sr BettyLou Koffel & Phillip Moyer Mr. Rudy Kohnle & Ms. Krista Larson Leslie Kolisch Susan Lair & Doug Trobough Ray & Terry Lambeth Barbara Lenfesty & Richard Mullins Sharon W. Lukasevich Rodney & Molly Malone Stan & Rebecca Martinson JS & Robin May Kathi McCoy Jessica McVay Susan Sammons Meyer & Dennis Meyer David Morganstern Michael & Susan Mueller Ward & Pamela Nelson Don & Doris Nielsen Andrew & Christine Ognall Bob Packard John & Carolyn Parchinsky Elizabeth Perris & Beverly Schnabel Michael Schindler & Tammy Pierce Dennis & Beth Pixton Wallace & Elizabeth Preble Carolyn & Henry Raz Dick & Linda Reedy Drs. Scott & Kay Reichlin Michael Remsing Ken & Nancy Resnick Helen Richardson & Don S. Hayner Scott & Kelly Ritz-Einstein Michael Rompa Pam Schallau Stephen Schapp Brad Simmons & Shannon Hart
P22 | PORTLAND CENTER STAGE
J & C Skuster Walter & Carol Smith Carl Snook Sonny & Diane Sonnenstein Rick & Denyse Stawicki Janice Stewart & Gordon Allen Dr. Jeffrey & Mrs. Roberta Swanson Robert Swanson Libbi Layton & Lawrence Tamiyasu Meri & Stephen Taylor Bruce & Rebecca Teborek Beverly Terry Marcia K. Timm Lewis & Susan Van Winkle Virginia Vanderbilt & Michael Garrison Richard Wallace & Patricia White Wendy Ware & Dan Gleason Marion Weatherford Dr. & Mrs. Bennett Wight Brian R. Wilson Bradley T. Wulf Fabian & Julie Yeager
PATRONS ($150–$499) Anonymous (17) Jose Alcarez Richard & Kristin Allan Joan & Brian Allen Philip & Pip Allen Linda C. Anderson Thomas R. Anderson & Joan Montague Mr. & Mrs. John K. Ankeney Lee & Lynn Aronson Elizabeth Ash & David Morganstern Linda Aso Mark Thomas Aspaas Jean & Ray Auel Jean & David Avison Susan Bach & Douglas Egan Mrs. Bernice Bagnall Thayne & Mary Anne Balzer Gary & Christine Barbour MaryAnn & Phil Barnekoff Theresa Barney Mr. & Mrs. Peter Barnhisel Jan Baross Diane & Arthur Barry Sidney & Barbara Bass George W. Bateman Richard Baumann Donald C. & Doris Beard Martha Turner Rachel Berrington Leslie Bevan & Julie Huffaker Anita & Clark Blanchard Jill Blanchard Jackie & Joe Bloom Michael Bloom Ms. Catherine Blosser & Mr.Terry Dolan Jeffrey Bluhm Robert E Blum & Carol M. Black Jacquelyn Boardman
Lynne & Frank Bocarde Brian & Karen Borton Douglas Bouland Norma Bradfish Buzz Braley Richard & Julie Bronder Eileen Brookens Carol Bryant Barbara & Richard Buchanan Rich & Kathy Busse Mary Butler Bishop Cal & Velma McConnell Ms. Stacey Caldwell-Roberts & Mr. Robert Roberts Matt & Celice Carlough Jason Carothers Brett & Barbara Carson Clay & Carolyn Carter Michael Carter & Teresa Ferrer Sue & John Carveth Brent & Barbara Chalmers Gordon B. Chamberlain Candice & Russ Chapman John & Lou Chapman Brenda Charpentier Bob & Patty Chestler Valri & Vincent Chiappetta Susan F. Christensen John & Kathryn Cochran Rhonda Cohen Dr. & Mrs. Frank P. Colistro Bruce & Janis Collins Rick & Jean Collins Lisa & Skip Comer Alan & Leslie Comnes Sonja L. Connor Elizabeth Cordrey Jerry & Jean Corn Karen Costello JA Courtney Jennifer & Diego Covarrubias Lisa M. Freiley John & Ann Cowger Lyall & Phyllis Crary John Crawford Marian & Neale Creamer Karen & Ward Cunningham Micheal & Carmen Cutting Arthur & Winnifred Danner Marcia Darm & Bruce Berning Betty Daschel Jim & Ilene Davidson David & Alice Davies Gloria Zeal Davis Robert & Ruth Deal Robert & Jane D’Entremont Ken & Laura Dobyns John & Danuta Donovan Steve Dotterrer & Kevin Kraus CDR Robert duBiel & Nancy Dougherty Beverly Downer David & Erin Drinkward Julie & Jim Early Mary A. & Peter Eisenfeld Kris & R. Thomas Elliott Ronnie-Gail Emden & Andrew Wilson Ed & Marilyn Epstein Sharon Ewing-Fix
Robert & Kathleen Felder Renee Ferrera & James Johnson Patrick Fiegenbaum Colleen Finn Sally & Jerry Fish Chuck & Pat Fisher Mary Flahive & David Finch George H. Fleerlage Steve & Susan Ford Bernard A. & Loretta E. Fox Larry & Judy Fox Ronald Fraback Sharon Frank Terry Franks & Carolyn Duran Bruce & Kate Frederick Gail & Kim Frederick Richard Smith & Patricia Frobes Don & Judy Fuller Lewis Littlehales & Louise Fullerton Jerome & Mary Fulton Susan & Seth Garber John & Marcia Garrick Colleen Gekler Sarah Giles Marie Godbey Patricia & Tim Gray Chip & Toni Greening Mark & Michelle Greenwood Nancy & Ron Gronowski Frank & Margery Guthrie John G. Hall Ulrich H. Hardt & Karen Johnson Gary Hargett Pat & Kelley Harrington Tom & Jan Harvey Fred & Sara Harwin Mark & Paige Hasson Susan M. & Robert S. Hatfield Tracey Heinrich MJ & Lee Alan Helgerson Paul Hempel & Bruce Newman Mr. & Mrs. Clayton Hering Diane M. Herrmann Justin Hirsch Suzanne Hiscox Barbara & Mark Hochgesang Thomas Hoffmann Barry & Fanny Horowitz Jeanne Provost & R. Brian Hough Donald & Lynnette Houghton Dr. Hal Howard Nancy Hull & Chris Sproul Lynn & Diana Husband Kathy & Tom Iberle Robina & Tim Ingram-Rich Willard & Shirley James Katharine Jansen Joanne Jene, M.D. Betsy & Jerry Jeronen Tony & Sarah Johnson Dolores Johnston Becky & Jarrett Jones Joan Jones Jack & Farol Kahle
Ross Kaplan & Paula Kanarek Beth & Chris Karlin Chad & Mary Karr Ron & Ruth Katon Katherine Keene Helen P. Kelley Jane Kennedy Jeffrey & Carol Kilmer Jin-Hee Kim & Paul Levy Nancy Kingston Frederick Kirchhoff & Ronald Simonis Bob & Rose Klas Lucien & Sally Klein Richard & Rita Klein Romy Klopper Michael Knebel & Susan Shepard Kohnstamm Family Foundation Drs. Bill & Ricky Korach Jon Kruse & Karen O’Connor Kruse Bruce & Cathy Kuehnl Ed & Margaret Kushner Diane Lancon Ron & Jewel Lansing Dave Lapof Brad & Cindy Larsen Sarah & Jim Laughlin Shelley Laurance & Bob Sternberg Robert & Nancy Laws Bob & Sally LeFeber Bonnie & Mike Leiser Roger & Joy Leo Brian & Chris Lewis Bob & Debbie Lindow Craig & Anne Lindsay Peter & Janice Linsky Joyce & Stan Loeb Ralph & Barbara London Mary E. Long Elaine & Richard Lycan Jerry & Judy Magee Jeanne & Jim Magmer Don Main & John Ahlen Jane Maland Linda & Ken Mantel Mr. Joe Marrone & Ms. Ann Balzell Kenneth & Nancy Martin Pamela Matheson Oscar & Mary Mayer Susan & Bill McConnell Dr. Louis & Judy McCraw Maryl M McCullough Betty McDonald & William Hansen Gretchen McLellan Steven McMaster & Kathleen Brock Julia Meck Mariellen Meisel & Steve Glass Peter & Joan Melrose Jim & Kris Merritt Ms. Marguerite Metcalf Louis R. Miles Roger & Karen Miller Tom & Lia Mills Douglas & Georgina Miltenberger David & Machteld Mok
Grant Molsberry & William Apt Douglas & Malinda Moore Jane Moore & David Pokorny Linda Moore Linda Moraga & Dave Clarke Clint & Donna Moran Mike & Jan Morgan Sonny Jepson & Felice Moskowitz Laura & Joseph Munoz Bill & Pat Nelson Jeanne Newmark Ann Nickerson Landscape Design Jim & Michelle Niegowski David & Anne Noall Ron & Janet O’Day Bonnie & Robert Olds Ric Oleksak Carillon Olmsted Eileen & Alfred Ono Juris & Silvia Orle Lottie Goodwin Callie & Ana Winner JoAnn Pari-Mueller & Dan Mueller Robyn Parnell & Mark Waggoner Donna Jean Paterson & Christopher Houghton Justin R. & Amy Paterson Janet Peek Jennifer Peery Steve & Melissa Peterman Kevin Phaup JB Phillips Sue Pickgrobe & Mike Hoffman Nancy Pitney Art Dodd & Diane Plumridge Randy Pratt David & Margo Price Annalee Purdy & Jordana Sardo David & Karmyn Raisl Jay & Barbara Ramaker Michael Rankin Bonnie & Peter Reagan Ed Reeves & Bill Fish Marjorie Reeves Leslie Rennie-Hill & Ken Hill Mark Reploeg Tansy & Dan Rhein Robert Kavanaugh & Ms. Dale Robars Michael Robertson & Gwyn McAlpine Greg Roderick Charles & Judith Rooks Kelly & Tomilynn Ross Ted Ruback Davia & Ted Rubenstein Brian & Natasha Ruess Linda & Michael Salinsky Liz Sandoval & David Lewis Deborah Santomero & Lisa Hoffman John & Stephanie Saven Dianne Sawyer & Richard Petersen Karen Schartman Jim Scherzinger & Claire Carder
DONOR LIST (CONTINUED) Sheldon & Jean Schiager Jennifer Schuberth Katherine Schultz Peter C. & Jeanette M. Scott Sheila & Gary Seitz Michael & Pam Shanahan Lynda Shapiro Shawn & Beth Shelby Karen Sheridan Ron & Lynn Sherwood Peter Shinbach Carl R. Shinkle Pete Eggspuehler & Family Christine Smith Constance Smith Richard & Leonie Smith Kimberly Smith-Cupani Neil Soiffer & Carolyn J. Smith George Soule & Maurice Horn Sheryl Stauffer Jim & Debbie Steele Bill & Patsy Steimer James & Michele Stemler Leigh D. & Kathleen Stephenson-Kuhn Elaine R. & Rudolph B. Stevens Zach & Vassie Stoumbos Milan & Jean Stoyanov Rhonda Studnick Kaiser Margie Sutherland, MD Mr. & Mrs. John Sutton Jeanette & Matthew Swafford Roger & Gale Swanson John & Jan Switzer Amy & Emanuel Tanne Ellen Tappon & Ted Wilson Leif & Marjorie Terdal William & Lori Thayer Robin Thomas & Carl Addy Don & Judy Thompson George & Nancy Thorn Grant & Sandra Thurston Sandra Teel Trainer Mr. Michael Traylor & Derek Holmgren E. & P. Alderwerelt Joan Snyder & Phil VanderWeele David & Julie Verburg Ginni Vick Mark & Mary Ann Vollbrecht James & Nancy Vondran Karen Waibel John N. & Betty K. Walker Nancy Walker & Terry Foty Sheila Walty Michelle & Guy Weisenbach Brandon & Betty Jean Wentworth Karen Whitaker Chris & Jana White Jim White JD & D’Alene White Dennis & Jean Wilde Maurice & Lauretta Williams Sharon Williams & John Deits Marjorie & Tom Wilson Alan Winders Jeff Winsor Greg Winterowd Loring & Margaret Winthrop
Richard & Leslie Wong J. Marcus Wood & Sue Hennessey Robert & Vickie Woods Gail Woolf Paul Wrigley Jack Wussow & Kyle Adams Russ & Mary Youmans Alan & Janet Zell Beverly & Marty Zell
SPONSOR ($75–$149) Anonymous (9) Nancy & Paul Abbott Dr. Seth Alley Kris Alman Cameron Altenhof-Long Lloyd & Pauline Anderson Darrell Andrews Harlene Appelman Nigel & Kerry Arkell Gerald & Jane Armour through Fidelity Charitable Gift Andrew Asher Anne Batey Gwen Beals Howard Beckerman Brandon Bement Pam Berg Steve Besaw Jonathan Betlinski Cheryl A. Bittle Ron Borkan Leanne Bowker Patricia Bowman & Richard Kolbell Judy Bradley & Dave Mitchell Peggy Bromley Dennis Brophy Ken & Sharon Brown Patsy Bruggere Mr. Lamar Bryant & Ty Stober Robin Budde Kim & Debra Burchiel Cate Burnstead Marjorie & Jack Butler Kathy Bushnell Ms. Kathryn Bussman & Mr. Char Curry Carolyn & Walter Carr Jean Carufo & Barb Engelter Susan Cassady & Neal Thompson Ron & Erin Castner Sy & Carol Chestler Robert & Sue Christenson Sheldon & Marilyn Clem Kathryn Coffel Elaine & Arnold Cogan Charles Collopy Brad Combs Gail & David Coombs Chris Cooper William & Harriet Cormack David & Sandra Coronel Stacy Cross Graham & Peggy Crow Kelly Cushing Dr. & Mrs. Joseph Davids Larry Davis & Maureen Ryan Maureen Sproviero & Kerwin L. Davis Carroll & Gerry DeKock Ken Denton Denise Demaray
William & Brenda Derville Susan Dixon Richard B. Dobrow MD Raymond & Marilyn Dodge D. Doorlag Thomas Doulis Michael & Patricia Downey James T. Dunn Tina Edlund Ron & Becky Eiseman Gerda A. Eiseman Elizabeth & Bill Eklund Alex & Carol Fischler Sherry & Paul Fishman Art Fortuna Linda Fristedt Dwain Fullerton Marta & Don Furman Barbara & Michael Gaines Michelle Gardner Melissa Garinger Gail C. Gengler Karen Glaser Bob & Lesley Glasgow Lynn Goldstein Rosalie Goodman Patty Green Merwyn & Harriett Greenlick Pam Grignon Bette J. Grimm Fred Grossman Patricia Guthrie & Joe Grosh Candace Haines Thomas Hamilton Irv & Gail Handelman Karen Hardman Jean Harmon & Paul Randall Janis & Robert Harrison Jane L. Hatch Robert & Kay Heiney Tom Hendrickson Lesley Herren Gary & Jane Hibler Charles & Margaret Hickman Mrs. Beverly Hoeffer & Mrs. Carol Beeston Andrew Hoffmann Kevin Hogan & Aaron Larson Michele Houck Jay Howell Robert & Jill Hrdlicka Michael Hubbard Nancy J. Hungerford Ruth & Harry Irons Louise Jayne Kay Jennings David C. Jensen Julie & Chuck Jensen Ken & Sue Jensen Gail Jerome Richard & Phyllis Johnson Robert Johnson Elaine Jones Lore Joplin & Brett Leibbrandt Jodi Jordan Rebecca Karver Steven & Nancy Kassel Franki Keefe Catherine & Tim Keith Oline K. Ronnekleiv & Martin J. Kelly Marion & Bart Kessler Janice & Mark Kettler Heather Kientz Lee F. Kilbourn
Linda & David Kimball Doris & Eric Kimmel Julie King Susan Korey & Merritt Linn Eileen Kravetz Robert Kravitz Paula Kurshner Margaret & Greg Lapic Deakin Lauer Steve Laveson Anita Saalfeld Jane & John Lebens Sandra A. Lessert Jane Lightell Lydia Lipman Steve Rosenberg & Ellen Lippman Louis & Marie Livingston Stephanie Starr David Long Family Gordon & Renate Long David & Marnie Lonsdale Evelyn Lowry Marvin & Sylvia Lurie Louise Magun Tim & Barbara Mahoney Karen Labinger & JoAnn Marks Mr. & Mrs. Michael Marlitt Ms. Joan Marquis Ellen Martin Connie & Mike Mason Don & Susan Masson Lynn Mayer Jim & Maureen McCartin Charles & Kathleen McGee John McGrory & Leslie Root J. Bart McMullan Jr. & Patricia J Dunahugh Gayle & George McMurriaBachik Amy McVee Patty Merrimon Jeannette & Bill Meyer Susan Mikota & Arthur Glasfeld William & Janis Mildenberger Mr. Jay Miller & Ms. Elise Menashe Lani Miller & George Gust Michael & Denise Millhollen Kate & Jack Mills Michael Mills & Amie Abbott Susan & Gregory Miner Thomas & Rosemary Mitchell Bill Moffat & Joy Abele Cristina Mondragon Judith Monson Heather & Troy Morrison Linda Neumann & Steve Jaggers Mr. Brooks Newsom & Ms. Debra Hays Kay Novak Lisa Novak Terry Nyquist Barry D. Olson Blythe Olson Jean Omelchuck Beverly J. Orth Nancy J. Park Kathy M. Parker Susan & Milt Parker John Parks & Rebecca Hill Philip Paroian
Ron & Shirley Pausig Dr. & Mrs. Roy A. Payne Sharon Paz Gary & Catherine Pederson Mike Penfield John M. & Suzy J. Petersen Donna Philbrick Mr. Joe Phillippay & Kris Phillippay Karen Pickett Alicia Polacok Shirley Pollock Jan Poujade Ana Quinn Edgar & Prudence Ragsdale James & Judith Rankin Walter Ratzlaf John & Judy Rau Elizabeth Reilly Gurocak & Hakan Gurocak Betty & Jacob Reiss Debbie & Bruce Reynolds Leslie Richards Ms. Leslie Richter & Mr. Peter Ritcher Cynthia Rider Vernon Rifer & Linda Czopek Russ Riggs Mark Rittenbaum David Robertson & Chuck Brimmer Gertrude Robinson Damaso B. Rodriguez Jim Rosenbaum & Sandra Lewis Margot Roth l’Heureux Rebecca Rothery Alise R. Rubin & Wolfgang Dempke Valerie Newman Bunny & Jerry Sadis Brian Samore Christine & Steven Satterlee Allen Schatz Jeanette & Douglas Schenk Barbara & Jack Schwartz Connie Schwendemann & Richard Peterson the Seemels Richard Sessions Mary & KC Shaw Gayle Sheppard Thomas & Mary Showalter Henrianne Slattery Sharon & Kelly Slayton Doug Sparks & Casey Bass Greg & Judy Spear Mary Steckel Elizabeth & Les Stoessl Elizabeth Tabaka Ruth & John Talbott Philip Tavernier Ann & Dave Taylor Jerome & Kathleen Taylor Jane Thanner & Tim Smith Linda Thomas Mr. Brian Thompson & Mr. Bob Baskette Jane Tighe Charles & Sharon Toland David Toovy Deanna Toyoshima Kathy Travnicek Leslie Trim Jane Troeh Mary & Tom Troxel
Lance & Suzie Tryon Lyle Tucker Kathryn Tweedy Mark Tynan Mark & Christy Uhrich Cathy Unis Roberta & Ward Upson Dawn Vermeulen Linda Vogelsong Dan Volkmer & Frank Dixon Susan Vosburg & Paul Sanson Ms. Shu-Ju Wang & Mr. Mike Coleman Anne & Eddie Ward Lori Watson Joe Weber Tracy Weedman Mr. Paul White Linda Wiener & Joel Datloff Charles Williams Jennifer Wilson Jeff & Jaynie Wirkkala Don & Jan Wolf & Wolf Family Fund of The Oregon Communinity Foundation Linda M. Wood Martha Woodworth Karen Yates Deborah Zita Arlene & Bob Zucker
PORTLAND CENTER STAGE | P 2 3
STAFF | PCS Artistic Director | Chris Coleman IN TRIBUTE Randall J. Brown in honor of Karen Alexander-Brown Susan C. Campochiaro Confrey in honor of JoAnne Luccarelli Ginger A. Carroll in memory of J. Michael Carroll Dr. Hal Howard in memory of Carol Howard JS and Robin May in Honor of Chris Coleman Stacy Michaelson in honor of Karen Johnson III Joan Peacock in Loving Memory of Ben Buckley David Pollock in honor of Rosemary Trierweiler Jim Rosenbaum and Sandra Lewis in honor of Tim and Mary Boyle Gertrude Robinson in memory of Arnold Robinson The following patrons made gifts in appreciation for and memory of David Lezak and his long-standing support of Portland Center Stage. Peter and Sue Belluschi Garth and Joan Brandaw Herb Goodman Dan and Amy Jursnick Leeane Maccoll Leith Macfarlane Rosemarie Rosenfeld BJ Seymour Gordon and Gretchen Stone John Taylor and Barbara West Julie and Ted Vigeland TRIBUTE GIFTS Why not try something different? Instead of searching for that perfect gift or struggling over how to acknowledge a special achievement, you can recognize someone with a 100% tax deductible Tribute Gift to Portland Center Stage. We’ll make it even easier for you by specially notifying the appropriate person that a Tribute Gift was made in honor or memoriam and list your gift in the playbill. If you would like to make a Tribute Gift, please contact Karen Johnson at: 503.445.3744 or karenj@pcs.org.
P24 | PORTLAND CENTER STAGE
ARTISTIC
Associate Artistic Director: Rose Riordan Producing Associate: Brandon Woolley Company Manager: Don Kenneth Mason Literary Associate: Mary Blair
EDUCATION/COMMUNITY PROGRAMS
Education & Community Programs Director: Kelsey Tyler Education & Community Programs Coordinator: Paul Susi Resident Teaching Artist: Matthew B. Zrebski
ADMINISTRATION & FINANCE
Chief Operating Officer: Cynthia Fuhrman General Manager: Creon Thorne Human Resource & Capital Campaign Director: Lisa Sanman Human Resource & Executive Assistant: Jessica Mae Bania Finance Director: Lisa Comer Accounting Manager: Jerome Faulkner Accountant: Alan King IT Administrator: Christian Kisanga IT Assistant: James Dixon Database/Tessitura Consultant: Bob Thomas
DEVELOPMENT
Development Director: Charles T. Frasier Associate Development Director: Jennifer Goldsmith Grants Manager: Marlene A. Montooth Development Associate: Karen Johnson
MARKETING & COMMUNICATIONS Director of Marketing & Communications: Cynthia Fuhrman Public Relations & Publications Manager: Claudie Jean Fisher Group Sales & Promotions Manager: Mandy Morgan Marketing & Communications Associate: Alice Hodge Graphic Designer: Mikey Mann Multimedia Designer: Kate Szrom Webmaster: Christian Bisgard Production Photographer: Patrick Weishampel Public Relations & Marketing Intern: Lindsay Pfeifer
PATRON SERVICES
Patron Services Manager: Luke Robertson Patron Services Assistant Managers: Hannah Katibah, Klint Keys Senior Patron Services Associate: Megan Harned, Emily S. Ryan Patron Services Associates: David Harper, Sierra Walker Sales Associates: Madelyn Clement, Michael Erickson, Katie Watkins Season Ticket Sales Agents: Barbara Morley, Mark Woodlief
OPERATIONS
Operations Manager: Joe Visnic Operations Assistant Manager: Ryan Collins Operations Assistants: Lauren Knapp, Mitchell Bohannon Events & Rentals Manager: Jessica Metteer Rentals Assistant: Taurra SunEagle Lead Custodian: Joel Hartman Evening Custodian: Jeffrey Ayers
PRODUCTION
Production Manager: Christopher Brislin Production Coordinator: Lydia Comer Stage Managers: Emily N. Wells, Liam Kaas-Lentz, Kelsey Daye Lutz Production Assistants: Stephen Kriz Gardner, Bailey Anne Maxwell, Kristen Mun Assistant Technical Director: David McCrum Master Carpenter: Seth Chandler Staff Carpenters/Welders: Nick Foltz, Jeffrey Kauffman, Benjamin F. Mills Properties Master: Michael Jones Lead Props Artisan: Rachel Peterson Schmerge Scenic Charge Artist: Erinn McGrew Scenic Artist: Kate Gilles Costume Shop Supervisor: Mike Floyd Cutter/Drapers: Paula Buchert, Eva Steingrueber-Fagan First Hand: Larissa Cranmer Costume Crafts Artisan: Barbara Casement Wardrobe Supervisor: Bonnie Henderson-Winnie Wig Mistress: Danna Rosedahl Lighting Supervisor: Ben Courtney Master Electrician: Connery MacRae Assistant Master Electrician: Alexz Eccles Deck Manager: Tim McGarry Resident Sound Designer & Sound/Video Supervisor: Casi Pacilio Sound Engineer & Lead Programmer: Scott Thorson Sound Engineer & Programmer: Em Gustason
FRONT OF HOUSE
Lead Concierge: James Dixon Concierges: Miles Bennette-Eaton, Marialena DiFabbio, RJ Hodde, Meghan Howard-Hakala Volunteer Coordinator: Robyn Hodges Lead House Manager: Michael Rocha House Managers: Jenna Barganski, Emerson Scott, Nia Adams Catering Services Supervisor: Jamie Bilderback Café Supervisor: Noelle Melberg Kitchen Supervisor: Erik Sanchez Kitchen Assistant: Wambui Machua Food & Beverage Service Staff: Kale Arndt, Stacy Hagen, Adam Marchant, Audrey Owens, Drew Patton, Ellie Percival
VOLUNTEER COMMITTEE
Office Assistants Chair: Connie Guist Entertainers Chairs: Jo McGeorge, Olivia Jacobus Supporting Cast Chair: Karen Watson
AT THE PERFORMANCE MAY | JUNE 2015
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Welcome to Artslandia at the Performance – a city playbill and performing arts magazine. Enjoy the show.
AT TH E P E R FO R M A N C E 20
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In This Issue 20 Q+A: GRIMM GUESTS Sasha Roiz and Silas Weir Mitchell bring their famous TV faces to the PCS stage to rediscover live theatre and connect with Portland, which they admit has started to feel like home.
26 CHOOSE A MUSIC FEST
This summer, the hills (and plains, and waterfront) are alive with the sound of music. But which way will you turn? Follow our handy chart to choose the fest that’s best for you.
32 GOOD DEEDS: THE VALENTINE FUND
After a bad bicycle fall, Louanne Moldovan was at risk of paralysis and in need of surgery. Fortunately, the Portland Area Theatre Alliance was there to help.
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36 LEARNING CURVE
JamBallah Festival founder Elise Morris walks us through the major styles of belly dance, introduces us to Portland's movers and shakers, and debunks some misunderstandings.
IN EVERY ISSUE 44 GET YOUR GUS ON!
Quintessential Portland Filmmaker Gus Van Sant has plenty of wild stories to share, from the time he recruited a lost Yellow Pages salesman to act in a movie, to the time he hallucinated Nirvana music while listening to chainsaws in the woods. Artslandia got these choice cuts and more from Mario Falsetto, author of Conversations with Gus Van Sant and course lecturer at Northwest Film Center’s The Essential Gus Van Sant series.
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Calendar From the Editor-at-Large Ambassador Column Find Your Art From The Desk Of Tag, You’re It. Did You Know? Dramatic Dishes Past Performances
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Artslandia at the Performance may | june
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AT TH E P E R FO R M A N C E
WHAT’S THE BEST THING ABOUT SUMMER IN PORTLAND? PUBLISHER Misty Tompoles
Baseball, art and iced tea.
Late evening sunsets.
EDITOR-AT-LARGE Barry Johnson
ASSOCIATE EDITOR A.L. Adams
PDX Pop Now!
COPY EDITOR Kristen Seidman Evening walks
DESIGN along the river. Zelda Burk Lisa Johnston-Smith Sunglasses.
ADVERTISING ACCOUNT EXECUTIVE Steven Sturgeon ADVERTISING AND COMMUNITY DEVELOPMENT Shawn Brunner MEDIA DIRECTOR The best thing about summer A patio table Chris Porras in Portland is that it’s year-round!
and an IPA!
Drinking outside.
CONTRIBUTING WRITERS Graham Bell Marty Hughley Going to the Barry Johnson river and Claire Willett
discovering Party Island.
ILLUSTRATOR Carolyn Main PHOTOGRAPHERS Raina Stinson Amy Graves
SUBSCRIBE ONLINE WWW.ARTSLANDIA.COM
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Artslandia at the Performance may | june
BE IN THE NOW. BE IN THE KNOW. MUSIC DANCE THEATRE
MONDAY
TUESDAY
MAY WEDNESDAY
THURSDAY
FRIDAY
STORM LARGE Presented by the Oregon Symphony. May 1.
SATURDAY
SUNDAY
Photo by Russell J. Young.
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DYNAMIC DUOS Portland Columbia Symphony Orchestra. May 1 & 2.
THE LION Portland Center Stage. Through June 14.
SPRING CONCERT Portland Youth Philharmonic. ANI & NIA SULKHANISHVILI Portland Piano International.
SHOW BOAT Portland Opera. May 1, 3, 5, 7 & 9. STATIC Third Rail Rep. Through May 24. X-POSED CHOREOGRAPHER SHOWCASE Polaris Dance Theatre. May 1–3 & 8–10.
Photo courtesy of the Oregon Symphony.
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COMEDY OF ERRORS Post5 Theatre. May 29–June 27.
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7 OUR COUNTRY’S GOOD Bag&Baggage Productions. Through May 31.
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THE PHANTOM OF THE OPERA US Bank Broadway in Portland. Through May 23. MR. BURNS, A POST-ELECTRIC PLAY Portland Playhouse. Through June 7. 20
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MEMORIAL DAY
THE LIAR Artists Repertory Theatre. Through June 21.
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COSMOSIS WITH AMPHION QUARTET BodyVox. Through June 6.
Artwork by Lee Moyer.
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RAMONA QUIMBY Oregon Children’s Theatre. Through May 31.
SONGS OF SPRING Pacific Youth Choir. May 10 & 31.
SAX AND THE SYMPHONY Oregon Symphony. Through May 11.
STOREFRONT ACTORS’ REVUE: THE BABES ARE BACK! Triangle Productions. Through May 30.
MAME Lakewood Theatre. May 1–June 14.
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FROM DARKNESS TO LIGHT Cappella Romana. May 16 & 17.
THREE DAYS OF RAIN Portland Center Stage. Through June 21.
SHOWCASE CONCERT Portland Symphonic Girlchoir.
BEETHOVEN’S PIANO CONCERTO NO. 1 Oregon Symphony. May 17 & 18.
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PIANO QUINTETS WITH THE FLORESTAN TRIO 45th Parallel.
29 COMEDY OF ERRORS Post5 Theatre. Through June 27.
Illustration by Matt Phelan.
RAMONA QUIMBY Oregon Children’s Theatre. May 9–31. 12
Artslandia at the Performance may | june
JUNE MONDAY 1
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TUESDAY
WEDNESDAY
THURSDAY
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ANTONY & CLEOPATRA Oregon Shakespeare Festival. Through October 9.
HEAD OVER HEELS Oregon Shakespeare Festival. Through October 10.
THE COUNT OF MONTE CRISTO Oregon Shakespeare Festival. Through October 11.
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GET PHAMEOUS! Phame Community Open House.
FRIDAY 5
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THE RAKE’S PROGRESS Portland Opera. June 11, 12 & 14.
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SATURDAY 6
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13 ABBAQUEEN: A ROYAL CELEBRATION Portland Gay Men’s Chorus.
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21 FIRST DAY OF SUMMER
PORTLAND PIANO INTERNATIONAL SUMMER FESTIVAL Portland Piano International. Through June 21.
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Graham. Photo by Jenny
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ANTONY & CLEOPATRA 24 Oregon Shakespeare Festival. June 2–October 9.
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SUNDAY
JUNE CONCERT Metropolitan Youth Symphony.
IN THE NEXT ROOM, OR THE VIBRATOR PLAY Profile Theatre. Through June 28. 15
Calendar
IN THE NEXT ROOM, OR THE VIBRATOR PLAY Profile Theatre. June 11–June 28.
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SUMMER SPLENDORS Northwest Dance Project. Through June 28.
PORCH MUSIC Third Angle New Music.
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DRAMMY AWARDS
RAKE’S PROGRESS Presented by the Portland Opera. June 11, 12 & 14. Courtesy of Glydebourne,The Rake's Progress (2010), photography by Alastair Muir.
Artslandia at the Performance may | june
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2015/16 SEASON
A R T I S T S
R E P E R T O R Y
THE UNDERSTUDY by
Theresa Rebeck
T H E A T R E
2015/16
S E AS O N
SEP 8 - OCT 4
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SUBS STA NNOUNCED! RT AT $1 0
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CUBA LIBRE Carlos Lacรกmara Tiempo Libre OCT 3 Directed by Dรกmaso Rodriguez Music Direction by Jorge Gรณmez Choreography by Maija Garcia Book and additional lyrics by Music by
- N OV 8
BROOMSTICK by
John Biguenet
O CT 27 - N OV 22
THE MIRACLE WORKER by
William Gibson
D EC 8 - JA N 3
MOTHERS & SONS by
Terrence McNally
FEB 9 - MAR 6
WE ARE PROUD TO PRESENT A PRESENTATION ABOUT THE HERERO OF NAMIBIA, FORMERLY KNOWN AS SOUTH WEST AFRICA, FROM THE GERMAN SUDWESTAFRIKA, BETWEEN THE YEARS 1884-1915 by
Jackie Sibblies Drury
MAR 8 - APR 3
GRAND CONCOURSE by
Heidi Schreck
M AY 3 - M AY 29
THE SKIN OF OUR TEETH by
Thornton Wilder
M AY 1 7 - J U N 1 2
SUBSCRIBERS SEE PLAYS FOR JUST $35 EACH ANY PACKAGE. ANY SERIES. ANY NIGHT.* *PREVIEWS/STUDENTS $25, OPENING NIGHTS $43, CUBA LIBRE $45
503.241.1278 artistsrep.org
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B A R RY JO H N S O N
FROM THE EDITOR-AT-LARGE
The Politics of Art How will Oregon’s new governor join arts discussions already in progress? BY BARRY JOHNSON. Although we often encounter the phrase “the art of politics,” we generally acknowledge that the distance between “art” and “politics” is pretty vast. At the very least, a political experience has a very different character from an art experience. One example of a great political artist is Machiavelli, who defined politics as the art of getting what you want, through any means. In politics, sometimes laying waste to a city is just the thing! Still, if you’re interested in having arts experiences yourself and making sure that others have them, too — well, politics is going to be involved. And given the recent upheaval in Oregon politics, that’s what it’s time to talk about. Oregon’s new governor Kate Brown must still be spinning wildly through a whirlwind of budgets, bills and politics in Salem after her ascension in February. Unsurprisingly, she hasn’t said anything about what her plans for the arts might be, and we don’t have a very good fix on her level of enthusiasm for developing and instituting a plan around arts and culture in the state. Since she did vote for the extension of the Oregon Cultural Trust last year, maybe we can safely assume that she’s at least moderately interested in the arts? She probably won’t promptly derail the arts policy trains that former governor Kitzhaber set in motion, specifically the Oregon Arts Commission’s strategic planning process, which started in earnest last September with town meetings around the state. I talked to Brian Rogers, the ex-
ecutive director of both the Arts Commission and the Oregon Cultural Trust, to get an update, and I like the talking points: access and equity for the arts, the arts’ importance to our economic vitality, arts education and awareness, and how the Arts Commission administers grants. If things work out, these generalities will distill into public policies with specific proposals attached to them. I have no idea what these might be, I only hope that they’re ambitious enough to make a real difference. If you live and/or work in Portland, the importance of the arts and their more practical sibling, design, couldn’t be clearer. Everywhere you look, the creative economy is starting to dominate, and every other person you meet is a designer, or an artist of some sort, or both ... or is working in support of designers and artists. Portland’s rise as a “national” city has paralleled the explosive growth of its design and arts communities — and really, the design and art communities came first! Even if the only scale we use is an economic one — and we all acknowledge that there are lots of others — we know that the arts are central to our success. We also understand that offering arts education to our children will be central to their success. Just hearing Governor Brown articulate this idea would be an important step. Here’s hoping she takes us further down that path. .
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Art Feeds the Soul As I write my final Ambassador column, I reflect on the past year. To be Artslandia Ambassador has been a privilege and an honor, and I hope we — Artslandia readers and I — cross paths again in person.
Portland Baroque Orchestra, Cappella Romana and Friends of Chamber Music — partner to present Jordi Savall and his ensemble Hesperion XXI in a concert that will surely be remembered as one of the top performances of 2015. Portland Opera continues to innovate and redefine its season into a short festival showcase, coming in spring of 2016.
We Portlanders should be proud of the benefits of our Arts Tax, which has distributed over $15 million to schools and arts organizations since 2012. Together, we’ve begun to provide access and equity for the arts, and we’re on the trajectory to making it a reality for everyone.
As Portland evolves, the arts community is embracing the future and bracing for challenges ahead. We’re adding value to our community, and we invite you to come along for the ride. Get involved, ask questions, share your opinions, and be active. Together we can do great things, and the potential is infinite.
“If you have only two pennies, spend the first on bread and the other on hyacinths for your soul.”
Let me end where we began, “If you have only two pennies, spend the first on bread and the other on hyacinths for your soul.” -Arab Proverb
As you know, Portland’s a special place experiencing renewal. Over the last year, we’ve seen the Oregon Symphony go from survival mode to a thriving, leading institution. We’ve also seen three top music organizations —
LISA VOLLE
2014-15 ARTSLANDIA AMBASSADOR EXECUTIVE DIRECTOR THIRD ANGLE NEW MUSIC
LISA’S TOP FIVE PICKS THREE DAYS COSMOSIS LAST THURSDAY OF RAIN ON ALBERTA BodyVox Portland Center Stage [MAY 17– JUNE 21]
[MAY 21– JUNE 6]
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IN THE NEXT PORCH MUSIC ROOM, OR THE Third Angle VIBRATOR PLAY New Music Profile Theatre [JUNE 11–28]
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Education Matters BY COMMISSIONER NICK FISH
am old enough to remember when the arts were part of the basic school curriculum. In kindergarten I worked with clay; in middle school I had a small role in The Curious Savage; in high school I copied still-life prints and tried unsuccessfully to play the recorder. Thanks to all my very patient teachers, they sparked a lifelong love of the arts.
Photo by Jennifer Kalez.
Sadly, over the years, schools across the country were forced to sacrifice arts education because of budget cuts. During the Great Recession, K-12 budgets were cut by more than $2 billion nationwide. What’s always the first thing to go? Classes and programs that aren’t considered “core.”
A major party candidate running for President in 2012 even went so far as to pledge to eliminate government funding for the arts because “the American people can’t afford [them].” Imagine no funding for the National Endowment for the Arts, the National Endowment for the Humanities, or for our Public Broadcasting Service (PBS) … not even Big Bird. We wouldn’t, and didn’t, allow that to happen here in Portland. For years, arts advocates, including former Mayor Sam Adams, Portland Center Stage’s Chris Coleman and CAN’s Jessica Jarratt, sought a dedicated source of funding for the arts. In 2012, they asked voters to approve a new tax which would generate millions for the arts.
In their editorial endorsement of Measure 26-146, Street Roots explained: “Art is everywhere in Portland. It’s at the core of our city’s personality. But in our core institutions, particularly for children and the poor, art is either nonexistent or out of financial and social reach. The benefits of arts training — on math skills, cognitive processing and simply our joie de vivre — are well documented. For $35 per person, we can fund not only public school programs, but also programs generating community involvement among young people who are socially and economically marginalized.” Portland agreed … and answered with a resounding “yes!” The Arts Education and Access Fund passed with 62 percent of the vote. Thanks to Portland taxpayers, we now invest nearly $7 million more each year in arts education. That adds up to about 70 certified arts teachers in six school districts, serving over 30,000 children in our community — teachers like Kathy Wray and Suzi Zehsazian-Darnell, who brought music back to their David Douglas elementary schools. So what do we get for our investment? According to data from The Right Brain Initiative, higher test scores across the board — with astonishing results for children whose first language is not English. The Right Brain Initiative is a groundbreaking arts education program managed by the Regional Arts & Culture Council. Launched in 2008, Right Brain helps teachers learn how to weave the arts into core school curriculum like math and reading. Recent studies confirm that linking core subjects to the arts improves learning. At Right Brain schools, student math and reading scores increased more than twice as much as the average annual rate of increase. For English language learners, scores increased 10 times! But it’s not just about test scores. With robust arts education, kids have better attendance, schools have lower dropout rates, and young people get the chance to develop their own creative talents. Right Brain students agree: “Art makes me feel proud,” shared one student. “It made me feel complete,” said another. And, “This was so much fun; I could explode.”
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Arts education also helps our kids succeed as adults. A high score on a standardized test doesn’t guarantee a family-wage job — but the ability to think critically and creatively might. As U.S. Secretary of Education Arne Duncan pointed out, “to succeed today and in the future, America’s children will need to be inventive, resourceful and imaginative.”
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As Portland’s Arts Commissioner, I am proud to live in a community that understands the value of arts education. And I am grateful for all the champions, from government, business, nonprofit and philanthropy, who donate their time, money and passion to increase access to the arts for everyone in our community. Thanks to their efforts, Young Audiences, PHAME, Metropolitan Youth Symphony, the Ethos Music Center, Northwest Children’s Theater, and too many other mission-driven nonprofits to name are working hard to ensure everyone is exposed to the arts. This year, we have much to celebrate. Work for Art, the innovative workplace giving program for the arts, turns 10. The Regional Arts & Culture Council, our regional arts champion, turns 20. The City-County public art program, Percent for Art, turns 35.
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The Portland Opera is celebrating 50 years of excellence. The Pacific Northwest College of Art just cut the ribbon on its new home at 511 Broadway. Literary Arts will re-launch Wordstock at the Portland Art Museum in November. Back to the young people. In just the past two months, I watched Beaumont Middle School students perform with the Metropolitan Youth Symphony at the Arlene Schnitzer Concert Hall; Poetry Slam winner Bella Trent read her poem A Poem about Picking a Poem for Verselandia at City Hall; and kindergarteners from the Roseway Heights Vietnamese Immersion program danced a traditional piece at the Newmark Theatre. Better than any statistic or report, they answer emphatically the question: why do the arts matter? Nick Fish is a Portland City Commissioner.
Artslandia at the Performance may | june
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Q+A
Sasha Roiz (left) and Silas Weir Mitchell (right) photographed at Portland Center Stage, where they will be starring in Three Days of Rain in May.
wo of the most popular stars of NBC’s Grimm are taking a break from their TV day job chasing shapeshifting creatures of legend through Oregon’s rainsoaked forests, to star together in a live production of Richard Greenberg’s Three Days of Rain at Portland Center Stage. In the time-jumping family drama, Silas Weir Mitchell and Sasha Roiz play a pair of New York architects — and in other scenes, they portray those architects’ sons revisiting a property their dads designed. On Grimm, now in its fourth season, Mitchell plays Monroe, a bearded, flannel-wearing, winedrinking Portlander who happens to sometimes transform into a wolf-like creature, while Roiz plays enigmatic Portland Police Captain Sean Renard, with a mysterious supernatural heritage of his own. Between howling at the moon and treading the boards, the two actors checked in with Artslandia to share insights on character and craft. BY CLAIRE WILLETT. PHOTOS BY AMY GRAVES.
ON SCREEN ACTING VS. STAGE ACTING SILAS WEIR MITCHELL: I think actors are
doing the same thing, at root, whether for stage or screen. It’s like roller hockey versus ice hockey, or figure skating versus ice dancing. The external rules are slightly different, the parameters, the surface stuff; but in essence, on a phenomenological level, the same laws are at work. What makes theatre so delightful, especially after 88 episodes of TV and no theatre for four years, is rehearsal. Theatre work can take over your life, inner and outer, in a way that TV work doesn’t as much — or at least in a different way. Theatre’s a super-concentrated full-soul immersion in a process and a world and an imaginary human life ... In TV, after so many episodes, the muscle is developed and highly flexible; one tends to become more agile at moving in and out of the imaginary world, so your real life can start to have relevance again. [Whereas] doing a play, Man! It’s really a headlong dive into some other reality! SASHA ROIZ: Both Silas and I came from the stage, and we’ve probably spent about the same amount of years away from the stage, so this is a huge departure for us. For me it’s been ... like a decade away from the stage — which I would have never envisioned when I started out, because all I wanted to do was stage work. So I’m incredibly nervous to do this. I hadn’t felt nervous like this in a very long time. And I always know that if I do — if I have these sort of nerves — it’s always a good thing. It means I’m doing something that I care about; it means I need to strive for a higher level and something that’s going to challenge me. So I’m really excited for it.
ON PARENTS AND CHILDREN SR: The writers on Grimm have a tremendously good time bringing parents into the story, for some reason. Parental lineage is a big theme on Grimm. You constantly see
these characters, no matter how powerful, being put in their place by their parents every time they show up, and it shakes up some of the dynamics. [The show also explores] lineage and fate, and the actions of our predecessors, and the responsibilities and some of the pitfalls that we’ve inherited from them. This sort of Oedipal, unshakeable, “your fate is this or that” idea. That’s really a very strong theme — perhaps the main theme — of Three Days of Rain, where we juxtapose these two stories in the first half and the second half of the play. The first half is [the story of ] the children, and their perceptions and misinterpretations of who their parents were. And then we see, in the second, the reality and the truth of who the parents really were, and what they were in fact struggling and contending with, and [who they were] trying to be. A lot of the fault-finding and finger-pointing, and a lot of the pain that [the characters are] experiencing is really tremendously misconstrued, as it so often is, because there’s a generational divide. I think these are universal themes.
MEMORABLE THEATRE MOMENTS SR: I certainly remember a few productions where I couldn’t move after the curtain came down, and I sat there after everyone was gone ... just ... sort of absorbing it. Those are magical moments. When I went to study theatre in England, [I went to see] a play I wasn’t really familiar with, Cymbeline, and out comes Mark Rylance — I hadn’t really heard of him, I think he was still artistic director of the Globe at that time — and he just killed it. And it just blew my mind. I had no idea you could do that, that you were even allowed to do that. With Shakespeare, no less. He was true to the words, but completely fearless with them. [He] made them his own. He wasn’t at all limited by all the rules and restrictions that we think [acting] comes with and was just unbelievably free. ContInUed on neXt page Artslandia at the Performance may | june
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SWM: [I saw] a Théâtre de Complicité
Summer Splendors a collaboration with CHAMBER MUSIC NORTHWEST
JUN 26 - 28 FOUR WORLD PREMIERES
SARAH SLIPPER / LUCAS CRANDALL TRACEY DURBIN / RACHEL ERDOS created to
Chopin’s 24 Preludes performed by Yekwon Sunwoo
“some of the best dancers you will ever see.”
- Calgary Herald
TICKETS nwdanceproject.org 503.828.8285
limited seating - these shows sell out!
you’re invited to our
summer gala
+ creative center
grand opening
MAY 30 / 2015 / 5:30PM
NORTHWEST DANCE PROJECT CREATIVE CENTER 210 NE 10TH AVE (AT DAVIS ST)
tables + tickets
NWDANCEPROJECT.ORG OR 503.828.8285
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Artslandia at the Performance may | june
production, Street of Crocodiles — an adaptation of a series of Bruno Schultz stories — at the small Cottesloe Theatre at the National Theatre in London [in the] summer of ‘92. As I sat weeping copiously, my companion and I [were] the last two in the house as the work lights came on, and we staggered out onto the esplanade. I had a powerful, life-altering realization. When theatre is calibrated accurately, when it comes from a place of heart and openness and love, when the word fits the action and the action the word, as it were, the poetry of it hits one more deeply and harder than any other art form. Basically, I realized theatre can be transcendent.
ON PORTLAND SWM [originally from Philadelphia]:
Personally, I am truly humbled by the way in which [my character on Grimm] has been embraced by Portlanders as one of their own. One element I draw on with him is the idea of iconoclasm ... The whole “Keep Portland Weird” thing is really baked into the city’s identity. What’s most delightful and refreshing is that this iconoclasm isn’t put-on, it isn’t done for effect. It is an earnest expression of the will of people who live here to follow their hearts, to let their freak flags fly and live their own lives. I hope this doesn’t sound maudlin, but I think it’s actually really inspiring. SR [from Israel/Montreal]: I didn’t know what to expect, to be honest with you. I was actually terrified that the series would get picked up and I would have to move here. I was like, “This is just for the pilot, right? We’re not actually gonna move up here.” But it’s been the greatest gift! It really, really has ... This will be an entire year for me where I don’t leave town. I’m just going from Grimm to the theatre and back to Grimm. So, this is home. It’s something that you would have never predicted ... I kind of embrace the unknown and I love [the] chaos of this industry, that you never know where you’re going to end up next, [which] brings about these amazing gifts — like all of a sudden having a life in the Pacific Northwest. Which I probably wouldn’t have chosen for myself, and now I can’t seem to do without. .
d n la h 015 as 2
get iN oN the Act! Much Ado About NothiNg
guys ANd dolls FiNgersMith
secret love iN PeAch blossoM lANd sweAt
Pericles
loNg dAy’s JourNey iNto Night the hAPPiest soNg PlAys lAst
ANtoNy ANd cleoPAtrA
heAd over heels
the couNt oF MoNte cristo
ElEvEn Plays in ThrEE ThEaTrEs • FebruAry 20-NoveMber 1 800-219-8161 • osfashland.org Jeremy Peter Johnson in Guys and Dolls
A Cl AssiCAl MenAgerie with
Pink Martini Tuesday, May 19 | 7:30 pm Wednesday, May 20 | 7:30 pm Carlos Kalmar, conductor Portland’s favorite bands – Pink Martini and the Oregon Symphony – put a salsa spin on Prokofiev’s Peter and the Wolf and romp through a kaleidoscope of classical favorites. When Thomas Lauderdale and his pal Carlos Kalmar get together, one thing’s for sure – it’ll be a party you won’t want to miss!
WITH SPECIAL GUEST
CHINA FORBES!
Tickets start at $35 – while they last!
OrSymphony.org | 503-228-1353
A r l e n e
S c h n i t z e r
c o n c e r t
h A l l
SW Main & Broadway · Portland’5 Centers for the Arts
13th Annual SummerASTORIA Festival June 12–28, 2015 Music Festival
Keith Clark, Artistic Director
Highlights include masterworks of Beethoven, Bach, Tchaikovsky and Sibelius. Come to Astoria for the joy of it!
20 Concerts of Orchestra, Opera, Chamber Music & More AstoriaMusicFestival.org
503.325.9896
Artslandia at the Performance may | june
25
Feature
Pick an era.
Who doesn’t?
Way back in Grandpappy’s day ...
I always go for Baroque. No time like the present!
First of all, do you even like music?
Actually ... no.
ASTORIA MUSIC FESTIVAL
Only with a side of ... Think outside the Bachs?
JAW: A PLAYWRIGHTS FESTIVAL
No. Why mess with perfection.
... kilts + Celts
NEWPORT CELTIC FEST & HIGHLAND GAMES
OK, how “mainstream” are you? Let’s roll!
Yes! Classical music’s a vibrant tapestry!
Road trip?
No thanks.
Fully immersed, Bro.
Not. I am a rock; I am an island.
PDX POP NOW!
Visit a monastery?
What’s the latest?
SASQUATCH FESTIVAL
... art! ... theatre!
TIME-BASED ART FESTIVAL ("TBA")
CMNW SUMMER FESTIVAL
I go with the flow. Do not disturb.
... silence! I abide.
DISJECTA QUIET MUSIC FESTIVAL
Heavens, no! jazz hands + tap dances
BROADWAY IN PORTLAND
26
Heck yes!
HOMIEFEST II
vibrato + bravado
PORTLAND OPERA SUMMER SEASON
Artslandia at the Performance may | june
... but I want some acts I know.
OREGON BACH FESTIVAL
MT. ANGEL ABBEY BACH FESTIVAL
BELOVED SACRED ART & MUSIC FESTIVAL
Follow this handy decision chart to find the summer music festival that's right for you. BY A.L. ADAMS. ILLUSTRATIONS BY ZELDA BURK.
TIMBERLINE MOUNTAIN MUSIC FEST
... pickin’ + grinnin’.
Hit the slopes.
Hit the hay.
PICKATHON INDEPENDENT MUSIC FESTIVAL
Totes!
MUSIC IN THE MOUNTAINS,
NORTH PLAINS, OR
Hipster-friendly? Nopes!
Mountains. Pick your rural terrain ...
I swim there to spawn.
Rhythm. How much reggae?
This big ol’ city. This small town, Baby.
Wanna dance? Maybe later.
Crack me one!
Sh’ yeah!
Try on these fairy wings!
How long can you rock? OK!
Um, no.
MUSICFEST NW
FOSSIL, OR
HIGH & DRY BLUEGRASS FESTIVAL BEND, OR
A whole world of it. Some.
To 11!
NW WORLD REGGAE FEST
Just ‘til 7!
BEACON HILL BLUES FESTIVAL
SALEM WORLD BEAT
ASHLAND, OR
WHAT THE FESTIVAL
PROJECT PABST
WHEELER COUNTY BLUEGRASS FEST
High desert.
What’s got you down?
WATERFRONT BLUES FESTIVAL
I’m under age.
Dinosaur country.
Pick one!
Blues.
PBR?
Plains. RO CK ON
... rhythm + blues.
NORTHWEST STRING SUMMIT
PROSPECT, OR
FAERIEWORLDS FESTIVAL
BRONZE BLUES & BREWS
JOSEPH,OR
Artslandia at the Performance may | june
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Find your art
VISUAL ARTS
Mel Katz, Fortune Cookie, 2005. Painted aluminum. 7.5'×3.5'×1.75'.
Another big show at the Portland Art Museum headlines our short list of visual arts exhibtions in May and June — this one straight from the École des Beaux-Arts in Paris. BY GRAHAM BELL.
BLAIR SAXON-HILL FOURTEEN30 CONTEMPORARY 1501 SW MARKET ST. Portland artist Blair Saxon-Hill is known for her minimalistic forays into sculpture, collage and painting. Equally at home with rough-hewn natural materials as she is with found objects and altered books, Saxon-Hill’s work references familiar forms. In her use of cut book pages, photogravures and abstract appropriations, she hints at the disparate but tranquil juxtapositions in her sculptural practice. [THROUGH MAY 17] Jean-Auguste-Dominique Ingres, Achilles Receiving the Ambassadors of Agamemnon, 1801. Oil on canvas, 44½"×57½", École des BeauxArts, Paris (PRP 40), Courtesy American Federation of Arts.
BEN BUSWELL UPFOR GALLERY 929 NW FLANDERS ST. Following his solo exhibition at the Marylhurst Art Gym, Ben Buswell continues his exploration of surface in a selection of recent works at Upfor Gallery. By fuzzing the line between image and sculpture, the artist investigates the effects of the physical world on the visual elements of image-making. His new works impart this textural questioning to the viewer in the form of half-remembered memories and abstract imagery. [THROUGH MAY 9]
MEL KATZ & ROLL HARDY LAURA RUSSO GALLERY 805 NW 21ST AVE. In these twin exhibitions, Laura Russo gallery presents new work by Roll Hardy and a selected retrospective of longtime Oregon artist Mel Katz. Hardy’s paintings transform the derelict vistas of industrial areas into urban landscapes full of a sense of history and memory. On the other side of the show, Katz’s anodized aluminum pieces land somewhere between minimal graphic works and bold forays into sculptural abstraction. [JUNE 4–27]
GODS & HEROES: MASTERPIECES FROM THE ÉCOLE DES BEAUX-ARTS PORTLAND ART MUSEUM 1219 SW PARK AVE. In this massive exhibition from the heart of the Parisian art world, you’ll see over 140 paintings, drawings and sculptures from a “who’s who” of European art history. Works by David, Fragonard, Ingres, Géricault and many more explore the universal themes of courage, death and the changing world. The artists in this exhibition have forever changed how art is viewed, made and thought about. [JUNE 13–SEPTEMBER 13] .
E.O. HOPPÉ: STUDIO, SOCIETY AND STREET PHOTOGRAPHY DOUGLAS F. COOLEY MEMORIAL ART GALLERY REED COLLEGE, 3203 SE WOODSTOCK BLVD. Rediscovered only recently, E.O. Hoppé was a pivotal figure in the early 20th century modern art world, a documentary and art photographer who captured portraits and scenes of the changing pace of daily life at the turn of the century. Collected in this exhibition are over one hundred of the best examples of Hoppé’s work that have, up until now, lain unknown in a London museum archive. As an added bonus, the exhibition will be joined by a rotating selection of work by contemporary portraitists including Cindy Sherman, Janine Antoni and Portland’s Storm Tharp. [THROUGH MAY 10]
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Artslandia at the Performance may | june
Roll Hardy, Step Through, 2013. Oil on canvas. 62.5"×72.5".
ABOVE:
E.O. Hoppé, Tamara Karsavina and Adolph Bolm in Thamar, 1912. Vintage hand-colored photogravure. © Estate of E.O. Hoppé and CATE.
LEFT:
In our new Fox Tower store, we put a spotlight on local businesses. This season, we are pleased to showcase the creations of Mazama Wares, maker of handcrafted drinking vessels. Their ceramic collection of cups, mugs, tumblers, and servers are designed to bring out the best in your favorite beverages. Celebrate the arrival of spring with a limited edition “Robin's Egg� camp mug, sold exclusively at our store at 750 SW Yamhill St., Monday-Thursday 9-5, Friday 9-6. umpquabank.com/foxtower Artslandia at the Performance may | june
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Maloy's offers a fabulous selection of antique and estate jewelry and fine custom jewelry, as well as repair and restoration services.
Twelfth Night www.portlandshakes.org
503.241.1278
@artists repertory theatre, alder stage
Artslandia at the Performance may | june
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G O OD DE E D S
HELPED UP FROM A FALL PATA’s Valentine Fund can play a major role in theatre workers’ well-being. Louanne Moldovan shares her story. BY MARTY HUGHLEY.
That day in 2011 was seasonably sunny, the kind of irresistibly lovely Portland summer day that can cloud the judgment of folks more accustomed to clouds. When Louanne Moldovan decided to return a book to the library on her bike, she thought, “It’s so nice out ...” and didn’t wear her helmet. As she pedaled along, a woman who’d just parked on the street, perhaps similarly sun-addled, opened her driver’s-side door in Moldovan’s path. The sudden impact launched the rider over her handlebars, over the car door and onto the ground, her head smacking the pavement. She didn’t immediately seek medical attention — mostly because her precarious life as a theatre artist wouldn’t afford her a lot of care. “I didn’t have insurance,” she recalls. “I was in shock, and I just thought ‘I’m OK! I’m OK!’” A bystander drove Moldovan and her mangled bike back to her home near Mount Tabor, where she tended to her scrapes, cleaned herself up and tried to sleep it off. Waking in the middle of the night, she headed to the bathroom, but, disoriented and dizzy, she instead tumbled down a stairwell. She landed upside down, her body pretzeled, and her head smacked the wall.
friends volunteered to help her with meals, errands and housework, the community also called on one of its lesser-known resources: the Valentine Fund. Established by the Portland Area Theatre Alliance in 1987, the Valentine Fund provides financial assistance to members of the city’s theatre community facing a medical or personal emergency.
Sarah Jane Hardy, chair of the committee in charge of the Fund, claims “no institutional memory” of what led to its creation or its name, but she estimates that since she joined about three and a half years ago, the fund has distributed around $10,000 to theatre professionals in need, with grants of up to $1,500 helping defray the costs of chronic or short-term medical conditions, end-of-life care, housing and transportation. Applicants must be active members of the area theatre community and PATA who are able to demonstrate “extreme financial need.” Hardy communicates with and advocates for qualified applicants, and if the rest of the committee votes to approve an application, it moves on to the full PATA board, which holds the purse strings.
After her initial hospital stay, she went back to work as a part-time talent coordinator for an ad agency and assistant director at Artists Repertory Theatre while scraping up the $7,000 down payment required to get her surgery scheduled. She had to wear a bulky neck brace for three months, then required a second surgery because of complications. Altogether, she was hospitalized for more than two weeks, and in the spring, she was laid off from the ad agency. The Oregon Health Plan eventually covered some of her costs, but Moldovan didn’t finish paying off her portion until last summer. Amid all that, $1,500 from the Valentine Fund was valuable. But what really touched Moldovan was the inclusion of a $500 Fred Meyer gift card Valentine procured from the grocery chain. “I started crying,” she says. “It was that thoughtful, more personal gesture ... like someone showing up with a basket of brownies.” “They do it with such graciousness,” Moldovan says about the process, “and I felt so very honored by the whole thing. I made sure to tell the hospital billing office when I brought in the check, ‘This is from the theatre community of Portland!’” . To donate directly to the Valentine Fund, visit portlandtheatre.com/donate-to-valentine-fund
PATA fundraises through its member companies each February, using an “ask” modeled after the AIDS-fighting efforts of the Actors Equity union. That’s been a challenge, Hardy admits, because “some of those theatres already are passing the hat for themselves.” Still, they’ve met a goal of building up $10,000 in reserves. PATA’s also recently streamlined the application process to “remove the intrusion on the applicant’s life.” Moldovan calls her own process “very sweet and simple, which is very thoughtful, because when you’re in crisis, everything is stressful.”
Moldovan wound up in intensive care for six days, unable to move. Between the two falls, part of her spinal column had compressed. Even a slight re-injury to her head or neck could result in paralysis. She needed major surgery, but had no way to pay for it. She needed help. Moldovan is well-known in the Portland theatre community as a director, writer and occasional performer, notably with her own Cygnet Productions. As a battalion of
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Artslandia at the Performance may | june
Photo by Marty Hughley.
Five weeks of extraordinary music! Featuring • Nadja Salerno-Sonnenberg • Angela Niederloh • Emerson String Quartet • Tango for Musicians at Reed • The Oregon Bach Festival • Protégé Project artists • Jasper String Quartet
June 26-27 | Summer Splendors with Northwest Dance Project
July 11 & 12 | Emerson String Quartet
Nadja Salerno-Sonnenberg
Subscriptions & Single Tickets on sale now! www.CMNW.org 503-294-6400
• Dover Quartet • Peter Serkin • Northwest Dance Project • Augustin Hadelich • Miró Quartet • BodyVox • and many more . . .
July 20 | Igudesman & Joo
Shop Local at Bella Casa new lines | new looks | new lower pricing
contemporary cool
interior design services, furniture and home accessories that reflect 223 NW 9th Avenue
your lifestyle | your space | your budget
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Artslandia at the Performance may | june
bellacasa.net 4/1/15 10:18 AM
PROFESSIONAL PERFORMER, ADVENTURES IN ARTSLANDIA PODCASTER
FROM THE DESK OF SUSANNAH MARS 4 CITIES
Acting since age
10
TOURED LAST YEAR
Created and starred in
5 VERSIONS
with her holiday revue: PDX; LA; NY; Norwalk, CT
of Mars on Life, a solo variety show
2014 finalist: Actress in a Musical for 1999 Actress The Light in in a Musical for the Piazza Funny Girl
Mic purchased to hone vocal technique for voice-overs and audio
Outstanding volunteer at her kids' school
PODCAST GUESTS TBD:
“People who make art and like to talk about it!”
‘91–‘92 Drammy Musical Actor 2010 PAMTA: Outstanding Actress
2014 PAMTA: Outstanding Actress
27 YEARS
2012 Musical Actress in a Lead Role
2002 Drammy Acting Ensemble for Dinner with Friends
How many jazz standards do you know by heart?
“250? DOES THAT SEEM LOW?”
in Portland
FAVORITE RADIO SHOW
The Moth
D
oes a grand piano count as a desk? Regardless, it's a natural work environment for singer, actor and Show Boat star Susannah Mars, who’s volunteered to host an Adventures in Artslandia podcast and play around in our gorgeous new Gotham Building loft. “I think I won one more Drammy that I can't find ...” mused Mars as she arrayed her many awards on our windowsill. Stay tuned. .
6' grand piano courtesy of Portland Piano Company
FAVORITE PODCAST
It’s a tie: Dinner Party Download and The Splendid Table
A mere
15
EVENING GOWNS
in her collection
3 SHADES of faux snakeskin on sassy, strappy shoes
“Can I just say, I hate the word ‘favorite?’ As soon as I get to my car I’ll think of 12 more I should have said first!” PHOTO BY RAINA STINSON.
Artslandia at the Performance may | june
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Photo by Scott Belding.
here’s always been a belly dancer or two in Portland. Lost venues like The Fez, The Greek Cusina, The Blue Monk and Santorini all saw the odd swoosh of silk, and restaurants like Marrakesh and dance floors like the Viscount still regularly keep time to tablas and tinkling bells. But lately, such scattered offerings have converged into a groundswell. Belly dance festival JamBallah Northwest will turn five this August at Artists Repertory Theatre, as Studio Datura — a dedicated belly dance studio offering world-renowned courses — turns four, and the brand-new Portland Bellydance Guild finds its feet. Elise Morris (pictured), JamBallah producer, Datura-certified dancer and Guild president, greets her growing arts audience with open arms, but she’s also ready to put those new to the ancient dance form through appropriate (ahem) orientation. AS TOLD TO A.L. ADAMS BY ELISE MORRIS.
Learning Curve
ow many tickets does JamBallah sell? How big would you estimate Portland’s belly dance community is in general? We’ve been selling 400-500 workshop spots per year and expect this year to easily sell out our evening shows in the 250-seat theaters at Artist’s Rep. I’d guess there are a good solid 300 folks who are in the belly dance community in Portland, including students, teachers, performers, musicians and enthusiasts. Arts and dance aficionados don’t seem to have a very good handle on belly dance; there’s a tendency to marginalize it as mere “entertainment.” Where does that perception come from, and do you see it changing? I feel like belly dance in all forms has come from a much less ‘exalted’ background than, say, ballet — meaning it’s only recently that belly dance in any form has been put on stages, with lights, and audiences expecting to pay to see “high art.” In the Middle East and parts of Europe and Asia, where myriad styles of traditional or folkloric belly dance originate, most dances are performed either at celebrations like weddings, family dinners or parties; in temples or holy places; or simply in homes. Of course, there’s a vast history of all types of belly dance and fusion in world cinema, but those scenes are often highly stylized, and given an exotic “otherness.” Thanks to cinema, and the expanse of travel in the ‘50s and ‘60s, a version of belly dance was brought to America’s housewives in the form of dance-at-home records — and of course, the “bellygram.” That perception has continued to color people’s impressions of the dance form, even decades later. I notice that the American press has a hard time describing belly dance; they don’t have the proper vocabulary for the movements and attitudes without using words like “undulation,” “gyration,” “exotic” and “seductive.” Like most dance patrons from outside belly dance’s cultures of origin, they tend to see it as a strictly esoteric and cultural dance. They haven’t been conditioned to recognize the different styles of the discipline or to validate it as high art. It wasn’t until tribal fusion happened that Americans started going to dedicated belly dance shows outside of themed clubs or restaurants. The cabaret/orientale and folk dances don’t come from a stage-performance tradition; as dances of the people, they strive for a much more intimate connection and interaction with the audience than a large stage permits. Belly dance offers a sort of audience engagement rarely seen elsewhere in dance, but choreography that was originally conceived for close-up performances is also slightly more difficult to translate to the stage. At the moment, the belly dance community’s fairly cliquy and tends to stick to its own circles, but the newly-formed Portland Bellydance Guild is making a major effort to draw everyone together to support
A GUIDE TO BELLY DANCE STYLES Categorizing styles can actually be pretty controversial within the genre itself. “Belly dance” is an American-coined umbrella term, used to describe everything from modern fusion to region-specific cultural dances performed throughout the Middle East, Africa, and parts of Europe and Asia. The three main branches of the art form are traditional/folkloric, cabaret/orientale, and tribal/fusion, and within those there are many, many offshoots and subgenres all distinct from each other. The lines get quite muddy sometimes — as in all globally-enjoyed art forms — with many of the dancers adding influences from other countries and styles and even film and media. The dance forms evolve with the peoples and cross borders freely. BY ELISE MORRIS.
TRADITIONAL/FOLKLORIC dances came first, often named for the region or people they come from (i.e. Baladi, Persian, Gypsy-Roma, Saidi, etc.) Religious dances, such as Zaar (North Africa) and Odissi (India) also belong in this classification. LOOK FOR: authentic region-specific costuming and music;
spontaneous or informal performance at family, community or cultural celebrations; both men and women participating; props like sticks, canes, pots and bowls. CABARET/ORIENTALE is a term that probably describes what most Americans think of when they think “belly dance”: a solo dancer or troupe wearing the spangly bedlah braand-belt combination. The term raqs sharqi is often used to describe this form of dance, though there is some fuzzing between folkloricly-performed and professionally-performed dances with that term. There are Arabic, Turkish, American, and many other forms of cabaret style. It has a strong presence in both Middle Eastern and American film, usually included in a decadent banquet scene. LOOK FOR: glamorous, sparkly costuming and an engag-
ing, upbeat dancer demeanor; flashy props like veils and Isis wings, or swords and candelabras balanced on the head; mostly female dancers, often soloists; dancers who ‘become one with the music,’ embodying the sounds of the music through their movements. TRIBAL/FUSION belly dance is a much newer American
branch of the dance form, developed in California and blossoming across the world. Inspired by cabaret and folkloric dance forms of the “spice trail” (including Flamenco and Classical Indian,) this includes the original group tribal improv style developed by Caroleena Nereccio of Fat Chance Belly Dance™ and soloist sets. LOOK FOR: some group dances led by a front-and-center
dancer and some solo choreography; infusion of other movement styles like theatrical, hip-hop, and modern; theatrical mood-setting, from vaudeville silliness to a dark, gothic mystery; earthier costumes than cabaret, with textured or dyed fabrics and heaps of chunky silver jewelry; inspiration from the Golden Age of film; fire props and feather fans; fewer men than traditional, but more than cabaret.
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WHO’S WHO IN PORTLAND BELLY DANCE Portland is home to several world-renowned dancers who tour the globe teaching and performing and have devoted their lives to this dance form. Here are a few who’ve worked with JamBallah:
RACHEL BRICE TRIBAL FUSION* Arguably one of the most famous belly dancers in the world, definitely the most well-known tribal fusion performer anywhere. She popularized tribal fusion by joining and pioneering Miles Copland’s Bellydance Superstars, then blazed off on her own for several years before moving to Portland and founding Studio Datura, where she teaches her signature multi-year certification and training program: Rachel Brice’s 8 Elements of Belly Dance ™. She also tours the world, selling out classes and shows wherever she goes, and runs Datura Online, one of the most comprehensive and professional belly dance-class media platforms out there. (www.rachelbrice.com)
ASHLEY LOPEZ THEATRICAL/TRIBAL FUSION* Trained as an opera singer, multi-level Pilates, yoga and fitness instructor, Ashley performs with Beats Antique and Rachel Brice’s Datura Project, as well as touring the world as a soloist instructor/performer. Ashley fuses the theatrics and voice of her opera-singer background into her intensely athletic and precise style. (www.ashleylopezbellydance.com)
Gypsy Heart. Photo by Glisson Imaging.
each other and the community as a whole. I’m the current and first Guild president. We’ve also got a vice president, secretary, treasurer, PR/media head and 12 area representatives all working together to form the Guild board. What’s the male/female mix at belly dance shows? How many audience members would you estimate are dancers themselves? At the shows, I’d say the current mix is 75 percent female, 25 percent male. Most are belly dancers, Middle Eastern musicians, and of course spouses or significant
RUBY BEH TURKISH CABARET Ruby’s formally trained in both American classic belly dance and turkish oriental dance, which she studied in its native Istanbul. She stars in three dance tutorial videos: Flawless Floorwork, Totally Turkish, and All About Arms. As a certified Pilates instructor and an active student of kung fu, she brings incredible balance and stamina to her dance practice. (www.bigfunbellydance.com)
PAULETTE REES-DENIS TRIBAL IMPROV A self-proclaimed “staunch advocate of the global tribal community,” Paulette started dancing with the seminal San Francisco-based Fat Chance Belly Dance several decades ago, then branched off to form Gypsy Caravan in Portland, with the mission to “take tribal global!” Needless to say, she travels and teaches widely. (www.paulettereesdenis.com)
SHARON KIHARA TRIBAL/THEATRICAL FUSION
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Rachel Brice. Photo by Glisson Imaging.
lured by the glitz and promise of spectacle. The audience changes dramatically depending on the venue. Belly dancing at a large festival like Coachella, Burning Man or the Rose Festival yields a more eclectic and diverse audience than dancing at a local restaurant or cultural celebration. Belly dancers are wonderful at spectacle, whether they’re a winking, seductive cabaret performer dripping with spangles, or a proudly mysterious, silver-bedecked tribal dancer. Have you experienced belly dance in its countries of origin? How different is it there than here? What feedback do you hear from foreign audience members? I personally perform theatrical fusion, so I don’t tend to perform for audiences expecting folkloric dance from their country of origin, and I’ve never traveled to the Middle East, India or Northern Africa. The feedback I’ve heard from those who have which has been mostly positive. There are, of course, some folks who decry all non-Arab or non-Egyptian belly dance as appropriation, but the term “belly dance” covers so many different styles that it would be impossible to point to one as “true” belly dance. Even in its origin countries, belly dance is always evolving and changing, so it’s farcical to claim that raqs sharqi, or whatever modern form one is pointing at is truly “original.” Belly dance has become a global dance, practiced by women and men on stages and in homes across the entire world. .
Avant-garde, graceful and powerful, Sharon gravitated to belly dance from a strong background in western dance, including ballet, modern and jazz. She currently tours all over the world as a top performer of tribal/ theatrical fusion. (www.sharonkihara.com)
others. We do get a fair amount of folks from all cultures who just love the art form, and there are always some spectators who wander in,
*TEACHING AT JAMBALLAH 2015.
Catch JamBallah NW at Artists Repertory Theatre August 7–9.
Artslandia at the Performance may | june
SATURDAY, JULY 18 HOSTED BY
PRESENTED BY
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ANNOUNCING THE 2015-2016 SEASON! OUR TOWN By Thornton Wilder | On the U.S. Bank Main Stage
September 12 – October 11, 2015 In this Pulitzer Prize-winning American classic, Wilder takes us to the idyllic turn of the twentieth century in the town of Grover’s Corners, New Hampshire. As we witness some of the most familiar moments of life – young love, family conflicts, secret wishes and community connections – the playwright positions the lives of Grover’s Corners’ inhabitants against the vast context of endless time and a boundless universe. His beloved drama celebrates both the marvel of everyday existence and the “something way down deep that’s eternal about every human being.”
SEX WITH STRANGERS By Laura Eason | In the Ellyn Bye Studio
October 10 – November 22, 2015 A raging snowstorm traps strangers Olivia, an unsuccessful yet gifted thirty-nine-year-old writer, and Ethan, a techaddicted and wildly successful young blogger, in a secluded cabin. Opposites instantly attract, and undeniable chemistry ignites. As the dawn rises, however, what could have just been a one-night-stand transforms into something more complicated when online exploits interfere with their reallife connection.
AIN’T MISBEHAVIN’ By Murray Horwitz and Richard Maltby On the U.S. Bank Main Stage
October 24 – November 29, 2015 Winner of the Tony Award for Best Musical, this sassy, sultry musical celebrates the remarkable life and talents of a legendary jazz great, Fats Waller. You will be jumpin’ and jivin’ with the delightful humor and infectious energy of this exuberant jazz review that takes us from the Harlem Renaissance through World War II. Waller’s work shows a determination to grasp life’s joys, laughter and passion, even in a community shadowed by the pain of an often difficult American society. “Waller’s raison d’être was showing the world that, bad as things were, it was all right to have a good time.”
GREAT EXPECTATIONS Adapted from Charles Dickens by Lucinda Stroud On the U.S. Bank Main Stage
January 16 – February 14, 2016 Based on Charles Dickens’ classic coming of age novel, Great Expectations tells the adventures of the Victorian orphan Pip. As a boy, Pip has three encounters with people that will change his life: the escaped convict Magwitch, the bewitching and cold Estella, and the unhinged Miss Havisham. When Pip comes into an unexpected fortune and begins the life of a gentleman, his past is not so easily left behind.
FOREVER By Dael Orlandersmith | In the Ellyn Bye Studio
January 30 – March 20, 2016 Forever is inspired by Orlandersmith’s experiences in Paris at the famed Père Lachaise Cemetery, where strangers from around the world make pilgrimages to the graves of legendary artists such as Marcel Proust, Richard Wright and Jim Morrison. Orlandersmith is inspired to investigate the complex legacy she received from her mother and their life in Harlem. Riveting and powerful, Forever is about family – the ones we are born into, the strange way powerful bonds are formed with people who, though unrelated by blood, come to feel like family, and the legacies that shape us all.
EACH AND EVERY THING By Dan Hoyle | In the Ellyn Bye Studio
February 6 – March 27, 2016 The newest solo show from award-winning actor/ playwright Dan Hoyle (The Real Americans) is about how we experience the world in the digital age. From a showdown with a violent felon in small-town Nebraska, to a childhood listening to anti-conformist rants in San Francisco; from the hard-scrabble corner boys of Chicago to the intellectual temple of Calcutta’s famed coffeehouse; from a Digital Detox retreat in remote Northern California to an intimate confession in Manhattan, we join Dan in his search for true community, spontaneity and wonder in our fractured, hyper-connected world.
STUPID F**KING BIRD By Aaron Posner | On the U.S. Bank Main Stage
February 27 – March 27, 2016 In this irreverent, contemporary, and very funny remix of Chekhov’s The Seagull, award-winning playwright Aaron Posner wages a timeless battle between young and old, past and present, in search of the true meaning of it all: an aspiring young director rampages against the art created by his mother’s generation; a nubile young actress wrestles with an aging Hollywood star for the affections of a renowned novelist; and everyone discovers just how disappointing growing up can be. Winner of the Helen Hayes Awards for Outstanding Resident Play and Outstanding New Play or Musical.
THE PIANIST OF WILLESDEN LANE Based on the book The Children of Willesden Lane by Mona Golabek and Lee Cohen; adapted and directed by Hershey Felder | On the U.S. Bank Main Stage
April 2 – May 1, 2016 Set in Vienna in 1938 and in London during the Blitzkrieg, The Pianist of Willesden Lane tells the true and inspirational story of Lisa Jura, a young Jewish musician whose dreams are interrupted by the Nazi regime. In this poignant show, Grammy-nominated pianist Mona Golabek performs some of the world’s most stunning music as she shares her mother’s riveting true story of survival. Pianist is infused with hope and invokes the life-affirming power of music.
The Second City’s A Christmas Carol:
TWIST YOUR DICKENS* By Peter Gwinn and Bobby Mort On the U.S. Bank Main Stage
December 9 – December 31, 2015 A complete send-up of the holiday classic, this adult comedy is adorned with the improvisational genius of the legendary comedy troupe The Second City, and includes zany holiday sketches, an ever-changing list of drop-in local celebrities and uproarious improv based on audience participation— it’s never the same show twice!
THE SANTALAND DIARIES* By David Sedaris; Adapted for the stage by Joe Mantello In the Ellyn Bye Studio
December 2 – December 27, 2015 Based on the true chronicles of David Sedaris’ experience as Crumpet the Elf in Macy’s Santaland display, this cult classic riffs on a few of Sedaris’ truly odd encounters with his fellow man during the height of the holiday crunch. * S pecial Holiday Engagements. Twist Your Dickens and The Santaland Diaries are not part of a season ticket package, but season ticket holders can order tickets at special pricing!
A STREETCAR NAMED DESIRE By Tennessee Williams | On the U.S. Bank Main Stage
May 14 – June 12, 2016 Tennessee Williams’ iconic Pulitzer Prize-winning masterpiece is an exquisite study of the unraveling of Blanche DuBois, a fading southern belle. When she arrives unexpectedly on the doorstep of her sister, Stella, and her brother-in-law, Stanley Kowalski, Blanche is clinging desperately to a persona designed to help her survive. Over the course of one hot, sultry New Orleans summer, Blanche’s fragile facade slowly crumbles as she meets her match in the rough-hewn and hyper masculine Stanley, who is determined to expose her. Portland Center Stage’s production will star veteran stage/TV/film actor Russell Hornsby (Hank Griffin on Grimm).
DALEK RETURNS FOR THE 2015 HOLIDAYS!
ORDER SEASON TICKETS TODAY! www.pcs.org / 503.445.3700
a message from the portland opera
The Tavern Scene from Hogarth’s “A Rake’s Progress”
Glyndebourne Opera 2010 photo © Alastair Muir
THE RAKE’S PROGRESS
William Hogarth
Igor Stravinsky
In 1733, William Hogarth created “A Rake’s Progress.” This eight-painting series traced the financial rise and moral fall of young Tom Rakewell in 18thcentury London, where he succumbed to the municipal pleasures of the tavern, the gambling den, and the whorehouse. The paintings were sensationally popular and the public snapped up engravings of the series. In 1951, Igor Stravinsky composed The Rake’s Progress, his only full-length opera, to a story based on the Hogarth paintings. Stravinsky reached back to the 18th century for his musical inspiration, fashioning a score that is an homage to Mozart in its melodic vocal lines, its recognizable arias, duets, and ensembles, and its chamber orchestration, all sharpened with Stravinsky’s wit and spiky humor.
David Hockney
In 1975, David Hockney crafted nowlegendary scenic and costume designs for The Rake’s Progress. Hockney also reached back to the 18th century for his inspiration, taking Hogarth’s crosshatched engraving technique and interpreting it through his own playful sensibility, adding carefully chosen color and unique visual perspectives. In 2015, their combined genius re-unites for the Pacific Northwest premiere of The Rake’s Progress, staged by Portland Opera in the Hockney designs. A special complementary exhibit at the Portland Art Museum, “A Rake’s Progress,” will feature the eight Hogarth engravings and more than 40 Hockney sketches, drawings, and set models, depicting the visual artist’s design process from initial idea to final concept.
June 11, 12 & 14m Keller Auditorium PortlandOpera.org 503-241-1802 866-739-6737
HAPPY 50TH TO A LIFE-CHANGING CAMP! Artslandia junior reviewer GRACE ETTINGER shares her summer memories of attending Young musicians and artists.
As a child, I always longed for a camp environment like the one in The Parent Trap, a camp that formed long-lasting grace ettinger (center) at Yma. friendships and allowed students to bring Oreos and photos of Leonardo DiCaprio to decorate their dorms. Looking back at the last three years of memories from YMA (Young Musicians and Artists), I realize that I have found my dream summer camp (although I haven’t yet found my long-lost twin). YMA is a two-week overnight camp that provides multiple arts courses for students grades 4-12. Each arts focus provides an invaluable blend of professionalism that’s reminiscent of an arts intensive, with the fun and games of a classic, all-American summer camp. There are two sessions of YMA. The first session includes music oriented classes and the second features performing and visual arts courses. The camp’s housed at Willamette University, which provides a pre-college environment for the students to soak in. YMA was founded in 1965, when Portland music teacher Sister Ann Miriam created a camp for young musicians in Oregon, making this year its 50th anniversary. Now, the camp is run by QUINLAND PORTER, who was a camper in the mid-‘70s and counselor through the 1980s before becoming YMA’s top dog. The first day of camp at YMA is a whirlwind of activity. Counselors greet old and new campers, groups of friends gather to talk, and campers head to their respective auditions and orientations with nervous grins on their faces. A busy day, but a great one, because it marks the start of a creative, fun and Parent Trap-esque two weeks of camp.
Young Musicians & Artists
Elizabeth Bailey, a friend of mine who’s done musical theatre with me at YMA for the past three years, remembers “long hours sitting in the green grass on the quad talking to the most amazing people … I’ve learned so much about myself from the people at YMA and couldn’t ask for a better experience.” When I ask my friend Emma Hirsch, a dancer and writer at YMA, what words come to mind when she thinks of camp, she lists “warmth, community, family, love, appreciation, understanding and home ... no matter the art form, you’re there because you care about something.” Porter and Joellen Sweeney, another alum turned faculty member, both talk about what a formative place YMA is for young people. “You won’t even notice your life is changing,” Sweeney says, “but you’ll come out better than you came in.” Porter agrees that YMA “ … allows each student to be his or her most authentic self.” On a personal level, many lessons I’ve learned about how to be a collaborative and productive artist have come from YMA. Seeing an environment that heavily emphasizes positivity and collaboration between all art forms has shaped me, and taught me why art is important and how it should be executed. It’s wonderful to walk out onto the sunny quad outside of the dorms and be surrounded by creativity at work: an improv group practicing in the shade, two songwriting students singing a Dolly Parton song and playing guitar, or the arts students drawing portraits of their friends. While each student can only focus on one subject, everyone gets to experience different types of artwork through galleries, performances and getting to know fellow campers. Maybe if Lindsay Lohan had come to YMA instead of The Parent Trap summer camp, things would have worked out better.
MOST
memorable, transformative
REWARDING professional instruction
SUMMER with lifelong friends
EXPERIENCE for two unforgettable weeks
IN OREGON
at Willamette University
SINCE 1965 celebrating 50 years!
REGISTER NOW
ONLINE at YMAinc.org CALL 503.946.1056
SMALL WORLD!
Remember Quinland Porter? She talked to us about the Portland Revels in the Past Performance article of our November/December issue. Photo courtesy of Quinland Porter.
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feature
PUTS HIS FILMS IN PERSPECTIVE A YELLOW PAGES SALESMAN WANDERS ONTO A SET ... ... the Yellow Pages salesman [in Last Days] ... just happened to walk into our office ... where there are a lot of flea markets. We ... had racks of clothes and sunglasses laid out ... and this guy came in and started looking at the clothes like they were for sale ... I said, “Oh this isn’t a store. This is a fitting.” But he didn’t hear me; he just introduced himself: “Hi! Thaddeus, Yellow Pages salesman.” He started selling me ... and he wouldn’t stop ... And I said, “Wow, we could just put him into our set and he would just sell.” Which is what we did.
Filmmaker Gus Van Sant has such a unique take on Portland, drugs, love, life and death, you could call it a school of thought. Northwest Film Center certainly does, offering a two-month series of classes and screenings called Essential Gus Van Sant through June 20. The following are direct Van Sant quotes compiled by course instructor and Conversations with Gus Van Sant author Mario Falsetto. ILLUSTRATIONS BY CAROLYN MAIN.
THE SAN FRANCISCO GAY COMMUNITY “GOT” MILK
ACTORS, STOP TRYING TO LOOK COOL
There were lots of different reactions to [San Francisco screenings of Milk], but we had to just play it. I think all in all, they were surprised because ... I think they probably assumed that we would get it wrong, because usually movies do … it feels good that they don’t hate it ... But I think ultimately they were happy that the movie did that movie-like thing that gets you motivated.
A professional actor ... wants to look good no matter what he’s doing. A lot of actors come with this desperate desire to look cool on screen, so there are things that they just won’t do because they think they’ll look like a jerk if they do them. You want them to look real. You don’t want them to look like they’re guarded and always trying to look cool. The vanity is difficult sometimes.
SHOOTING IN PORTLAND It’s partly a convenience. I know people in Portland that can do the job with me. [Restless] was originally set in Maine and we were going to shoot in December. We needed different seasons, because the story goes through three seasons. In Portland, we would have our different seasons, but we don’t get the snow. And Portland was also the same size and sort of the same vibe as the original town. So we went to Portland. I mean, if I can shoot in Portland, I like to shoot there.
REMAKING HITCHCOCK’S PSYCHO When I told Danny Elfman, who I thought would be perfect to do the score ... his reaction was, “They’ll kill you. You’ll be killed.” I said, “Well, is that a reason not to do it? I don’t care if I’m killed. I’ve been killed before, I don’t care.” ... I didn’t really know. It was reviled by people who I thought wouldn’t be so bothered by it, like film students and film teachers in Los Angeles. ... People seem to think that I was saying that Hitchcock didn’t do it right and that I was going to do it better. But I would never even think that. I was playing with people’s sensibilities, and I guess it’s sort of a wiseass thing to do.
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NAME CACHÉ ... if they want to get Brad Pitt in a movie, Brad might say yes to someone like me as the director ... A lot of times they use my name to get certain actors.
SKEWERED BY CRITICS
KUDOS TO KBOO
The criticism of [Even Cowgirls Get the Blues] got really nasty. They would print pictures of me with red eyes and say, “He’s on drugs.” It got really bad; it was like pure hate. It’s really a frightening thing. It’s like they want to burn you alive. If it were another period of history, they could get you and put you on a stake.
I think [my interest in experimental and soundscape music] comes partly from a music show here that a guy named Richard Francis [had] on KBOO ... here in Portland. ... you can stream it now, so anyone in the world can listen to KBOO.
MOST GRATIFYING ASPECT OF FILMMAKING I guess the conceptualizing. Having the idea, falling into an idea, deciding to do it.
THE SHAKESPEARE SCENE IN MY OWN PRIVATE IDAHO A lot of people don’t like the Shakespeare. Paul Bartel, the [late] filmmaker and actor who was a friend of mine, said, “I love the beginning but the Shakespeare absolutely doesn’t work.” It destroyed everything for him. The American distributor wanted to cut out all the Shakespeare, but the foreign distributor wanted to cut the other parts out. They wanted only the Shakespeare. It’s got a sort of fractured personality.
MORE FROM NORTHWEST FILM CENTER TOP DOWN: ROOFTOP CINEMA In July and August, NWFC holds its annual outdoor film series held atop the panoramic parking rooftop of the Hotel deLuxe. (July–August 2015)
BACK TO A SHOESTRING BUDGET I feel some relief that Gerry was done for so little money. I think I’m trying to go back to where I came from ... I really like it when I hear that someone has made a $150,000 movie.
GUILTY AS CHARGED; DRUGSTORE COWBOY DOES ROMANTICIZE DRUGS [James Fogle’s] book does romanticize drug use, and in the end, the film does too because it’s from his point of view, and you throw Burroughs in there and you’ve got a romanticized drug movie. I think that it does look at it through the eyes of the guy who is using drugs. It’s like a war story you hear in a rehab clinic rather than a hands-off view of drugs ... They’re always kind of whimsical because everything is so heightened and everything’s going wrong all the time and there’s always this big emergency, which is: how to get more drugs. Once you get into that space of showing their real lives, you’re romanticizing.
NIRVANA’S MUSIC IN LAST DAYS I was driving through places on the way to Aberdeen ... and I would play the music. I realized ... there are a lot of things about the music when you drive through the backwoods [of the Pacific Northwest] that give an almost aural representation of what’s going on around you. Things like chainsaws ... sound just like Kurt’s guitar, or a booming from the bass drum and bass that’s in sync, sound like trees crashing. There’s the cymbals splashing in a really specific way that sounds like salmon jumping. Dave Grohl was from Washington. I’m sure it’s not meant to be on purpose, but people bring something with them from their background ... and Aberdeen’s a logging town.
“INDEPENDENT FILM” For me, “independent film” means that the film is independent of the idea that it must make money, and free of the pressures to change things in the service of making money. I’m not sure if that’s exactly how to describe it any longer, because it’s kind of mutated into something else. The great big filmmakers actually make the most independent films. You could say Scorsese is an independent filmmaker.
PORTLAND JEWISH FILM FESTIVAL
SILVER SCREEN CLUB
In June, the Portland Jewish Film Festival will explore themes of spirituality and Jewish identity throughout all parts of the world, especially how American Jews perceive themselves in a larger social context. (June 14–28, 2015)
The Silver Screen Club are film enthusiasts and NWFC’s strongest supporters. The Silver Screen Club enjoys discounted tickets and invitations to special events.
FILM CAMP FOR KIDS AND TEENS NWFC offers Summer Film Camps where kids and teens learn about visual storytelling techniques and produce their own movies in a week. (Register now for summer!)
iFILMMAKING The NWFC School of Film offers a series of classes for would-be filmmakers of all ages to master the shooting and editing capabilities of their iPhones and iPads.
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Glamorous Landmark condo at the 705 Davis (This is just the entry!) National Registry Registry National of Historic Historic Places Places of
$998,500
TAG, YOU’RE IT. And in our version of the timeless chasing game, this is great news. We start by complimenting a member of the Portland performing arts community who, in turn, must write kind things about another community member. On and on it shall go throughout the 2014–15 performance season, to ensure that plenty of positivity is generated. And there’s only one rule: if you’ve been tagged, we can't tell you who’s responsible. You’ll find out for the first time right here in print.
SCOTT SHOWALTER EXECUTIVE DIRECTOR, OREGON SYMPHONY
CHRIS COLEMAN ARTISTIC DIRECTOR, PORTLAND CENTER STAGE
Like all of my fellow arts leaders, Chris has been open and warm in welcoming me to Portland. Furthermore, he has played a lead role in the Arts Tax Initiative, which helps fund many great organizations around our community. Both personally and professionally, I am grateful for Chris.
CHRIS COLEMAN SHARONLEE MCLEAN ACTOR
Sharonlee is riveting to watch onstage: nuanced, emotionally charged, surprising. And in the rehearsal hall, she’s a delicious mess: obsessed, growling, hilarious and ferocious.
SHARONLEE MCLEAN
BONNIE HENDERSON-WINNIE WARDROBE MISTRESS, PORTLAND CENTER STAGE
503 242 9000 834 SW St Clair Avenue, Suite 103 Portland, Oregon 97205 www.laurieholland.com 46
Artslandia at the Performance may | june
Oh my goodness! There are so many wonderfully talented, creative, giving people here in Oregon. So many. So many that I love and am close to — but, there’s one person whom I have known since 1995. She’s the best wardrobe mistress I’ve ever worked
with. She’s never faltered from her professionalism. She treats every single talent with kid gloves. She observes each actor and quietly figures out the best way to dress them. She can dress someone in three to five seconds. Her temperament is spiritually solid and gentle — a gentle giant, if you will. The backstage life is always on point because of her calculated, artistic professionalism. This woman is Bonnie Henderson-Winnie.
BONNIE HENDERSON-WINNIE DANNA ROSEDAHL WIG MISTRESS, PORTLAND CENTER STAGE
We’ve worked together since 1997, and I count myself very fortunate to have been able to work closely with her for so many years. She not only makes and styles beautiful wigs, but we’ve faced some challenging shows together, and she’s never been anything but supportive and ready to figure it out together. Danna’s skill in creating just the right look for each character — whether it is making a wig, facial hair or styling the actor’s own hair — is a big part of the whole beautiful picture on stage, whatever the show. Thank you, Danna!
Oregon Music Festival music unleashed
OREGON MUSIC FESTIVAL
One of the hottest cultural items to emerge on the Oregon classical music scene in the last decade
June 20 -July 1, 2015 - Portland
music unleashPiaedzzolla
Schubert, Martinů,
Join us for a summer festival of symphonic music! Featuring Oregon Festival Orchestra, Portland-area Civic Orchestra, Orpheus Academy Orchestra and seventeen international, national and local soloists and conductors. More information at www.oregonmusicfest.org; Tel. (503) 927 2910
April_ad(1).indd 1
4/1/2015 9:24:15 AM
STATIC
by Dan Rebellato
AMERICAN PREMIER:
MAY 1–MAY 24 IMAGO THEATRE SPACE Wed–Sat at 7:30pm, Sun at 2pm
Photos by Owen Carey
Call 503-235-1101 or visit www.thirdrailrep.org for tickets.
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DID YOU KNOW? Lewis & Clark College
In 4000 Miles, a cross-country-cycling grandson visits his New York bohemian grandmother after biking to the East Coast from the Pacific Northwest. The Race Across America covers that route in about 3,000 miles, while the Tour de France spans 2,300 miles.
4000 MILES Artists Repertory Theatre April 28–May 24 Suddenly Last Summer is set in a New Orleans poet’s garden, and Louisiana’s native plants have pretty poetic names, like Paw Paw, Mayhaw, Sassafras, Grancy Graybeard, Devilwood and Dogwood.
SUDDENLY LAST SUMMER Shaking the Tree Theatre Through May 2 Ramona Quimby, a beloved character from kids’ fiction, was written as a Portlander by author Beverly Cleary. Bronze statues of Ramona and two other Cleary characters grace Grant Park.
RAMONA QUIMBY Oregon Children’s Theatre May 9–31
ONE EXTRAORDINARY WEEKEND of camaraderie, conversation and concerts as we celebrate the legacy of legendary Russian pianist, Sviatoslav Richter. Artistic Director Arnaldo Cohen hosts the Festival.
The first known showboats weren’t the grand paddle-wheel steam ships you see in films; they were houseboats pushed down the river by separate tugboats.
SHOW BOAT Portland Opera May 1–9
Passes on Sale Now! portlandpiano.org 503.228.1388 Hit animated series The Simpsons is deeply rooted in Oregon. Creator Matt Groening is a Lincoln High graduate, and many character names — Flanders, Lovejoy, Quimby — are swiped straight from the street signs in NW Portland’s “Alphabet District.” In Mr. Burns, A Post-Electric Play, characters try to recall old episodes of the show to entertain each other after a mass power outage.
MR. BURNS, A POST-ELECTRIC PLAY Portland Playhouse May 13–June 7
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Portland’s Favorite ‘Sassical Pop’ Lady Quartet
The Julians Because Every Student Matters. Endorsed by... • MESD Education Association • Color PAC • State Representatives Alissa Keny-Guyer and Rob Nosse • Portland City Commissioner Nick Fish • and many more
FOR MESD smb4mesd.com • #smb4mesd
Defying Genres Since 2010 UPCOMING CONCERT DATES
OSU “MUSIC A LA CARTE” CONCERT SERIES Friday May 1, 2015 Noon Oregon State University Memorial Union Main
HAYLOFT CONCERT SERIES
Friday August 14, 2015 7 PM So-named because it takes place in in an actual hayloft! The concerts typically fill up s get there early! The Hayloft 5304 Center Street, Salem OR
Create a legacy.
Or sustain one.
Cultivators and stewards of philanthropy. Whether you want to create a legacy or support an existing charitable fund, The Oregon Community Foundation can help you achieve your goals. We will work with you and your professional advisors to ensure your charitable gifts have maximum impact and we provide related administrative services so you can enjoy unburdened giving. To learn more, call us at 503.227.6846 or visit www.oregoncf.org.
"They are CLASSICAL. They are FOLK. They are INDIE. They are JAZZ. They are POP. They are most certainly SPECTACULAR." ~ artslandia Concerts Private Parties Special Events
thejuliansmusic.com
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Thank You TO THE TEACHERS dance | media arts | music theatre | visual arts
in our OREGON SCHOOLS
DANCE 路 MEDIA ARTS 路 MUSIC 路 THEATRE 路 VISUAL ARTS
oregonarts.net
CHIPPER AT OAKS PARK
THIRD ANGLE NEW MUSIC
WANDERLUST CIRCUS
SMART CAR! Artslandia gave a few of our favorite arts friends rides all over the city in our new smART Car. Thank you to Smart Center Portland for this ridiculously fun partnership. Tag #smARTslandia when you see our car. You can't miss us! [ TAG YOUR PICTURES #ARTSLANDIA ]
ACTRESS MERIDETH KAYE CLARK
LAUREN WEEDMAN
BODYVOX
2014–2015 COVER ARTIST, SARA SJOL
LEAH NASH AND CHRISTOPHER ONSTOTT OF NASHCO PHOTOGRAPHY
ACTRESS SUSANNAH MARS
KAROL COLLYMORE
PART OF THE ARTSLANDIA CREW
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I F ‘ B U S I N E S S A S U S UA L’ M E A N S C O N T I N U I N G TO S E R V E P O RT L A N D ’ S FAV O R I T E B R U N C H O N O N E O F T H E B E S T PAT I O S I N T H E C I T Y F O R A N OT H E R F O RT Y Y E A R S T H E N , Y E S ,
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dramatic dishes
NEL CENTRO
SERVES FOUR
PORTLAND, OREGON
WARM RICOTTA AND BEET SALAD
CHEF DAVID MACHADO
“Nel Centro” is Italian for “in the center,” and the perfect description for the restaurant David Machado opened in the heart of Portland’s theatre district at the depths of the nation’s recession. “It was a hard time to start something,” Machado notes, but what seemed like a risky business decision was actually the restaurant-business veteran and Jazz Festival board president’s calculated vote of confidence in the performing arts. “Other restaurants and hotels were pulling back their arts support, and arts groups were struggling,” says Machado. “I knew Nel Centro’s long-term fate would be tied to the performing arts groups downtown. We wouldn’t make it unless they made it, so we did a lot more than just feed people before and after shows. We offered restaurant patron programs, donor receptions, anything the arts groups needed.” As the arts groups have revived, refilling the nearby Keller, Lincoln Hall, Portland’5 and the Arlene Schnitzer Concert Hall with eager patrons, Nel Centro has thrived. .
INGREDIENTS ½ pound ricotta ½ pound large red beets ½ pound large gold or chiogga beets 3 large oranges, either cara cara or blood oranges, skin and pith removed, sliced into ¼ inch rounds 1 cup baby arugula ¼ cup citrus vinaigrette (recipe below) ½ cup whole hazelnuts, toasted Salt and black pepper to taste
CITRUS VINAIGRETTE FOR BEET SALAD MAKES 1 QUART ½ cup champagne vinegar ½ cup fresh squeezed orange juice 1 each large shallot, minced 1 teaspoon lemon juice 3½ cups extra virgin olive oil ½ teaspoon salt Combine vinegar, orange and lemon juice, minced shallot, and salt in a medium mixing bowl. Slowly whisk in olive oil until fully incorporated. Cover with either plastic wrap or a tight fitting lid and refrigerate. Store for up to 2 weeks.
Preheat oven to 350° F. Spread hazelnuts out on a baking sheet in an even layer, place in oven, and toast until golden brown and fragrant, about 5 minutes. Remove from oven and allow to cool. Once cooled, lightly crush hazelnuts with the flat side of a knife. Scrub beets under cold running water to remove any dirt. Lightly coat beets with olive oil and place in a large baking dish, cover with foil and bake until beets are tender and easily pierced with a fork, about 1 hour. Remove from oven and cool at room temperature. Slice both ends of the beets. Gently rub a damp towel over skins to remove. Cut into 2 inch pieces and set aside. Turn oven broiler to high. Place ricotta into a small glass baking dish, season liberally with salt and fresh cracked pepper, and drizzle with extra virgin olive oil. Place under broiler until a deep, golden crust is formed and cheese is warmed through, about 5 minutes. Remove from oven and set aside. In a large mixing bowl, combine beets, orange segments and baby arugula. Toss with citrus vinaigrette, and season to taste with salt and fresh cracked black pepper. Mound the tossed salad in the center of a chilled plate, top with warmed arugula, and garnish with toasted hazelnuts. Look for Machado’s brand new restaurants, Altabira City Tavern and Citizen Baker, this summer at Hotel Eastlund.
PHOTOS BY RAINA STINSON.
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D I S C OV E R
The Other Vancouver ... IN CANADA!
What do you think of when you hear “Vancouver?” Probably Vancouver, Washington, Portland's nearest neighbor to the north — often called “The ‘Couv.” You might even picture a crowded, crawling I-5 rush hour commute. Well, think again. Look further north. Think Canada. Vancouver, British Columbia, Canada is a thriving major city, a west-coast hub of international culture and performing arts. Stay on I-5 for about 5 hours, 300 miles past “The ‘Couv,” and you'll be there! Pro Tip #1 : Make a rest stop before Seattle, and plan extra time to check in at the border. Artslandia has started exploring Vancouver, BC and all of its cosmopolitan parts. From Gastown to Railtown, Vancouver’s neighborhoods all have distinct personalities, providing out-of-towners with a plethora of iteneraries to choose from. Artslandia chose culture and we love what we've found so far — more than 100 theatre groups, more than 50 dance companies, and more than 70 music organizations. The Vancouver Symphony Orchestra has a 96-year history and a Grammy-winning maestro at the helm. The Arts Club Theatre Company sets both classic and contemporary works on three stages and has premiered more than 80 new Canadian plays. The In The House Festival is a unique summer event that puts diverse performances in intimate living room spaces and backyards. And we're eagerly discovering more arts info for Artslandia Vancouver, which we plan to publish this summer! We’ve also noticed as Portlanders that Vancouver already feels a lot like home. Sarah Slipper of Northwest Dance Project agrees: “When I arrived in Portland in 1997, I was struck by how similar it was to my hometown, Vancouver. The overall ‘vibe’ and energy of Portland reminded me of Vancouver then, and it still does.” Caroline Markos of Vancouver Symphony Orchestra calls Portland “a sister city,” and Vancouverites’ fascination with Portland “a crush.” Certainly, when you compare the two places' amenities, you can see the resemblance:
FOOD FUSION is a big trend in Vancouver. As in Portland, organic food is a priority and food trucks abound. PUBLIC TRANSPORTATION IS A BREEZE. Skytrain is Vancouver’s public train, similar to Portland’s MAX. SeaBus uses electric boats to whiz you around the harbor.
CYCLISTS ARE EVERYWHERE, and bike lanes are ubiquitous. (Unlike Portland motorists, however, Vancouver drivers do honk their horns a lot!)
ARTISANAL ALCOHOL AND BEER ARE BOOMING. The Liberty Distillery, near The Arts Club on Granville Island, is Vancouver’s first artisanal distillery and feels like it’s been plucked right out of Portland.
ARTSLANDIA’S TOP TWELVE REASONS TO MAKE THE TRIP! WHERE TO STAY? THE OPUS VANCOUVER YALETOWN A contemporary-stylish Yaletown boutique hotel features curated rooms with coveted city views. ROSEWOOD HOTEL GEORGIA A hotel with historical grandeur and timeless elegance. Featuring Sense, A Rosewood Spa. THE LISTEL HOTEL Dubbed Vancouver’s most artful hotel on hip Robson Street.
WHERE TO EAT? HAWKSWORTH RESTAURANT Locally sourced — forged and caught — contemporary Canadian cuisine, reflective of the country’s culturally diverse heritage. LA PENTOLA Rustic Northern Italian inspired cuisine: simple handmade pastas and imported Italian necessities like prosciutto and olive oil. BELGARD KITCHEN The Settlement Building in Railtown is as close to Portland as you can get. May we recommend the gravlax hash, Postmark Ale sausage skillet, coconut quinoa porridge?
WHERE TO DRINK? BITTER TASTING ROOM Thirteen rotating tapes from the best of BC craft brewers including delicious ales, lagers and bitters. L’ABATTOIR Sip colorful cocktails in the elevated dining room in the heart of Gastown. PROHIBITION TASTING ROOM Enjoy a vintage house-made bitter cocktail or bubbly in this underground lounge.
WHAT TO SEE? MUSIC Vancouver Symphony Orchestra, Vancouver Recital Society, Chor Leoni Men’s Choir. DANCE Ballet BC, Tara Cheyenne Performance, In the House Festival. THEATRE Arts Club Theatre Company on all three stages, Bard on the Beach, Theatre Under the Stars.
A WATERFRONT TRAIL similar to our riverfront opens into a spectacular public green space, Stanley Park. So Portlanders, it’s time to discover the other Vancouver! Artslandia will see you there. Pro Tip #2: Download a visitors app for Vancouver at www.tourismvancouver.com.
Pro Tip #3: Don’t sweat the currency. Everyone takes the U.S. Dollar and the exchange rate is currently in favor of the red, white and blue.
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past performances perFormanCes
LAKEWOOD THEATRE
C
an you believe that the cute kid who served up cocktails in Lakewood Theatre Company’s 1964 production of Auntie Mame serves on the staff of the selfsame company today? Steve Knox, now the company’s education coordinator, came full circle — from adolescent acting in Lake Oswego, to directing in New York and executive directing Ballet Hawaii, then home again into his current post ... and the welcoming arms of Mame, which Lakewood is currently reprising in its musical form. Lakewood Theatre Company goes way back. Lakewood Theatre formed in 1952 as Oswego Players, an all-volunteer organization founded “to inspire the love of theatre,” performing at various locations around Lake Oswego. Back then, we charged adults $1.25 and students 60 cents. When we got our first permanent home, a former Methodist Church in 1961, we changed the company name to Lake Oswego Community Theatre. In 1979, the company bought and relocated to the former Lakewood Elementary School. The building was remodeled to accommodate the theater and other uses, and became Lakewood Center for the Arts. Lake Oswego Community Theatre became Lakewood Theatre Company 1990. When Lakewood Center opened, we amended our mission: “To inspire the love of theatre and the arts.”
1964
Auntie Mame, 1964. Left to Right: John Uppinghouse (Ito), Hilda Jackson (Vera), Edra Henkel (Nora the Housekeeper), Steve Knox (Young Patrick), Mike Booth (Lindsay Woolsey), Lanni Hurst (Auntie Mame).
1980
Long-term relationships I may have the longest association with the theatre, but Kay Vega and Andrew Edwards have been the backbone of the organization for almost 45 years. Kay Vega [pictured, No No Nannette] first became involved with our organization in 1970 as a member, volunteer, actress and then board member. As the theatre grew, she was hired as the executive producer overseeing all productions and educational programs. Andrew Edwards [pictured, Pajama Game] was hired as the first full-time paid theatre manager in
Pajama Game, 1980. Back Row, Left to Right: Katrina Van der Horst, Andrew Edwards, Paul B. Bender, B.Gail Hillyer, Larry Bozarth. Front Row, Left to Right: Garry Reynolds, Pam Spradlin.
the mid ‘70s, and he’s managed the growth of the organization for the last 40 years. He’s also acted and directed in numerous productions over the years. Now he’s executive director for Lakewood Center for the Arts, which encompasses Lakewood Theatre, Lake Oswego Festival of the Arts, and all the other classes, activities and events that are based at the center.
Same Mame, Different Day 1986
No No Nanette, 1986. Left to Right: Mary Lewis, Siobhan Charlesworth, Susan Ruddock, Diana Duncan. Front: Kay vega.
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In 1964’s Auntie Mame, I was Young Patrick, with the line, “Stir, never shake — bruises the gin!” You never forget those great lines, no matter how much time passes. Lanni Hurst played Auntie Mame [pictured]. Lanni was a remarkable woman and very active in the Portland theatre scene. She was also instrumental as a community leader; one of her most notable projects was a campaign to save the Old Church, which is still
there today. David Niederloh was Older Patrick in 1964. Flash forward 51 years, and the role of Mame is played by Jennifer Niederloh Goldsmith, David’s daughter! The script and characters are virtually the same between the play Auntie Mame (published 1956, performed by Lakewood in 1964) and the musical Mame (published 1966, performed by Lakewood in 2015). Both versions capture the story and spirit of Auntie Mame, who is one of the world’s most beloved, madcap, devastatingly sophisticated and glamorous aunts. Who can’t love a lady who states, “Life is a banquet, and most poor suckers are starving to death!” I feel fortunate that I can return to the place where I started, to share what I’ve learned after spending my professional life working in the arts. .
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