‘Pericles Wet’: a tale for tough times

Portland Shakespeare Project's premiere of Ellen Margolis's adaptation of "Pericles" takes a rough-and-tumble journey through a perilous world

By JOHN LONGENBAUGH

Shakespeare’s plays spin in and out of social relevance. At times of war and upheaval, the histories and political dramas like Coriolanus and Julius Caesar call to us, while the ritualistic restoration of order in the comedies is best suited to relatively calm times. So what plays are best suited to an age where the sociopolitical reality, not to put too fine a point on it, is a god-awful mess?

Ellen Margolis

I might nominate Pericles for the honor, and in particular an adaptation entitled Pericles Wet by Portland playwright Ellen Margolis. “I think Pericles  might be starting to have its moment,” she says. And though her adaptation began two years ago as a Proscenium Live! project, in our moment of feckless leaders, sexual malfeasance and the “Me, Too,” movement, it’s hard to disagree.

Like our times, the text of the original Pericles is a mess. It was unpublished in the First Folio and only available in a later Quarto edition, and scholars aren’t even sure if the play is Shakespeare’s at all, though the consensus is that somewhere between half and a third of the play is his, with the most likely collaborator an innkeeper and middling playwright named George Wilkins. What’s more, the text is filled with errors, signs of a sloppy printing, and most likely a text re-created from the failing memories of original actors, not an actual script. To create a stageable Pericles directors often cut and reassemble the Quarto text, drawing liberally from a prose version of the same story published by Wilkins after the play’s success.

Continues…

DramaWatch Weekly: On the Proscenium

Portland Shakes loose a few new plays, Staged! welcomes some alumni home, and new shows open in Portland and Ashland

Michael Mendelson long has been one of Portland’s busiest and most accomplished actors, but even by his standards he has a packed calendar for the coming theater season. He’ll head east to the Midwest later this month to help Nebraska Rep kick off its 2018-19 season, directing David Javerbaum’s divine comedy An Act of God (with Trisha Miller, Mendelson’s co-star in Artists Rep’s 2011 God of Carnage, taking the role of God this time). Once back in town, he’ll be in a string of promising Artists Rep showsSmall Mouth Sounds, Everybody (by Branden Jacobs-Jenkins, whose brilliant An Octoroon featured Mendelson last fall) and A Doll’s House, Part 2. He has work in the offing for Profile Theatre, as well.

And — oh, yeah — he heads his own company, too. So before all of that, there’s Portland Shakespeare Project and this weekend’s fourth annual Proscenium Live Festival of New Work, a four-night series of free performances.

Michael Mendelson — in mogul mode from Craig Wright’s “Mistakes Were Made” at Artists Rep in 2013 — has his plate full with acting, directing and leading Portland Shakes. Photo: Owen Carey

Produced in conjunction with the literary journal Proscenium, the festival is something of a family affair. Proscenium is the work of brothers Steve and Billy Rathje, whose mother Karen Rathje is managing director of Portland Shakes and audience services manager for Artists Rep, where the festival will be held. Steve Rathje also is an actor, appearing here in Patrick Wohlmut’s Patchwork Dreams.

Continues…

DramaWatch Weekly: story dance

Dancer Andrea Parson teams with story shaper Susan Banyas to tell tales at CoHo Summerfest; Chekhov rides again; a twist on "Shrew"

“I’ve always been interested in theater,” says Andrea Parson, “but I’ve always been on the outskirts of it, because I’m a ‘dancer,’ not an ‘actor.’”
You can practically hear the air quotes as she speaks, conscious of the arts-discipline silos that so often shape the perceptions others have of artists but not the visions they have of themselves. Then again, the emphasis hardly is misplaced: Parson well and truly is a dancer. Winner of the highly prestigious Princess Grace Award for Dance in 2010, she’s been a frequently featured company member with NW Dance Project for several years. But she hasn’t been content to stay at home in the “dancer” silo.

Andrea Parson, telling stories. Photo: Fuschia Lin

A few years ago, for instance, she studied clowning, in a workshop taught by CoHo Productions’ producing artistic director Philip Cuomo. Now, she’s bringing a show of her own to CoHo’s Summerfest 2018. Finding Soul: a Constellation of Stories is a dance-theater hybrid co-directed by Parson and Susan Banyas, featuring Parson, Megan Dawn and Stephanie Schaaf, each performing an amalgam of movement and text, image-making and emotional expression, personal memory and family history.

Continues…

And the Drammy goes to …

Broadway Rose, "Tender Napalm" and a not-so-friendly gong rule the Portland theater scene's 2018 Drammy Awards

How about that gong? This year’s Drammy Awards ceremony Monday night at The Armory may have been an epic affair packed with tearful acceptance speeches, technical difficulties and even bingo, but the unofficial star of the night was the golden, disc-shaped gong that was on hand just in case any long-winded winners needed a nudge to get off stage.

In many ways, the gong embodied the spirit of the show, which honored the best achievements on Portland area theater stages in the 2017-18 season: It was playful, but added a simmering tension to the night. The show was two hours shorter than Artists Rep’s Magellanica (which should have been a contender, but Artists Rep, like Portland Center Stage, doesn’t participate in the awards) but felt longer and didn’t exactly spread the wealth around (at times it felt like the Drammy Committee’s main goal was to honor Broadway Rose and Broadway Rose). But there were entertaining, human moments as well, thanks to some powerful speeches as the comedic verve of host Claire Willett.

Lisamarie Harrison as Morticia in Broadway Rose’s “The Addams Family,” winner of the best musical production Drammy. Photo: Sam Ortega

So who won? The aforementioned Broadway Rose took home an armload of prizes for two musicals, The Addams Family (best production/musical)and Trails. Dancing Brain’s Tender Napalm also dominated with awards in, to name a few, the best production/play, directing, acting, and fight choreography categories. And the biggest loser of the night was easily Donald Trump, who was the subject of several oblique but unmistakable criticisms (side note: did the night really pass without a single thank you to Ronni Lacroute?).

At the end of the day, what I savored the most were the moments that peeked through the show’s structure. I’m thinking of Trisha Mead’s fearless onstage reckoning with her mortality (Mead founded Fertile Ground, which received a special achievement award). I’m thinking of Charles Grant winning best actor in a musical for his performance in Oregon Children’s Theater’s A Year With Frog and Toad and describing the letter that a young black girl who saw the show sent him: “Dear Frog: I love you and you are dark-skinned.”

And then there was Fertile Ground Director Nicole Lane, who delivered the best line of the night: “Please don’t gong me, Agatha.” It was a perfect moment because it was a reminder that the Drammys are capable of delivering the kind of onstage action that makes them an entertaining play in their own right.

The nominees and winners in each category, with the winner listed in boldface:

 

Best Actor in a Musical

Charles Grant, A Year with Frog and Toad, Oregon Children’s Theatre

John Ellingson, Cinderella, Northwest Children’s Theatre and School

Joel Walker, Trails, Broadway Rose Theatre Company

James Sharinghousen, A Year with Frog and Toad, Oregon Children’s Theatre

 

Best Actor in a Play

Josh Weinstein, Tender Napalm, Dancing Brain Productions

La’Tevin Alexander, And in This Corner: Cassius Clay, Oregon Children’s Theatre

Wrick Jones, Two Trains Running, PassinArt: A Theatre Company

Ted Rooney, Quietly, Corrib Theatre

Continues…

New voices of ArtsWatch 2017

A dozen writers have joined the ArtsWatch ranks this year. Find out who they are, and what they're bringing to the cultural mixer.

In one important way it’s been a very good year for Oregon ArtsWatch: We’ve added a lot of good writers to our mix, deepening and broadening our coverage of everything from dance to theater to music to visual arts to literary events and more.

ArtsWatch has been able to add the voices of a dozen new contributors because of support from you and people like you. Oregon ArtsWatch is a nonprofit cultural journalism organization, and your gifts help pay for the stories we produce. It’s easy to become a member and make a donation.

In 2018 we hope to add even more fresh voices and perspectives to our continuing engagement with Oregon’s complex and diversified cultural life.

Meet 2017’s new writers, from A to Z (all right; A to W), and sample their work:

 


 

TJ Acena

A Portland essayist and journalist who studied creative writing at Western Washington University, TJ was selected as a 2017 Rising Leader of Color in arts journalism by Theatre Communications Group. He writes about theater and literary events for ArtsWatch, and also contributes to American Theatre Magazine and The Oregonian in addition to literary journals such as Somnambulist and Pacifica Literary Journal. Web: tjacena.com

READ:

Greg Watanabe with Mao on the wall in “Caught.” Photo: Russell J Young

CAUGHT IN A LIE, OR A TRUTH

Acena reviews the installation and performance Caught at Artists Rep, a play that crosses the line between fact and fiction, fake news and real. “If it feels like there’s something I’m not telling you about Caught, you’re right. Don’t take it at face value: There’s a hidden conceit to the show. But discovering that conceit is what makes Caught compelling.”

 


 

Bobby Bermea

 

A leading actor, director, and producer in Portland and elsewhere, Bobby specializes in deeply reported and insightful profiles of theater and other creative people for ArtsWatch. A three-time Drammy Award winner for his work onstage, he’s also the author of the plays Heart of the City, Mercy, and Rocket Man.

READ:

Continues…

Good morning. Happy holidays. Here’s something of particular interest to all-ages aficionados and puppet-heads:

A.L. Adams

This year’s Revels show features “life-sized puppets,” and combines the legends of Gryla and the Finnish folkloric fox figure. (Say that five times fast!) Like a modern jerk, I have YouTube-searched both for our general edification. Gryla is a Krampus-like Christmas ghoul who eats naughty children. She’s got 13 merry bearded sons (suspiciously similar to the 7 dwarves) whose names denote their idiosyncracies. “Pot-Licker” and “Window-Peeper” are two of the cohort.

Into the woods with the Christmas Revels.

The Finnish fox figure—or Fire Fox—yes, like the browser—moves so fast that its fur sparks static and forms into the Northern lights. Do you want to see this notorious child-chomper and this sparkling vulpine wonder singing and dancing on stage? I kinda do. Revels. Be there or be eaten.

Continues…

DramaWatch Weekly: A Dickensian Nor’wester and scattered Revels

ArtsWatch forecasts this week's holiday theater weather.

This weather, huh? What’s the forecast for this weekend and beyond?

A.L. Adams

To the southwest, there’ll be scattered Revels, with peak conditions for viewing Nordic Lights, and some precipitation rolling in from the Mediterranean will leave conditions Pericles Wet, while a family drama high pressure front builds up between Morrison and Alder. A Dickensian chill will sweep along the east river bank, building into a twister as it crosses into Northwest and breaking into gales of wry laughter as it heads for the Hils. It will miss Tigard altogether, which will experience mild enough conditions to continue its Holiday Parade already under way. Meanwhile, the Northeast will experience bursts of gospel, and as you head toward Columbia, be on the lookout for flaming radicals.

Dickensian drama is blowing in with the return of Portland Playhouse’s popular “A Christmas Carol” (above), Scott Palmer’s “Charles Dickens Writes ‘A Christmas Carol'” at Bag & Baggage in Hillsboro, Second City’s “Twist Your Dickens” at The Armory, and Phillip J. Berns’s “A Christmas Carol: A One Man Ghost Story.” Photo: Portland Playhouse

As you head Southeast, expect some choppy seas, and an abrupt shift as Utopia closes at Hand2Mouth and a dystopia opens at Theatre Vertigo: Victor Mack will direct José Rivera’s Marisol, a near-contemporary of Angels in America with some similar motifs—mental illness and spiritual warfare between angelic beings—along with some surprisingly ripped-from-current-headlines themes—namely, the struggle of a Puerto Rican woman against an unjust god who is dying and “taking the rest of the universe with him.” Also the frenzied desperation of an urban hellscape where citizens driven into homelessness by debt and personal injury gnash and wail in the streets.

Langston Hughes’s “Black Nativity”: a shining star. PassinArt photo/2016

Happy holidays, y’all. Jacob Marley left a message; something about “mankind being our business?” He said he’ll try again—repeatedly throughout our city, then at Vertigo on Christmas week, when Phillip Berns reprises his solo version of the classic.

Imago’s’classic “Frogz” leaps back into the swim. Photo: Imago Theatre

But what were we talking about? Oh yes. The weather. Northwest Children’s Theater will experience spells of magic, to subside by midnight. And tell the kids next weekend’s conditions should be ideal for watching FROGZ. Til then, stay warm, from hands to heart.