Bob Hicks


The Bard’s great American play

Portland Shakespeare Project's provocative 'Tempest' explores a new land of conquest and colonization

“We like to think of the old-fashioned American classics as children’s books. Just childishness, on our part.”

These are the first lines in The Spirit of Place, the opening essay of Studies in Classic American Literature, D.H. Lawrence’s brilliant headfirst dive into the soul and cultural compulsions of the invented nation as evidenced in the creations of its early nativist storytellers, and they came to mind once again, for a few reasons, upon seeing Portland Shakespeare Project’s new production of The Tempest.

Kerrigan and Alper as antagonists Caliban and Prospera. Photo: David Kinder

Kerrigan and Alper as antagonists Caliban and Prospera. Photo: David Kinder

First, although The Tempest will never be mistaken for The Comedy of Errors or The Merry Wives of Windsor, its late-period reverie is counterbalanced by a brisk and overt playfulness that PSP’s production captures rollickingly – a childishness, if you will, to go with the familiar magic that so many of Shakespeare’s plays share with fairy tales.

Second, in addition to its undeniable place as a masterwork of the English dramatic literary canon, The Tempest has long struck me as a peculiarly American sort of work, the Shakespearean play that most clearly draws from early seventeenth century European acknowledgment and limited understanding of the so-called “new world.”

Third, Lawrence himself hinted at an almost soul-connection between The Tempest and the makers, or transgressors, of the new land.“Ca Ca Caliban/ Get a new master, be a new man,” he chants in The Spirit of Place, the doorway into a book that relentlessly explores the creation of the American character through the writings of Franklin, Crèvecoeur, Cooper, Poe, Hawthorne, Dana, Melville, and Whitman. I’m not sure how he missed Twain, whose satiric burlesques so effectively ripped aside the curtain of American “democratic” orthodoxy, but there you go. New masters, or no masters. New men, whatever the cost.


Reviews: ‘Music Man,’ ‘Philadelphia Story’

Broadway Rose and Clackamas Rep take on a couple of comic classics, right (almost) here in River City

Roll out those lazy, hazy, crazy days of summer, those days of soda and pretzels and beer. And, on stages from Maine to California, comedy classics from the Great American Nostalgia Playbook.

One of the geniuses of the American comedy and musical stages is that when the shows get most playful, the best ones also unveil genuine insights into the national character. O’Neill creates an Ah, Wilderness! as a counterbalance to the likes of The Iceman Cometh. Thornton Wilder introduces us to the escapades of the Antrobus clan in The Skin of Our Teeth. Frank Loesser, Jo Swerling and Abe Burrows make national sensations of a bunch of two-bit hoodlums and holy high-rollers in Guys and Dolls. And audiences settle into a ritual of laughter, immersing themselves in the sunny pleasures of true play.

Two such summer-season classics have just opened in Portland’s suburbs, providing a comic alternative to that other great American summer staple, Shakespeare in a Thousand Parks: The Music Man at Tigard’s Broadway Rose, which has been doing polished musicals for 23 years; and The Philadelphia Story at Clackamas Repertory Theatre, which is in its 10th season on the campus of Clackamas Community College near Oregon City. Both shows continue through July 20.


Professor Harold Hill (Joe Thiessen) gives Iowa a try. Photo: Meg Williams

Professor Harold Hill (Joe Theissen) gives Iowa a try. Photo: Meg Williams


The Music Man

Broadway Rose’s funny and crackling new Music Man opens with a giant locomotive steaming toward the audience, bright searchlight piercing the auditorium, a sweeping powerhouse of theatrical entertainment pulling confidently into the station a century overdue.

The train stops, and the engine unfolds like the bellows of a squeezebox to reveal the familiar interior of a passenger car filled with traveling salesmen talking territory and the tricks of the trade. It’s like a babushka doll, or a Fabergé egg of the Iowa cornfields. Then the toy men inside begin to bob and sway and sputter like the clattering pieces of a Rube Goldberg contraption.

The sense of something toylike and mechanical is at the heart of director and choreographer Peggy Taphorn’s bright, appealing production, which bounces to the brassy march of pop-up pieces and interlinking motifs. Every movement’s matched to the rhythm of the music, which is borrowed, in composer and author Meredith Willson’s brilliant opening rail-car scene, from the steam and clack of the train itself. Plus, the harmonies! We got treble, right here in River City.


PAMTAs: a little song and dance

Portland Center Stage scores big at musical-theater awards with 'Fiddler,' 'Lizzie'; 'Zombie' and 'Piazza' also take home hardware

The enduring and still radical classic Fiddler on the Roof led the parade Monday night at the seventh annual Portland Area Musical Theater Awards, scoring wins in six categories, including best production, actor (David Studwell as Tevye the milkman), and director (Chris Coleman). Center Stage dominated the evening, taking three more awards for its current Lizzie Borden rock musical, Lizzie, including outstanding song (House of Borden), score, and orchestrations.

David Studwell took top actor honors for his Tevye in best-production winner "Fiddler on the Roof." Photo: Patrick Weishampel

David Studwell took top actor honors for his Tevye in best-production winner “Fiddler on the Roof.” Photo: Patrick Weishampel

Portland Playhouse’s The Light in the Piazza, which beat out Fiddler for best musical production just two weeks ago at the larger Drammy Awards, took four wins in three categories, including a tie for best actress for Meredith Kaye Clark and Susannah Mars. And Oregon Children’s Theater’s sweet little high school comedy Zombie in Love, another multiple winner at the Drammys, won for best original musical and best performance by a young actor (the rubber-limbed zombie in question, Blake Peebles). Peebles tied with his Zombie costar, Madison Wray, who won for her starring role in OCT’s Fancy Nancy.

A crowd of about 250 settled into downtown’s Dolores Winningstad Theatre for the ceremony, a swift and generally entertaining affair that lasted a little longer than two hours – a veritable 40-yard dash compared to the marathon Tonys and Oscars. Master of ceremonies was the wryly funny actor Darius Pierce, who kept things clipping with a finely calibrated internal stopwatch and an ear for improvisational comedy to go along with his prepared jokes. He noted drily that next year’s PAMTA winner for sound design (Monday night’s went to Brian Moen for Stumptown Stage’s Ain’t Misbehavin’) will make eight in eight years – or one more than the Tonys, which began naming a sound winner just seven years ago and lately announced to considerable protest its plans to drop the category – will have awarded in its entire existence.

Young performer co-winner Blake Peebles in original musical winner "Zombie in Love." Photo: Owen Carey

Young performer co-winner Blake Peebles in original musical winner “Zombie in Love.” Photo: Owen Carey

The mood at the ceremony was convivial and upbeat, lifted by performances of several songs from nominated shows and the smooth onstage accompaniment of a lightly jazzy trio: pianist Reece Marshburn, drummer Ken Ollis, and acoustic bassist Brett McConnell. Singer Julianne Johnson brought the house down with a bluesy, gospelly, sometimes scatted performance of Fats Waller’s Ain’t Misbehavin’, egging the trio on playfully as she shifted tempos.

But the festivities also carried a bit of an unnerving echo underneath. Many winners weren’t on hand to accept their statues, an MIA pattern that dampened the fun. It was especially notable when Portland Center Stage’s name kept being announced. Company manager Don Mason, who once wrote an entertaining essay about the pleasures of being a perennial bit player, filled in at, well, center stage, popping up from his front-row seat in category after category to accept the company’s hardware.  It became a running gag, and he milked it well, at one point promising all of the PAMTA winners that if they brought their statues to the theater, he’d see they got free tickets to Lizzie. Toward the end, under prompting from the audience, he expanded the offer to all of the nominees, too – and joked about whether he’d still have a job in the morning.

Actress co-winners Merideth Kaye Clark (left) and Susannah Mars in "The Light in the Piazza." Photo: Brud Giles

Actress co-winners Merideth Kaye Clark (left) and Susannah Mars in “The Light in the Piazza.” Photo: Brud Giles

The PAMTAs began seven years ago partly to celebrate the achievements of musical theater specifically and partly as a response to the broader-based Drammy Awards, which some musical-theater people felt didn’t pay sufficient attention to musicals. The makeup and methods of the awards are somewhat secretive, although Portland performer and Broadway producer Corey Brunish is acknowledged as their driving force. “The [voting] members are anonymous, even to one another,” PAMTA’s website says. “This way members cannot be influenced by performers, designers, theatre companies or even each other. Opinions cannot be swayed at meetings because there are none. Voting is done by secret ballot. All members see all productions to the degree that it is humanly possible. Members purchase their tickets. No member of the committee is active in the theatre community.”

Monday evening, the crowd was there to celebrate. As Emily Sahler put it after bounding onstage with costar Lisamarie Harrison to accept the best-ensemble award for Broadway Rose’s The Bikinis: “Unbridled joy and love is valid, and we need lots of it.”

PAMTA winners are listed below. You can see the list of nominees (five in each category) here.



Fiddler on the Roof, Portland Center Stage



Zombie in Love, Oregon Children’s Theatre



Chris Coleman, Fiddler on the Roof, Portland Center Stage



Meredith Kaye Clark, The Light in the Piazza, Portland Playhouse

Susannah Mars, The Light in the Piazza, Portland Playhouse



David Studwell, Fiddler on the Roof, Portland Center Stage



Pam Mahon, Beauty and the Beast, Pixie Dust Productions



Burl Ross, Spamalot, Lakewood Theatre

Ben Farmer, Spamalot, Lakewood Theatre



The Bikinis, Broadway Rose



Blake Peebles, Zombie in Love, Oregon Children’s Theatre

Madison Wray, Fancy Nancy, Oregon Children’s Theatre



Alan Stevens Hewitt, Tim Maner, Steven Cheslik-DeMeyer, Lizzie, Portland Center Stage



House of Borden, Alan Stevens Hewitt, Tim Maner, Steven Cheslik-DeMeyer, Lizzie, Portland Center Stage



Eric Nordin, The Light in the Piazza, Portland Playhouse



Alan Stevens Hewitt, Lizzie, Portland Center Stage



Wes Hanson, Kiss Me Kate, Clackamas Repertory Theatre



Allison Dawe, The Light in the Piazza, Portland Playhouse



G.W. Mercier, Fiddler on the Roof, Portland Center Stage



Ann Wrightson, Fiddler on the Roof, Portland Center Stage



Brian Moen, Ain’t Misbehavin’, Stumptown Strages



Julia McNamara, Fiddler on the Roof, Portland Center Stage



Eric Little

John Quesenberry

Drew Harper

News & Notes: Maya Lin, Jewish Film Festival, Dad’s Day, more

A weekend gathering of cultural items, with a little Picasso and a caterpillar named Neener thrown into the mix

Along the Columbia River, the Confluence Project continues to grow and deepen. A vast artistic sweep into the history, culture, and natural environment of the Pacific Northwest, it stretches 438 miles from the mouth of the Columbia to Hells Canyon on the Idaho border, following stopping points on the 1804-06 Lewis and Clark Expedition as it explored the western reaches of the continent. That journey led to far-reaching transformations in the land itself, and in the lives of the people who lived along the river, as well as those who were to come.

Maya Lin's walkway at Celilo Falls, as it will look. Confluence Project rendering.

Maya Lin’s walkway at Celilo Falls, as it will look. Confluence Project rendering.

The artist Maya Lin, designer of the Vietnam Memorial in the nation’s capital, has been a key figure in the Confluence Project, and her elegant, quietly gorgeous pedestrian bridgeway at Celilo, designed to suggest the memory of the native fishing platforms that jutted over the river before Celilo Falls disappeared in 1957 beneath the waters of The Dalles Dam, is bound to be one of the project’s key elements. The Dalles Chronicle has this illuminating update on the project, which is due to be completed in Fall 2016.

Confluence sites at Cape Disappointment (Ilwaco, Wash.), Fort Vancouver (Vancouver, Wash.), the Sandy River Delta (Troutdale), and Sacagawea State Park (Pasco, Wash.) are completed. Only the Celilo Falls site and one at Chief Timothy Park (Clarkston, Wash.) remain to be finished.


Jewish Film Festival. Here it is mid-June already, and the Northwest Film Center’s 22nd annual Portland Jewish Film Festival is here. Co-presented with the Institute for Judaic Studies, the 17-film festival opens Sunday with Friends from France, the tale of two cousins who travel behind the Iron Curtain in 1979 to meet with persecuted Jews in Odessa, and ends June 29 with The Last of the Unjust, Claude Lanzmann’s long and deep historical film centering on the story of Benjamin Murmelstein, who in 1975 was the only surviving “Jewish Elder” appointed by the Nazis to run the “model ghetto” camp in Theresienstadt, Czechoslovakia. The story is complex. Lanzmann had interviewed Murmelstein for his landmark Holocaust documentary Shoah, but didn’t use it in that film. Many years later, he presents it as its own story. Festival passes are available from the film center.


Sunday is Father’s Day, and the Portland band Nu Shooz Orchestra has a terrific little dad’s day tale. John Smith, who leads the band with his wife Valerie Day, has always been a doodler, a compulsive drawer.

Momo and Neener. Drawing: Malcolm Smith

Momo and Neener. Drawing: Malcolm Smith

He passed his talent on to their son, Malcolm Smith. When Malcolm was young, they spent hours drawing side-by-side, and in the process John created a pair of storybook characters – Momo and his giant caterpillar pal, Neener – that father and son drew over and over again. The years went on, and Malcolm moved on to other art projects, eventually learning animation as well. And then, in 2010, Nu Shooz put out a new record called Pandora’s Box, which included John’s song Right Before My Eyes, about watching Malcolm grow up. And then John asked Malcolm if he’d make a video to go with the song, and eventually – eventually! – Malcolm did.

It’s a sweet tale, told well here. Read the story, then click on the music video at the end. To fathers and sons, and mothers and daughters, too.


Curtain down, curtain up. In case you’ve been following the curious story of what the New York Times calls “L’Affaire Tricorne,” Charles V. Bagli has this update in the Times. The tale involves a famous restaurant, a famous art collector, a more famous artist, and a theatrical curtain, Le Tricorne, created for a 1919 performance for impresario Serge Diaghilev’s Ballets Russes. The restaurant is Manhattan’s Four Seasons. The collector is Aby J. Rosen, who owns the Seagram Building, where the Four Seasons has held culinary court since 1959. The painter is Pablo Picasso, and his theatrical curtain has hung in the Four Seasons since the day it opened. But Rosen wanted the curtain gone so the restaurant could be modernized. The New York Landmarks Conservancy, which actually owns the curtain, said “no.” And now, finally, a compromise has been struck: the 19-by-20-foot painted curtain will move (after cleaning and restoration, which Rosen will pay for) to the New-York Historical Society, where it will be the centerpiece of the second-floor gallery. And no matter what you think of the whole kerfuffle, one thing’s true: far, far more people will be able to see it at the Historical Society than at the exclusive restaurant. Let’s hear it, one more time, for museums, those great democratizers of culture.


Read more from Bob Hicks >>

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News & Notes: Turner shakes things up; weekend dance & theater

Dance at Conduit, Northwest Dance Project, and Polaris; a short double feature at Imago; 'Invasion! returns

When Grant Turner accepted his Special Achievement Award at the Drammy ceremonies Monday night, he advised the theater crowd to keep its ears tuned for an announcement “soon” about his future.

It didn’t take long.



On Tuesday morning, Portland Shakespeare Project announced that Turner will join the company as co-artistic director with co-founder Michael Mendelson. Turner founded Northwest Classical Theatre Company in 1998, and is resigning from that post because he’s moving to LaGrande in eastern Oregon, where his wife has taken a job, and Northwest Classical needs a full-time artistic leader in Portland. But he wanted to continue to do projects in Portland, and the Shakespeare Project, which Mendelson founded with Karen Rathje in 2011 as a summer program in the Artists Rep complex, seems a good fit.

Mendelson, who is also a core company member at Artists Rep, continues to be one of the busiest actors in town. And he credits Turner with some of the inspiration for founding his own company. “His inviting me to play Shylock in 2009 was a re-awakening of my passion for classic work and I have Grant to thank for that,” Mendelson said in a statement. “We have like minds in our faith in the words and the power of the text, and our different approaches to the material complement one another beautifully.”

Turner will help Northwest Classical make its transition to new leadership through the end of this year.


Which came first, the dancer or the choreographer? Friday through Sunday, Conduit Dance will host Co/Mission, an intriguing program of dance that flips the tables on the ordinary way of doing things. Four soloists will present a new work each – and each soloist chose a choreographer to set the piece on her, rather than the usual other way around. The show is produced by dancers Suzanne Chi and Jamuna Chiarini (a contributing writer to ArtsWatch), who’ll be joined by dancers Jen Hackworth and Rachel Slater. Choreographers taking up the challenge include veteran contemporary dance makers Linda Austin and Linda K. Johnson, plus Lindsey Matheis and Franco Nieto, performing mainstays at Northwest Dance Project. Will the flip-flopped nature of the dancer/choreographer relationships make a difference? Let’s find out.


Matheis and Nieto, meanwhile, will be busy performing in the final weekend of Northwest Dance Project’s appealing and very strong season-ending program, Summer Splendors, at the company’s Mississippi District studios. If all goes as planned, it’ll be the company’s last program in that space before a projected move to a much bigger home on the close-in East Side. Final performances are Wednesday through Sunday; Saturday night’s show is sold out. I reviewed the program after last weekend’s opening.


"Homegrown" at Polaris. Photo: Troy Butcher

“Homegrown” at Polaris. Photo: Troy Butcher

Also finishing its two-weekend run will be Polaris Dance Theatre’s choreographers’ showcase, Homegrown. Artistic director Robert Guitron wanted to emphasize the work of local artists, so he charged each of his choreographers – himself, Gerard Regot, former Oregon Ballet Theatre star and interim artistic director Anne Mueller, and company dancers Kiera Brinkley, Briley Neugebauer, M’Liss Stephenson, and Blake Seidel – with finding a Portland musician or sound designer to create work for his or her new dance. In some cases, the search stopped close to home. Guitron wrote his own music, an easygoing, danceable piece called Moot. Regot wrote music for his own piece, and also for Brinkley’s nervous, edgy Post-Op, a down-in-the-trenches dance punctuated with hospital beeps. The most interesting soundtrack on the program may well be playwright Claire Willet’s memoir-like taped monologue One of Everything, for Neugebauer’s dance of the same name. Choreography and story are about growing up in a family of four siblings, and the attendant pleasures and pains of wherever you happen to land in the chronology. It made me think of Sibling Revelry, the sweet but pointed cabaret act of the singing sisters Liz Callaway and Ann Hampton Callaway: all things equal, much better to have a sister than not.

The level of dancing at Polaris is less sophisticated than what you’ll find at the likes of BodyVox, Oregon Ballet Theatre, or Northwest Dance Project. But the company’s developed a true sense of community (in addition to a lot of work: Guitron says it’s introduced 304 new works, including pieces by 37 guest choreographers) and ways to connect with its audiences that other companies might emulate. Part of it is Guitron’s low-key, genuine friendliness in his brief talks with the audience. Another is the company’s simple acceptance, with utterly no sensationalizing, of all sorts of people as dancers. I first saw the terrific and wheelchair-using Yulia Arekelyan and Erik Ferguson of Wobbly Dance at a Polaris show. Current Polaris dancer Brinkley is a quadruple amputee, and she can be an electrifying performer. Another plus: Homegrown demystifies the dance process and pulls audience members into the company fold highly effectively by screening short video interviews (by Mike Dawson/Soulplay) with each choreographer before her or his dance takes the stage. It’s a humanizing, stress-relieving technique: audience members get to know a little bit about the dance makers and the dances, and it helps them relax and enjoy what follows.

Homegrown finishes its run with performances Friday through Sunday, June 13-15. Ticket and schedule information here.


Carol Triffle and Mark Mullaney in "Pimento" at Imago. Photo: Jerry Mouawad

Carol Triffle and Mark Mullaney in “Pimento” at Imago. Photo: Jerry Mouawad

What are Jerry Mouawad and Imago Theatre up to these days? Fresh off of Allen Nause’s best-actor win at the Drammys for his Mouawad-directed performance in Harold Pinter’s The Caretaker, Imago’s unveiling a very short run of an intriguing-looking double feature: Thornton Wilder’s rarely performed one-act metaphysical comedy Pullman Car Hiawatha; and Mouawad’s own Pimento, which features, in his words, “three clowns in innocent yet ‘accidentally’ lewd encounters.” We can only imagine – or catch the show, which runs Thursday through Sunday, June 12-15. One way or another, Mouawad’s experiments tend to be highly interesting. Ticket and schedule information here.


One of last year’s most audacious shows, Jonas Hassen Khemiri’s satiric political comedy Invasion!, reopens Wednesday night right where it left off, onstage at Miracle Theatre. Director Antonio Sonera and his original cast – Gilberto Del Campo, Chantal DeGroat, John San Nicolas, and Nicole Accuardi – are back in the saddle, rocking the horse of expectation until it darned near tips over. Invasion! was the debut show of Badass Theatre Company, and as word of mouth grew it became a hit. A.L. Adams reviewed last year’s production for ArtsWatch, declaring, “I went from wanting to punch the actors, to wanting to hug them.” That’s quite an arc. The run continues through June 27. Ticket and schedule information here.

Del Camp, DeGroat, San Nicolas, Accuardi in "Inasion!" last year. Russell J Young Photography

Del Campo, DeGroat, San Nicolas, Accuardi in “Invasion!” last year. Russell J Young Photography




Drammy Awards: a Playhouse double play

Portland Playhouse's 'Light in the Piazza' and 'A Christmas Carol' take both top production trophies

Portland Playhouse pulled off a tough double play at Monday night’s Drammy Awards, taking top honors in both major production categories – best play of the season for its stripped-down version of A Christmas Carol, and best musical play for The Light in the Piazza. 

The crowd gets into the action for the opening puppet-show strut to "The Circle of Life." Photo: Henk Pander

The crowd gets into the action for the opening puppet-show strut to “The Circle of Life.” Photo: Henk Pander

The celebration of the best achievements in Portland theater during the 2013-14 season packed the house at the Crystal Ballroom with theater folk and theater fans, many dressed to the nines and others to the twos or threes. The mood was convivial verging on rowdy, punctuated during one long stretch by the drone of a punk band playing loudly somewhere downstairs, and hosted with wit and dash by actor Isaac Lamb, who occasionally ceded the spotlight to his vigorously tap-dancing wife-to-be, Amy Beth Frankel. If anyone caught their act on videotape, it could go viral.

Dapper Isaac Lamb, the Drammys' emcee. Photo: Owen Carey

Dapper Isaac Lamb, the Drammys’ emcee. Photo: Owen Carey

Piazza was the evening’s closest thing to a runaway, walking off with five prizes: best production, actress in a musical (Meredith Kaye Clark), supporting actress in a musical (Jennifer Goldsmith), supporting actor in a musical (David Meyers), and musical direction (Eric Nordin). A Christmas Carol took top awards for ensemble in a play and director in a play (Cristi Miles) in addition to best production.

Well Arts Institute's Youth Program accepted the Mary Brand Award. Photo: Ann Singer

Ann Singer, Well Arts Institute’s youth program coordinator, accepted the $2,000 Mary Brand Award from Julie Accuardi of the Portland Civic Theatre Guild.

Oregon Children’s Theatre took four awards for its sweet and funny high school outcast musical Zombie in Love, and Kristeen Willis Crosser was a double individual winner, taking home the hardware for scenic design (Gidion’s Knot) and lighting design (A Bright New Boise), both at Third Rail Rep. One category, best actress in a play, ended in a tie vote. Amy Newman (Gidion’s Knot) and Maureen Porter (Crooked, CoHo Productions) shared the prize.

After an hour of drinking, preening, and general hobnobbing, the ceremony got off to a rousing start with a long Irish yowl of a song from Chris Murray, who’s starring as the not-quite-murderous Irish lad Christy in The Playboy of the Western World at Artists Rep, followed by a Lion King-style puppet show threading rambunctiously through the crowd. Among the costumed paraders were a donkey, a latke, a fish, a teapot, a snake, and several bottles of booze. They set the tone for much of the rest of the evening: congenial, creative, a little outrageous, fun, and quite long. At the end of the ceremony, Lamb performed a hilarious Portlandified riff on the “River City” song from The Music Man that would’ve made a knockout opening number. By the time it finally came, much of the crowd was already heading for the bars or home – a shame, but an understandable one.

Horsing around at the opening puppet parade. Photo: Henk Pander

Horsing around at the opening puppet parade. Photo: Henk Pander

The 17-member Drammy Committee of writers and theater professionals considered almost 120 productions from the awards’ 36th season. Several current shows opened too late for consideration. This year, after several years of choosing multiple winners in each category, the committee returned to picking a single winner from a pre-announced list of finalists in each category, making the Drammys feel more like the Oscars or Tonys. The finalists in each category are listed here.

The cast of Portland Playhouse's "A Christmas Carol" celebrate their best-production Drammy. Photo: Owen Carey

The cast of Portland Playhouse’s “A Christmas Carol” celebrate their best-production Drammy. Photo: Owen Carey

Grant Turner, founder of Northwest Classical Theatre,  drew appreciative nods during his acceptance speech for his Special Achievement Award. “Take the time to hone your craft,” he advised, “and don’t take (a play) on until you’re able.” He continued: “Believe in your authors, and your audience will believe in you.”  Turner, who started the Shakespeare-centric classical company more than 15 years ago, is moving to eastern Oregon but will return to Portland for specific projects.

Van Voris (left) and Hoffman indulge in some interpretive oratory. Photo: Owen Carey

Van Voris (left) and Hoffman indulge in some interpretive oratory. Photo: Owen Carey

Actors Todd Van Voris and Gavin Hoffman sent titters racing around the room with their dramatic readings of “actual posts on PDX Backstage.” And when the Light in the Piazza company gathered onstage to accept the best-musical award, Susannah Mars drew extended cheers and a couple of boos when she proudly announced, “We did a musical without microphones!

It was that kind of night.





Michael Fisher-Welsh
The Quality of Life
Artists Repertory Theatre



Kristeen Willis Crosser
Gidion’s Knot
Third Rail Repertory Theatre



Drew Dannhorn
The Giver
Oregon Children’s Theatre



John Ellingson
James and the Giant Peach
Northwest Children’s Theater



Atomic Arts
Trek in the Park



Jennifer Goldsmith
The Light in the Piazza
Portland Playhouse



Annalise Albright Woods
pool (no water)
Theatre Vertigo



Blake Peebles
Zombie in Love
Oregon Children’s Theatre



David Meyers
The Light in the Piazza
Portland Playhouse



Dan Murphy
Plaid Tidings
Broadway Rose Theatre Company



9 to 5: The Musical
Stumptown Stages



Stage Manager: Emma Lewins
Crew Member: Don Crossley
Ballyhoo (formerly known as “Other”): Val and Jim Liptak



Jen LaMastra
James and the Giant Peach
Northwest Children’s Theater



Caitlin Fisher-Draeger
The Revenants
The Reformers



Meghan Chambers
CoHo Productions / Philip Cuomo and Maureen Porter



Jeff Kurihara
The Giver
Oregon Children’s Theatre



Kristeen Willis Crosser
A Bright New Boise
Third Rail Repertory Theatre


Catherine Egan accepts her award for movement design for Push Leg's "Nighthawks." Photo: Owen Carey

Catherine Egan accepts her award for movement design for Push Leg’s “Nighthawks.” Photo: Owen Carey


Catherine Egan
Push Leg



Push Leg


Special Achievement Award winner Grant Turner. Photo: Owen Carey

Special Achievement Award winner Grant Turner. Photo: Owen Carey


 Grant Turner
Founding Artistic Director
Northwest Classical Theatre Company



Eric Nordin
The Light in the Piazza
Portland Playhouse



Marcella Crowson
Zombie in Love
Oregon Children’s Theatre



David Studwell
Fiddler on the Roof
Portland Center Stage



Merideth Kaye Clark
The Light in the Piazza
Portland Playhouse



Plaid Tidings
Broadway Rose Theatre Company


Solo performance winner Damon Kupper in front of an image from his show, "Last November." Photo: Owen Carey

Solo performance winner Damon Kupper in front of an image from his show, “A Night in November.” Photo: Owen Carey


Damon Kupper
A Night in November
corrib theatre



 A Christmas Carol
Portland Playhouse



Michelle Elliott
Zombie in Love
Oregon Children’s Theatre



Danny Larsen, Music
Michelle Elliott, Lyrics
Zombie in Love
Oregon Children’s Theatre




Mary Brand Award $2,000
Recipient: Well Arts Institute

Portland Civic Theatre Award in Support of Theatre $3,000
Recipient: Action/Adventure Theatre

The Leslie O. Fulton Fellowship $5,000
Recipient: Jill Westerby Gonzales



Cristi Miles
A Christmas Carol
Portland Playhouse


Best actor winner Allen Nause," "The Caretaker" at Imago. Photo: Owen Carey

Best actor winner Allen Nause,” “The Caretaker” at Imago. Photo: Owen Carey


Allen Nause
The Caretaker
Imago Theatre



Amy Newman
Gidion’s Knot
Third Rail Repertory Theatre

Maureen Porter
CoHo Productions / Philip Cuomo and Maureen Porter


Best actress co-winner Maureen Porter, "Crooked," CoHo Productions. Photo: Owen Carey

Best actress co-winner Maureen Porter, “Crooked,” CoHo Productions. Photo: Owen Carey


The Light in the Piazza
Portland Playhouse



A Christmas Carol
Portland Playhouse




Drammy Awards and Janice Scroggins benefit tonight; Oregon at the Tonys

With two major events in Portland, it's a Monday night to step out

No staying home Monday: It’s a big night out.

Drammy host Isaac Lamb, from his "Defending the Caveman" days. Photo: Jenni Girtman

Drammy host Isaac Lamb, from his “Defending the Caveman” days. Photo: Jenni Girtman

The 36th annual Drammy Awards, celebrating the best in Portland’s theater during the past season, take over the Crystal Ballroom (1332 West Burnside Street) starting at 6 o’clock, with the ceremony at 7 p.m. Actor Isaac Lamb will be master of ceremonies, and he promises surprises. This is traditionally the biggest theater bash of the year in Portland, and it’s open to everyone: free at the door, buy your own drinks. This year, for the first time in several years, the Drammy jurists are choosing a single winner in each category from a pre-announced list of finalists (see the nominees on the Drammy link above), making the awards more in the tradition of the Oscars and Tonys.

For a taste of what’s to come, read Marty Hughley’s profile for ArtsWatch of Grant Turner, who’ll be receiving this year’s Special Achievement Award.


Janice Scroggins: a joyful noise in her memory.

Janice Scroggins: a joyful noise in her memory.

Another big event tonight is For the Love of Janice: An All-Star Benefit for the Family of Janice Scrogginsstarting at 7 p.m.  (doors open at 6) at the Alberta Rose Theatre, 3000 Northeast Alberta Street. The concert’s sold out, demonstrating both the quality of the lineup and the love and respect Portlanders feel for Scroggins, the pianist and keyboardist who’s been a leading figure in the city’s blues, jazz, and other scenes for decades, died in late May of a heart attack. She was 58. You can read ArtsWatch’s remembrance here. Tonight’s benefit will feature a mighty gathering of musical talent, people who were Janice’s friends and colleagues: Curtis Salgado, Norman Sylvester, Julianne Johnson, Mary Flower, Linda Hornbuckle, Thara Memory, Lyndee Mah, Duffy Bishop, Lloyd Jones, Patrick Lamb, Michael Allen Harrison, Peter Damman, Terry Robb, Reggie Houston … the list goes on and on.


Congratulations, meanwhile, to the Oregon Shakespeare Festival for last night’s Tony Award wins for best play for Robert Schenkkan’s All the Way, and best actor for Bryan Cranston, who stars in All the Way as Lyndon Baines Johnson. Festival actor Jack Willis originated the role when Schenkkan’s play premiered in Ashland as an OSF commission in 2012. David Stabler has the scoop on OregonLive.

Congrats, also, to the Portland producing team of Brisa Trinchero and Corey Brunish, whose shows pulled in 22 Tony nominations and went home with six, scoring with Hedwig and the Angry Inch, Beautiful: The Carole King Musical, and others. Here’s the complete list of winners and nominees, via The Hollywood Reporter.

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