Bobby Bermea

 

Spotlight on Anthony Lam

One actor, one character, three plays: fellow actor Bobby Bermea profiles the star of Quiara Alegría Hudes' war trilogy at Profile Theatre

Anthony Lam has an infectious and generous spirit, and a high motor both as a person and a performer: everything he does, he does with an intense energy. A relatively new actor to the Portland theater scene, he’s a family man – he and his wife, Kimberly, have three kids; Nolan, 7, and the twins, Lilah and Alice, 4. He loves the stage (“That’s what I trained for. I trained on stage. I always knew upon graduation that I was always going to look for work on the stage.”) but the majority of his work, how he pays his bills and supports his family, is in TV and film.

It makes sense. He was born and bred in southern California and he’s TV/movie handsome, the product of Nicaraguan, Chinese and Spanish genes. Though he lost touch with his father, his grandfather was a central figure in his life, and Anthony kept the name Lam to honor him.

Anthony Lam, relaxing offstage. Photo: Bobby Bermea

I met Lam only recently, because he is the lead (along with Crystal Ann Muñoz) of the show I’m currently working on, Quiara Alegría Hudes’ Pulitzer Prize winning Water by the Spoonful, which is running through Nov. 19 in rotating repertory with The Happiest Song Plays Last at Profile Theatre. Water is the middle play in a trilogy – Elliott: A Soldier’s Fugue, Water by the Spoonful and Happiest Song – that follows a Puerto Rican family from north Philadelphia whose fate and fortunes are inextricably tied up in the U.S. military. The men of the family fight the wars. The women protest them and heal the wounds that are the result. Hudes weaves a beautiful, tragic, angry, and funny tapestry of lives, through which the one continuous thread is the character of Elliott Ortiz, who is played by Anthony Lam.

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Spotlight on: Samantha Van Der Merwe and ‘Caucasian Chalk Circle’

Myth, story, and a striking visual sense have been the hallmarks of Shaking the Tree's creative force. Now she's taking on a Brecht classic.

Every year in the Rose City, a Shaking the Tree production is one of the most hotly anticipated events of the theatrical season. Samantha Van Der Merwe, Shaking the Tree’s founder, artistic director, and primary engine, has built a sterling reputation for work that is visually striking, thematically powerful and dramaturgically daring. She is perhaps our most adept magician, with an eclectic and facile command of the theatrical vocabulary. Her singular visual sense is part and parcel of her storytelling oeuvre. She has a knack for making simple choices that feel audacious. Van Der Merwe’s special gift is knowing the one specific detail that will alight the audience’s imagination, and make its members her intimates in the act of creation.

Samantha Van Der Merwe, Shaking the Tree’s driving creative force. Photo: Dmae Roberts

Now, Van Der Merwe has turned her attention to one of her most ambitious projects yet: Bertolt Brecht’s The Caucasian Chalk Circle, which opened in her company’s Southeast Portland warehouse space October 6 and continues through November 4. At first glance Brecht, the famed modernist and “epic theater” proponent, would seem an uneasy fit for Van Der Merwe’s particular brand of spell-casting. But if you look a little deeper, the pairing of the two disparate sensibilities seems almost inevitable.

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Spotlight: Rising actors Andrea Vernae and Kailey Rhodes

In Artists Rep's "An Octoroon," two of Portland's brightest new stars take on the season's most dangerous script

The 2016-17 Portland theater season was brightened considerably by breakout performances from two of its newest stars, Andrea Vernae and Kailey Rhodes.

Vernae strode the deck of the ship in Portland Playhouse’s’s pen/man/ship with ferocity and grit, infusing her character Ruby with incisive intelligence and sense of purpose. It was an arresting performance, grounded by Vernae’s rich gravitas. When she speaks, you believe her. If you’d seen her earlier in the season in Profile Theatre’s Antigone Project, you recognized her performance in pen/man/ship as simply promise fulfilled. When people speak of her work, words like “strength,” “intense,” and “powerful” get thrown around a lot. Krista Garver in Broadway World called her “a force to be reckoned with.” This would appear to be true not just of Vernae’s work in that one piece, but of the young artist in general.

Kailey Rhodes (left) and Andrea Vernae: moving up. Photo: Bobby Bermea

Rhodes made her mark with deft precision and impeccable timing in Artist Rep’s dazzling revival of The Importance of Being Earnest. In a cast filled to the brim with sterling performances, Rhodes stood out. She’s an effortless, economical performer, with a natural instinct for what’s needed and what isn’t. She steps into heightened realities and makes them feel totally natural. When Earnest opened she wasn’t a complete unknown to Portland audiences. After all, she’d been nominated for a Drammy for her work in Chicago (Metropolitan Community Theatre Project). But her move to the larger stage wasn’t just seamless, it was dynamic.

Now Vernae and Rhodes are onstage together in one of the new season’s most audacious and potentially controversial shows, Branden Jacob-Jenkins’ Obie Award-winning An Octoroon, which opened Saturday night at Artists Rep. Their transition from newcomers to appearing in Portland’s most talked-about production has been fast. But like most such stories, it was years in the making.

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