By BRIAN LIBBY When Portland’s Memorial Coliseum (as it was originally known) was completed in 1960, America was entering perhaps its most tumultuous decade, one of both tragedy and promise. The country sent its first troops to Vietnam, Martin Luther King, Jr.,
Oregon’s brewing industry is robust and growing, with nearly 300 breweries, hundreds of pubs and taprooms, and legions of fans thirsty for its hoppy, craft-brewed beers. But all that great beer had to start somewhere, so it’s instructive to put that pint
I’ve looked at the calendar, done the math, calculated driving distances, and something hit me: Over the next week in six cities sprawled across three counties in Oregon wine country, there’s enough going on in the arts scene — live theater, exhibitions,
by BRUCE BROWNE and DARYL BROWNE When a choral tone bath is washing over me, I smile broadly, sometimes even giggle. Can’t help it. It’s a visceral reaction to a corona of sound. It envelops the audience, draws us in. I smiled
In the Paris Theatre in Portland, Oregon, voices break through the darkness in a traditional Ukrainian arrangement. The lights come up on the five members of Teatr-Pralnia, all dressed in mustardy overalls. Next to each of them is a small faceless puppet
By KATIE TAYLOR As a typical book-loving wallflower, I find festivals overstimulating and at times overwhelming, but when it comes to books, they’re important. In America, things loved by quiet people have a way of being ignored, shouted over, trampled on and
By LUSI LUKOVA The Work Continues, at PCC Sylvania’s North View Gallery (the exhibition closed on Saturday), emerged from a unanimous functional depression felt by its six artists and two curators. We may easily guess the source of this unrest, even without
With the premiere of A Midsummer Night at the Savoy, Rejoice! Diaspora Dance Theater has created something that feels both timely—touching on race and migration, two issues at the forefront of America’s collective consciousness—and timeless, in that it hopscotches across countries and
This weekend, in the season’s first batch of SoundStories concerts, the Oregon Symphony Orchestra performs Petrushka in a puppety production directed by visual artist Doug Fitch. The OSO excels at this “classical-plus” sort of thing: classical music plus movies, classical music plus
“Othello’s rich, but she keeps me poor And now it’s time to settle the score She never lets me get my foot in the door And this is why I hate the Moor!” OK, so it ain’t exactly Shakespeare. But of course,
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