What is the purpose of theater?

Some may say it’s enough for plays to entertain us; others believe the best plays help us plumb the depths of our humanity or provide information that sparks social change. An exciting new collaboration between Broadway Rose Theatre Company and Bag&Baggage Productions promises to do all those things.

On the surface, it’s hard to think of two companies that differ more. While Broadway Rose stages gorgeous musicals both in the expansive Deb Fennell Auditorium and the smaller but snazzy Broadway Rose New Stage in Tigard, B&B is attracted to plays like last year’s Red Velvet, which explored issues of race and class at the tiny Vault theater in downtown Hillsboro. The companies are kindred in one essential way, though: They both produce mesmerizing theater for local audiences.  

For their current collaboration, B&B producing artistic director Nik Whitcomb is working with Broadway Rose founders Sharon Maroney and Dan Murphy and their technical and administrative teams to co-produce Is You Is, a new musical that calls out antiquated ideas about race that are still insidious today. Thanks to this co-production, both companies get to realize their respective missions, including B&B’s aim to “unpack the stories we carry with us” and Broadway Rose’s commitment to create “unparalleled musical theatre experiences that invigorate audiences and enrich our communities.”

Also opening this month is Shaking the Tree’s two-week reading series, UBU AMERICA, which was specifically designed to bring people together, spark conversation, and even find some humor about the upcoming election. Similarly, Third Rail Repertory Theatre’s production of Annie Baker’s Infinite Life touches on the timely issues of women’s health and the healing power of connection.

Check out the listings below to read about these and other shows, and prepare to be both enlightened and entertained.

In Concert: Is You Is

Bag & Baggage Production’s riveting and socially relevant work is definitely worth a trip out to Hillsboro, but its intriguing concert production, Is You Is, will be on stage closer to Portland at the Broadway Rose New Stage in Tigard.

The new play revolves around the “Races of Mankind” exhibit, which opened at Chicago’s Field Museum in 1933. On display for more than thirty years, the exhibit, which promoted false ideas about race, was seen by millions of people before its so-called “scientific” theories were debunked in the late 1960s.  

According to a 2016 New York Times article, anthropologists of the 1930s believed “the world’s people could be divided into distinct racial types, with skin tone, hair texture and bone structure explaining differences in behavior.” Even Malvina Hoffman, the artist who made the sculptures, had doubts about this idea, though, and later said the people she represented through her work were individuals, not racial types.

“I want folks to know that this exhibit is very real and a lot of the text from the actual exhibit is in this play,” Nik Whitcomb, B&B’s producing artistic director wrote in a recent email. “This play does truly highlight the dangers of false racial science; we are still seeing the effects of it today.”

The musical follows the story of Steenie Mayfield, a school bath attendant in a 1930s “social hygiene” program, who dreams of becoming a teacher. Also involved are two modern-day museum interns who become obsessed with learning what became of Steenie and whether she was one of the unidentified models for the exhibit.

Whitcomb, who collaborated on the current iteration of the musical’s book with L.C. Bernadine, also directed the first public reading that was part of the Chicago Musical Theatre Festival’s 2019/20 season. With a jazz-inspired score by Erik Olsen and lyrics by Bernadine, Whitcomb says, “[t]he numbers in this show are not like your typical musical theatre showstoppers. A lot of them really sit back and you have to lean in to hear the intricacies. L.C.’s lyrics are also extremely robust within the complicated musical tapestry and it makes for a sound just as complicated and beautiful as the topic.”

The production features a cast of Oregon artists and an expanded jazz band, and is the first collaboration between the two theaters. Producing a musical is a new experience for B&B, which makes Whitcomb, who’s directing and performing in the show, especially grateful for Broadway Rose’s managing director Dan Murphy and his technical and administrative team’s enthusiasm for the project.

“The Broadway Rose audience loves musicals and while I believe the B&B audience does too, we have not historically done them,” Whitcomb says. “This partnership legitimizes the workshop by attaching it to a reputable and long established musical theatre juggernaut in the industry and allows Broadway Rose to explore a topic that they typically may not.” He hopes the show will inspire people to learn more about the exhibit and how it has caused harm. As he says, “[I]t is never too late to be a part of writing the truth and spreading it to others.”

“Is You Is” will be on the Broadway Rose New Stage for four performances, Oct. 19-27.

Healing Art: UBU AMERICA

For me, one of the most thrilling theater moments of 2023 happened during Shaking the Tree Theatre’s production of Blood Wedding. Before intermission, the cast suddenly charged off the stage and beckoned the audience to follow them outside, where actors ran up the street in pursuit of the show’s runaway bride.

The company’s current production, UBU AMERICA —  a series of staged readings that hopes to spark conversation during a divisive election season and that features six shows in two weeks — should be no less surprising or stirring, as the innovative company turns its attention to the supercharged politics surrounding November 5.

“We weren’t entirely sure how to approach the upcoming election, but we knew we couldn’t ignore it,” Samantha Van Der Merwe, Shaking the Tree’s founding artistic director, wrote in a recent email. “We wanted to present a collection of plays that would engage with the current political climate and hopefully spark conversation.”

The first play on the bill, UBU REX, an English adaptation of the 19th century French writer Alfred Jarry’s Ubu Roi, is sure to do that. When Jarry was just 15, he wrote a comic sketch lampooning his physics teacher. Later, Jarry took that character and made him even more ridiculous as Ubu, who Shaking the Tree calls “a grotesque, outlandish figure who personifies all that is base and stupid in mankind.”

According to The Paris Review’s blog, Ubu Roi, which is a parody of Macbeth, “prefigured modernism, surrealism, Dadaism, and the theater of the absurd.” In 1896, its audience wasn’t quite ready for that because when the curtain closed at the premiere, a riot broke out.                                                            

Shaking the Tree’s audiences are made of hardier stuff, though, and Van Der Merwe, who is directing the new show, has been intrigued by Jarry’s work and its contemporary relevance ever since she saw an art exhibit inspired by it in the late 1990s in Johannesburg, South Africa.

She points out that another play in the series, Arthur Miller’s The Crucible, which she’s also directing, has parallels to our current political climate. “[I]t’s one of those plays I’ve always wanted to direct,” she says. “When I realized one of the nights of our series would fall on Halloween, it felt like the perfect fit, not only because of its connections to witchcraft, but also due to its exploration of mass hysteria and how easily fear can lead people astray.”

Although the play was witten during the McCarthy era, Van Der Merwe notes its themes are all too familiar: “In a time when misinformation and fear are often used to manipulate public opinion, The Crucible serves as a powerful reminder of how quickly reason can be overtaken by fear and suspicion.”

Also in the series are Evocation to Visible Appearance by Mark Shultz, directed by the company’s associate artistic director, Rebby Yuer Foster; POTUS by Selina Fillinger, directed by Kayla Hanson; Heroes of the Fourth Turning by Will Arbery, directed by Yuer Foster; and UBU Roar by Brenda Withers, directed by Bobby Bermea. According to Shaking the Tree, Withers’ contemporary adaptation of Ubu Roi is “a biting satire on greed, corruption, and the absurdities of power.” Like Jarry’s work, the play is full of dark humor and also makes a bold statement about authoritarianism … and how it can become farce.

By presenting readings of all these works, Van Der Merwe hopes to create a sense of community: “We’re about to enter a divisive time, and I believe there’s no better way to navigate it than by coming together. These plays offer a range of perspectives – some are funny, others are unsettling – but all of them challenge us to think in new ways. My hope is that audiences leave with a deeper understanding or a perspective they hadn’t considered before.”

UBU AMERICA will be at Shaking the Tree Oct.24–Nov. 2. For dates, showtimes and tickets, which include prices to fit different budgets, check out shaking-the-tree.com. Note: “The Crucible” is close to selling out, so it’s best to reserve your spot now.

Third Rail’s Infinite Life at CoHo Theatre

Annie Baker’s 2023 play Infinite Life takes place in a Northern California fasting clinic, where five women share their stories while going through treatment that promises to cure them of everything from chronic pain to cancer. Directed by Rebecca Lingafelter, who helmed last spring’s wonderfully unhinged A Seagull for Portland Experimental Theatre Ensemble, the show not only deals with its characters’ pain but also with the idea that “true connection may help to transcend it.”

In an interview with Alea Tran on Third Rail’s website, Lingafelter said she’s been a fan of Baker’s work for a long time and appreciates both her humor and her honest dialogue: “She has an incredible ear for the way we talk and the truths we betray when we think we are covering up our vulnerabilities.” Post-pandemic, Lingafelter says, “I think a lot of people have a new relationship to the vulnerability of our bodies and the communities of care that emerge in unexpected places.”

What’s more, most of the characters in the play are over 50, a fact that Lingafelter also finds intriguing: “I am moved by the ways in which Baker is thinking about aging, chronic pain, friendship, and sexuality in a way that helps us to see a group that is so often hidden or ignored.”

The stellar cast includes Maureen Porter, Kathy Hsieh, LaRhonda Steele, Karen Trumbo, Damaris Webb and Rolland Walsh.

Infinite Life plays Oct. 25–Nov. 10 at CoHo Theatre.

Also playing in October

— Broadway in Portland presents Wicked Oct. 16-Nov. 3 

Wicked is a tale of two witches, one with blonde hair and the other with emerald-green skin. Called the “untold true story of the Witches of Oz,” the musical has been running on Broadway since 2003. The touring production is recommended for ages 8 and up, with no children under 5 admitted. Wicked will be onstage at Keller Auditorium.

— Canciónes de la Familia commemorates the dead Oct. 17-Nov. 10

In an annual tradition, El Centro Milagro commemorates the dead this year with a production of  the play Canciónes de la Familia, directed by Clarrissa Rodriguez. The show, which Milagro calls an “ensemble devised piece,” is a celebration of chosen families as well as a journey of self-acceptance with music. Performed in English with some Spanish.

— Sweeney Todd at Twilight Theatre, Oct. 18–Nov. 10

The inventive Twilight Theatre’s production is directed by Tony Bump. With Jameson James as the vengeful barber and Tracy Chiappone as the baker, Mrs. Lovett.

 — Gidion’s Knot at Grizzly Peak Winery in Ashland, Oct 23-Nov. 10

Rogue Theater Company presents Gidion’s Knot, a play by Johnna Adams that promises to portray “a raw confrontation will keep you on the edge of your seat.” The emotionally charged exchange between a mother (Erica Sullivan, who recently played Lady Macbeth at the Oregon Shakespeare Festival) and a teacher (Domenique Lozano) looks at grief and guilt and the challenges of talking about them. Discount tickets are available for the Oct. 23 preview performance. The opening Oct. 24 will be followed by wine or sparkling water and a talkback with the actors and the director, Terri McMahon, as a benefit for Planned Parenthood SW Oregon. All shows are at 1 pm.

— Sanctuary City – a directing capstone at University of Portland, Oct. 24-26

As part of a Senior Capstone in Theater, Ricardo Guevara directs Martyna Majok’s Sanctuary City, a story about two undocumented immigrant teenagers in post-9/11 New Jersey.

 — Sweeney Todd at The Greenhouse Cabaret in Bend, Oct 25-Nov 23

Nicknamed “Teeny Sweeney,” this version by The Greenhouse Cabaret in Bend includes a cast of 11 actors.

— By Jeeves at Lakewood Theatre Company, Oct. 25 & 26

The Lost Treasures Collection Series of rarely performed musicals returns to Lakewood Theatre Company’s Side Door Stage. Beginning with By Jeeves, this year’s theme is “The British Invasion.” The shows, which are staged in a concert/cabaret style, are presented with scripts in hand and minimal staging. The 1996 By Jeeves features music by Andrew Lloyd Webber with lyrics and book by Alan Ayckbourn. 

— An Evening Among the Spirits at Ten Fifteen Productions in Astoria, Oct. 25

Join Seth Howard as he reads minds and communicates with the beyond. Besides being a spirit-raising evening, the show is also a fundraiser for Ten Fifteen Productions’ LED stage lighting system.

— It Can’t Happen Here – Again at Ten Fifteen Productions, Oct. 27

A staged reading of Sinclair Lewis’s own bestselling novel, It Can’t Happen Here, which premiered in 1926. Presented by Writers for Democratic Action.

— The Halloween Ball at NW Children’s Theatre through Oct. 27

Beginning with a costume parade in The Grand Lobby, the festive Halloween Ball is followed by an interactive live storytime, and a “splendiferous dance party and enchanting sing-a-long.” Best for ages 4 and up.

— “Go Play Outside,” part of the free bimonthly reading series at Artists Rep, Oct. 27

LineStorm Playwrights, in partnership with Artists Repertory Theatre, presents its bimonthly reading series, this time with five short plays and a mini-musical by LineStorm Playwrights. The shows include Cloud Illusions by Susan Faust; How You Get Burned by Brianna Barrett; Orbiting the Sun by Sara Jean Accuardi; Starman by Audrey Block; Tale of a Girl, a musical by Holly Richards; and The Thing About Lighthouses by Josie Seid. You can reserve free tickets here.
 

Continuing shows

—  No More Candy continues at 21ten Theatre through Oct. 27. Bobby Bermea wrote about the “queer, feminist, punk rock love story” for ArtsWatch here.

— Blue Marigold, at NW Children’s Theater, through Oct. 27. Teen Sammy Flores discovers her secret superpower from the Land of the Dead. A mystery/action thriller/high school drama mash-up. Best for ages 10 and up.

— Footloose: the Musical, at Pentacle Theatre in Salem, through Nov. 2. Get your tickets fast; this one is selling out.

— Arsonist at Fuse Theatre,  through Nov. 3, explores grief, redemption, and the bond between parent and child. “Jacqueline Goldfinger’s play is a dark and brooding ghost story that also manages to be extremely heartwarming and poetic,” says artistic director Rusty Tennant.

— Fly By Night at Gallery Theater in McMinnville, playing through Nov. 3, is a “darkly comic rock-fable” about a melancholy sandwich maker who meets two entrancing sisters, and promises to be a “sweeping ode to young love set against the backdrop of the Northeast blackout of 1965.” Written by Will Connolly, Michael Mitnick, and Kim Rosenstock. Directed by Seth Renne.

—Sweeney Todd continues at Portland Center Stage through November 3. ArtsWatch’s Darleen Ortega reviewed it here.

— The Event! plays at Artists Repertory Theatre through Nov. 10. Watch for Darleen Ortega’s review in ArtsWatch soon.

Coming soon in November

— Upon This Blasted Heath: a one-hour Macbeth on Nov. 2 at 5 p.m.

The returning show, presented by Speculative Drama and Misfit Academy at Director Park, is an immersive, outdoor performance that explores Shakespeare’s play from the perspective of Macbeth. Directed by Myrrh Larsen. Free, but donations are welcome.

— E.M. Lewis’ Dorothy’s Dictionary at 21ten Theatre, Nov.7- 4

A West Coast premiere, Dorothy’s Dictionary is 21ten Theatre’s fourth BareBones Production, a program that tours shows locally to libraries, schools, correctional facilities, retirement communities, and throughout Oregon after an initial run at 21ten Theatre. Judging from last season’s superb Adopt a Sailor, the show is bound to be way more enthralling than the program’s name implies.

Drama news from Ashland

— Ashland New Plays Festival, Oct. 16-20

The Ashland New Plays Festival (ANPF) at Southern Oregon University’s Main Stage Theater will feature the sci-fi dramedy Sync by Shanna Allman, the multigenerational journey Nerve by Minita Gandhi, the whimsical You Are Cordially Invited to the End of the World by Keiko Green, and The Life You Gave Me by Novid Parsi, a poignant story about familial love.

The festival will be co-hosted by renowned playwrights E.M. Lewis and Clarence Coo, with post-show talkbacks about the creative process and themes explored in each play.

ANPF also will be hosting playwriting workshops, which are open to the community. On Saturday, the host playwright will be Clarence Coo, joined by playwrights Minita Gandhi and Keiko Green. Sunday’s workshop will be hosted by E.M. Lewis, who will be joined  by playwrights Novid Parsi and Shanna Allman.

— OSF names its new executive director

The Oregon Shakespeare Festival wound up its 2024 season Oct. 13, and now it’s looking ahead. Gabriella Calicchio will be taking on the role of the festival’s executive director in mid-November. Calicchio’s first experience with OSF was in 2003 when she and her husband spent their honeymoon in Ashland, attending five OSF plays over three days.

Most recently, Calicchio served as director of Cultural Services and executive director of the Marin Cultural Association for the County of Marin in the Bay Area. She also served as chief executive officer of The Walt Disney Family Museum in San Francisco, managing director of the Tony Award-winning Children’s Theatre Company in Minneapolis; managing director of Marin Theatre Company in Mill Valley, California; and as executive director of Diablo Ballet in Walnut Creek, California.