You cannot call it love … or can you?
August 15, 2022
Theater review: Salt and Sage’s ambitious dual productions of “Romeo and Juliet” and “Hamlet” reckon with deep questions about love and mortality.
Theater review: Salt and Sage’s ambitious dual productions of “Romeo and Juliet” and “Hamlet” reckon with deep questions about love and mortality.
A journey through the Portland Art Museum’s fierce and piercing show of work by photographers of color about the city’s 2020 racial justice protests.
The secret to the Portland Art Museum’s exhibit on Kahlo, Rivera, and Mexican Modernism: Take it your own way, at your own pace.
Joel Coen’s movie adaptation is too timid for the tale it tells.
The “nothing” in Much Ado About Nothing has multiple meanings. In Shakespeare’s time, as in our own, it could be used to refer to something inconsequential, not worth “noting.” This play asks us: What do we notice in our lives? How does
Marisela Treviño Orta’s new play Wolf at the Door at Milagro Theatre is a blend of fairy tale and Aztec myth. Its heroine, Isadora, is in an abusive relationship with Séptimo. Séptimo has kidnapped Yolot, a pregnant Wolf-Spirit-Person, and wants to steal
As I walked through paradisal Southeast Portland last Friday night, I grew afraid. The burgeoning hydrangeas, the laughter of children, the interminable rows of tall trees, scared me. For some reason, I found myself reflecting on the upcoming two-year anniversary of the
Jesus Hopped the ‘A’ Train begins and ends with the same image: a young prisoner, Angel, on his knees, praying in darkness. Angel’s desperate desire for assurance and forgiveness make him, in a weird way, immediately lovable. There is even something endearing
There was one penguin in particular that I really wanted to win the game of musical chairs. This particular penguin was an aggressive tactician, and with belly-bumping brute force, it won the final round. But winning wasn’t enough. This penguin wanted another,
“Ain’t no reason to lie, just me and you right now,” says a 22-year-old black man, standing center stage in only underwear. His near-naked body slowly disappears as he pulls on black clothing and snaps in and buckles up layers of heavy
Zoe Stasko is entirely at peace as she winds her body up the black aerial straps suspended from the ceiling. Even as she unravels rapidly downward she emanates centeredness amidst all the momentum. She rolls, twists, and spins in dizzying circles. From
The sound of dissonant strings swells as audience members file in and find seats. Folks flip through programs and sip wine. But an uneasy tension looms as the audience settles in for David Ives’s Venus in Fur, now playing at Twilight Theater.
Out of Sterno, the Deborah Zoe Lauffer play that concludes its run at the Siren Theater on Sunday, July 29, manages to teach (and not preach) us how to be better citizens. Dotty, the heroine of Out of Sterno, has never left
Stakes were high at Helium Comedy Club’s sold-out Portland’s Funniest Person competition on Wednesday night. Twelve comedians, who had survived a month-long gauntlet, had one last chance to win over the audience and judges. After two and a half hours of stand-up,
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