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Portland Center Stage sinks its teeth into a “Dracula” with feminist flair. Plus: It’s open (holiday) season with a musical “Wonderful Life,” a visit to Whoville, a comic Christmas tea.
Dmae Lo Roberts talks in her new podcast with Jerry Foster, leader of the Black theater company PassinArt, about staging Langston Hughes’ gospel musical version of the Nativity story.
Bobby Bermea: The talented actor Lester Purry, who’s created a bond with Portland Playhouse, is back in town and creating his own kind of skinflint in the Playhouse’s “A Christmas Carol.”
21ten’s “Taking Care of Animals” is a big show in a small space. Plus: a snowflurry of holiday shows, from Scrooge to Rudolph to “Black Nativity” and more.
The Portland theater company leaps into the Off-Broadway spotlight with “Make Me Gorgeous!,” a bravura one-man show about trans trailblazer Kenneth Marlowe.
Four humans huddle in a farmhouse against a storm as the wild beasts roam outside in “Taking Care of Animals.” Plus some grand celebrity impersonation, openings, and last chances.
Profile’s world premiere of christopher oscar peña’s story of a young woman’s perilous arrival in the United States defies expectations.
The 45-year-old community theater emerges from the pandemic shutdown with its first full-scale musical since 2019 and a new focus on fundraising and drawing fresh, young faces.
Actor and ArtsWatch columnist Bermea looks at the Portland theater company’s troubles and remembers the good times as he tries to sort out what’s gone wrong.
Profile keeps rolling with its trio of plays by christopher oscar peña, this one about the aftermath of a spasm of violence. Plus openings, last chances, and a billboard campaign.
The Guild, founded in 1958 to support a legendary company that began in the 1920s, is closing and passing its assets to other theaters. Plus: This week’s openings and last chances.
After postponing its season and laying off its artistic leader, the company concentrates on getting its building open. Plus: this week’s new shows and last chances.
Third Rail Rep bellies up to the Irish writer’s “Two Pints.” Plus: A Lebanese solo show, an annotated “Merchant of Venice,” openings and last chances.
The puppeteers of Kettlehead Studios, the instrumentalists of Musica Universalis, an adventurous director and a skilled actress create a myth-driven seasonal show.
Shaking the Tree takes on the bitter beauty of Lorca’s poetic tale. Plus: “California” returns, Milagro celebrates women warriors, Triangle heads for the Big Apple.
Portland Playhouse’s musical-theater version of the Roald Dahl children’s novel is enchanting for audiences of all ages.
Center Stage’s revival of the 1968 musical of youthful protest and rebellion reclaims the anger, joy, and love for a new era of cultural and political divisiveness and disarray.
The Reformers get into the Halloween spirit with a string of shows at Movie Madness inspired by ’80s slasher flicks.
A conversation with the new artistic director of the Oregon Shakespeare Festival, who’s returned to the company he helped lead for 11 years and is eager to “carry it forward” again.
As the theater season shifts into high gear, Center Stage’s “Hair” marches to the beat of 1968’s drum and a host of other shows hit the stage.
Madeline Sayet’s play, at the festival in Ashland through Oct. 15, strives to reconcile whether an Indigenous person can love the most famous writer produced by a colonial power.
Broadway Rose Theatre pulls out all the stops on the sizzling revue “Ain’t Misbehavin’,” a celebration of Waller’s music and milieu.
The festival’s just-announced 2024 season suggests a return to the kind of lineup that’s excited audiences in the past. Plus: Fats Waller and the joint are jumpin’ at Broadway Rose.
As a new biography hits the book stands, Seattle theater critic Misha Berson recalls her own interactions with the late, great American playwright.
Bag & Baggage’s “Our Utopia” riffs on themes from Thornton Wilder’s classic. Plus openings, closings, and Bill Rauch’s debut with the new Perelman Center in New York.
Ten Fifteen Theater will present a world-premiere staged reading of “Bartow” next month in Astoria.
A new artistic director and a revived, walk-through “immersive installation piece” at Zidell Yards keeps the veteran devised-theater company moving forward.
The heady shuffle of “52 Pick-Up” extends its winning hand. Plus: Good news/bad news in Oregon theater, CoHo Clown Festival, a little Sondheim music, openings and closings.
Born following a ruckus about “political” symbols in local schools, the professional company — part of Yamhill County’s thriving theater scene — aims to create a safe space for minority communities.
Why everyone’s flocking to an old Victoria’s Secret to see a Beckett play. Plus: “Tina” on tour, the joys of a kids’ backyard theater camp, and a question: Must the show go on?
In a tiny Southeast Portland space, a lean and lively actors’ theater is emerging. Up next, “52 Pick-up.” Also: openings and last chances.
“The fundamentals of the economy are getting stronger, but people are still skittish” – and theater companies are suffering for it. Plus: Anonymous Theatre plays Pirate.
Financial problems stemming in part from the pandemic, an expensive construction project, lack of expected state funding and a national slump in theater attendance force a drastic step.
Broadway Rose’s production of the Rodgers + Hammerstein musical adds a light touch of depth to some scintillating singing and knockout costumes.
The Portland actress takes on the multiple challenges of Samuel Beckett’s Winnie – in an old Victoria’s Secret at the Lloyd Center mall.
With fresh productions opening of The Scottish Play and the lost-slipper musical, we’re one leg off a tantalizing theatrical trifecta.
In Corvallis, the traditional summer Bard in the Quad opens outdoors with Shakespeare’s sharp-witted “Much Ado About Nothing” – and a slightly altered location.
Director Katrina Godderz calls Kate Hamill’s adaptation a “wink-wink, nudge-nudge” take on the romantic comedy.
New faces in key places, final chapter for the lamented Book-It Rep, a little Jeeves and Wilde, and some Wagner at the opera keep the summer unsettled but hopping.
As Bag & Baggage performs “Red Velvet,” his first directing show as the theater’s artistic director, the Omaha and New York transplant creates a tight bond with his new home town.
“The Skin of Our Teeth” opens next week at the 94-year-old community theater, which is adding new voices to its repertoire.
The former Artists Rep artistic leader is the new artistic director of Seattle’s much larger flagship theater, and JAW keeps faith with the theatrical tradition of the new.
Henry VIII’s wives take the stage in Portland in the musical “Six”; Bag&Baggage’s “Red Velvet,” Box of Clowns, stinky cheese, Shakespeare in Elgin, time out for kids’ shows, more.
“Rent,” “Romeo and Juliet,” “Twelfth Night” and “The Three Musketeers” provide distinctive takes on classical and contemporary theater.
Apalategui’s “Downward Facing,” the show that just kept growing, takes its next big step in Fuse Theatre’s Atelier Festival.
CoHo’s clowns tie a twister by the tail. Plus: a jukebox musical at Lakewood, a sketch comedy festival, Astoria’s “performathon,” seasons’ greetings, throwing the dice on “Six.”
Life is a cabaret: Poison Waters and a bevy of drag stars dress up, feel their Pride, light the lights, and put on a show.
The troubled festival calls on a favored prince to be its new artistic director. Plus: A new Josie Seid play, 76 trombones in Eugene, last call for gothic cabaret, and more.
Clackamas Rep brings the ancients romping into the present. Plus: Broadway Rose’s “Dreamcoat,” new leader at Artists Rep, farewell to Book-It Rep and Sheldon Harnick, more.
From the Cocteau Twins to the Cure, a splashy cabaret celebrates goth culture with playful spookiness. Plus: Last call for some good shows, a shutdown in L.A.
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