For Megan Skye Hale, the Grimm brothers’ “Rapunzel” is just strange enough to spark some intriguing questions. 

In the original story, a pregnant woman gets a craving for rapunzel, a flowering plant that grows in a witch’s garden. When the witch catches the woman’s husband stealing the herb, she agrees not to punish him if she can have the couple’s child. The father agrees, and the witch takes the daughter, names her Rapunzel, and keeps her in a tower where her hair grows so long it can touch the ground.

“The whole story is two paragraphs,” Hale says. “It leaves all this space. How does the witch feel about this girl who she’s stolen and then raised? How do the parents give up their baby for magical kale, essentially?”

Such questions inspired Hale and her immersive theater company, Speculative Drama, to create a devised play called Bitter Herb, which will be performed at Multnomah County’s Central Library for eight performances March 15-23.

The story also got Hale thinking about more philosophical issues. “What is the cutting of the hair? Is that a punishment or is that the only way out of the tower? And if it is magically the only way out of a tower, is that a gift, a way of letting your child grow up?” She wonders, too, about the prince who falls for Rapunzel but never considers fetching a ladder to help her escape. “Everybody [in the story] seems a little bit entitled to something, and how do they learn not to be that or to earn their happy ending?” 

As a child, Hale poured over the Grimm tales and can still remember the shape and feel of her copy of “The Twelve Dancing Princesses,” which she read so much she wore it out. In keeping with the feeling of a picture book, Bitter Herb will be presented as wordless tableaux, bringing the story to life through movement and facial expressions. Hale, who has a background in character clown and mask performance, says the actors will make pictures with their body language, much like a silent movie or a cartoon.

One of the challenges in creating these visuals was finding a way to build Rapunzel’s long hair. “How do you make something that is 25 feet long and stylized but can also be carried around by the actor and worn?” Dana Taylor ultimately drew on cultures where hair is important to create a wig that combines fibers and fabrics. The result, says Hale, is “very strange and very cool.”

While the devised show delves into some dark territory and wasn’t designed specifically for children, Speculative Drama is welcoming audiences ages 10 and up. And for audience members of any age who are hesitant about seeing a show that happens all around them, Hale says, “Part of the adventure is that you aren’t quite sure what you’re going to walk into, but we try to help and guide folks through it and make sure they’re very comfortable.” Unlike an interactive show, audience members won’t be put on the spot, and they’re free to move around wherever they want. The show is free, but donations will go directly to the cast and crew.

See Bitter Herb in downtown Portland at the Multnomah County Central Library, 801 SW 10^th Ave. Find ticket and scheduling information here.

Also Opening

Broadway in Portland presents Hamilton through March 23.

Hamilton is the epic saga that follows the rise of Founding Father Alexander Hamilton. Based on Ron Chernow’s acclaimed biography and set to a score that blends hip-hop, jazz, R&B, and Broadway, Hamilton has had a profound impact on culture, politics, and education. The production features a book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, with musical supervision and orchestrations by Alex Lacamoire.

In addition to its 11 Tony Awards, it has won Grammy®, Olivier Awards, the Pulitzer Prize for Drama, and, during Donald Trump’s first term as president, an unprecedented special citation from the Kennedy Center Honors in 2018. At Keller Auditorium, 222 SW Clay St. in Portland.

Silent Sky at OMSI, March 6-9.

Mt Hood Repertory Theatre’s production is the first play ever to take place in the Oregon Museum of Science and Industry’s Kendall planetarium. Through the story of pioneering astronomer Henrietta Swan Leavitt, Silent Sky, by Lauren Gundersen, explores a woman’s place in society during a time of great scientific discoveries.

The show’s press sounds intriguing: “A decade before women gained the right to vote, Henrietta Leavitt and her fellow women ‘computers’ transformed the science of astronomy. With music and math bursting forth onstage, Henrietta and her peers change how we understand the heavens and Earth.” The performance, directed by Joellen Sweeney, includes celestial visuals designed by OMSI Planetarium director Jim Todd, music by Jenny Giering performed live by pianist Jesse Preis, and period costumes by Laura Streeter. See the show at OMSI, 1945 S.E. Water Ave., Portland.

Orlando at PCC Sylvania, March 6-9.

Based on the Virginia Woolf novel, the play, which was adapted by Sarah Ruhl, features a young nobleman who’s drawn into a love affair with Queen Elizabeth I, then strives to make his way as a poet and lover, traveling through time in a story where gender and gender preferences are always shifting. It’s directed by Guest Director Jamie Rea, who recently directed Profile Theatre’s production of Samsara.

Who’s Afraid of Virginia Woolf? at Portland Center Stage, March 7-30.

In Edward Albee’s absurdist drama, things go dark when George and Martha invite a young couple over for a nightcap. Kamilah Bush, PCS Literary Manager & Dramaturg writes, “On the surface, [the play] can seem a critique of love and marriage, but as Albee’s work insists, the criticisms aim much higher. This satire is not just a takedown of tumultuous relationships between husband and wife, but between citizen and society, settler and state, inhabitant and empire.” Marissa Wolf  directs the play, which won a Tony Award for Best Play, and the New York Drama Critics’ Circle Award for Best Play, 1963. See the show on PCS’s U.S. Bank Main Stage, 128 N.W. 11^th Ave.

Things I Hide From Dad at Chapel Theater in Milwaukie, March 13.

This one-night-only, multi-sensory show by Travis Abels delves into the experience of coming of age in a father’s doomsday cult, while “reckoning with family, sex, and Kenny G.” See it at Chapel Theater, 4107 S.E. Harrison Street, Milwaukie.

Doubt: A Parable at Rogue Theater Company, Ashland, March 13-30.

John Patrick Shanley’s play about a nun who suspects a priest of sexual misconduct with a student won the 2005 Tony Award for Best Play and the Pulitzer Prize for Drama. John Sipes, who was a director and resident movement director for the Oregon Shakespeare Festival for ten seasons, directs. All performances are at 1 p.m., indoors at Grizzly Peak Winery, 1600 E. Nevada St., Ashland.

Alfred Hitchcock’s The 39 Steps at Pacific University, March 13-16.

This wild ride of a whodunit, which is described as having “a dash of Monty Python,” features ordinary Richard Hannay, who ends up following a mysterious murderer and launching on a high-speed chase from a London music hall to the Scottish Highlands, where he encounters an international spy ring. All performances are open to the community and take place in the Tom Miles Theatre in Warner Hall on Pacific University’s Forest Grove Campus.

The Light  at Portland Center Stage, March 14-April 20; previews March 9-13.

Rashad (La’ Tevin Alexander) has planned the perfect way to propose to Genesis (Andrea Vernae), but past secrets throw his happy plans awry. Set during the Brett Kavanaugh Supreme Court nomination hearings,The Light, according to The New York Times, is an “an Unexpected Mix of #MeToo and Rom-Com.” Chip Miller directs Loy A. Webb’s play, which won an Outer Critics Circle nomination for Outstanding New Off-Broadway Play in 2018. See it at PCS’s Ellen Bye Studio, 128 N.W. 11^th Ave.

The Search for Signs of Intelligent Life in the Universe at 21ten Theatre, March 14-30.

Directed by Samantha Van Der Merwe and starring Brooke Totman, Jane Wagner’s one-woman play — written originally for Lily Tomlin — blends humor with big questions. Among the play’s characters are Trudy, a bag lady tapped into humanity’s collective consciousness; Paul, an iron-pumping gym rat and wistful sperm donor; and a trio of women whose lives have diverged since their early days in the feminist movement. See the show at 21ten Theatre, 2110 S.E. 10th Ave. in Portland.

Pete the Cat — A Live Rock Musical at Northwest Children’s Theatre, March 15-April 13.

Pete the Cat rocks out in what promises to be a “fast-paced, globe-trotting musical adventure” as he helps his best friend, Jimmy, embrace the power of imagination. It’s based on the book series by Kimberly and James Dean, with script and lyrics by Sarah Hammond and music isby Will Aronson.

“The books are visually creative and stimulating, and that’s something we’re really emphasizing in this production,” says NWCT’s artistic director Sarah Jane Hardy, who is also directing the show. “It’s a rock musical, and the music and the visuals work together to create a truly immersive experience for kids and their families.”

Among the weekend shows, there will be an ASL interpreted performance on March 22 and a sensory friendly show on March 23. There will also be weekday performances over spring break. Most enjoyed by ages 4 and up. See the production at The Judy Kafoury Center for Youth Arts, 1000 S.W. Broadway, Suite T-100, Portland.  

Continuing Shows

Beginnings & Endings: A double feature at Bag&Baggage, through March 8.

Bag&Baggage has extended its run of Beginnings & Endings, which was cut short by February’s snow. ArtsWatcher Brett Campbell reviewed the plays here. See them onstage at The Vault Theater, 50 E. Main St., Hillsboro.

Chekhov! Three Farces  at 21ten Theatre through March 9.

Štěpán Šimek, who also co-directs and acts in this rollicking production, wrote new translations of three of Chekhov’s farces, “The Bear,” “The Ravages of Tobacco,” and “The Proposal.” ArtsWatch reviewed the plays here. See the shows at 21ten Theatre, 2110 S.E. 10th Ave., Portland. 

Tartuffe, at Portland State University, through March 8.

In this scathing comedy presented by PSU’s Theater Arts program, the scheming Tartuffe worms his way into the household of the wealthy Orgon and tries to steal his property as well as the affections of his wife and daughter. According to a PSU press release, “Sparkling with witty dialogue and set entirely in rhyming couplets, [Richard] Wilbur’s translation of the 17th-century neoclassical comedy gleefully skewers powerful manipulators who claim that their motives are based on benevolence.” See the show, which is directed by Christine Freije, at Lincoln Performance Hall (Lincoln Hall 175), 1620 S.W. Park Ave., Portland.

Corrib Theatre’s Pass Over through March 9.

Corrib describes this contemporary American spin on Waiting for Godot by Antoinette Chinonye Nwandu as “a love letter to Black male friendship, and a searing indictment of Whiteness.” The show stars Bag&Baggage artistic director Nik Whitcomb and Emmanuel Davis. In a New York Times review of a 2021 production, Jesse Green wrote, “Somehow Nwandu gives us the recognition of horror that has informed drama since the Greeks while also providing the relief of joy — however irrational — that calls to mind the ecstasies of gospel, splatter flicks and classic musicals, all of which are sampled.” Read ArtsWatcher Bobby Bermea’s feature on the production’s director, Vin Shambry, here. The show is a co-production with the Historic Alberta House, where it’s performed. 5131 N.E. 23^rd Ave., Portland.

SWANA’s DEAR LAILA through March 9.

This immersive installation by Basel Zaraa (Palestine/UK) invites one audience member at a time into the childhood home of Basel Zaraa, located in the Yarmouk Palestinian refugee camp in Damascus. Inspired by his young daughter’s questions about his past, Zaraa creates a tactile and intimate experience of displacement and resistance. The installation will be presented with audio in English, Arabic, Spanish, and French. See it at the SWANA Rose Culture + Community Center, 2942 N.E. Martin Luther King Jr. Blvd., Portland. 

Third Rail presents A Case for the Existence of God at CoHo Theatre,  through March 16.

Keith and Ryan are two working dads who don’t seem to have much in common. Despite different upbringings, identities, and lifestyles, though, the men connect over their experiences of fatherhood; growing up in a small, rural town; and the loneliness of lost opportunities and fragile circumstances. According to its press, “A Case for the Existence of God shines a light on the ways in which disparate lives can commingle and create a deep and indelible imprint of empathy and connection.” Directed by Maureen Porter and starring Charles Grant and Isaac Lamb. See it at CoHo Theatre, 2257 NW Raleigh St, Portland.

The Antipodes at Shaking the Tree Theatre, through March 22.

Samantha Van Der Merwe directs Annie Baker’s play that blends realistic dialog with magical elements. ArtsWatch reviewed the show here. See it at Shaking the Tree Theatre, 823 S.E. Grant St., Portland.

Sapience at Artists Repertory Theatre, through March 23.   

Diana Burbano’s play explores love and communication through the eyes of Elsa, a primatologist,who is studying the language abilities of orangutans. The production, which is directed by Melory Mirashrafi, is a collaboration with PHAME, a fine and performing arts academy serving adults with intellectual and developmental disabilities. See it in the Artists Rep lobby, 1515 S.W. Morrison St., Portland.

Notes from the Field at Portland Playhouse through March 30.

Anna Deavere Smith’s 17-character, one-actor play, which Dmae Lo Roberts previewed in her ArtsWatch Stage & Studio podcast, exposes a world where young Black men are systematically pushed out of the education system and into the criminal justice system. But amidst the darkness, dedicated educators, activists, and community leaders fight to make a difference in the lives of these vulnerable young people. Directed by Jackie Davis and starring Ramona Lisa Alexander. See it at Portland Playhouse, 602 N.E. Prescott St. ArtsWatcher Darleen Ortega reviewed the production here.

Noises Off at Lakewood Theatre Company through April 6. 

For those who need a lift, this spoof of English bedroom comedies, which was written by Michael Frayn, follows the backstage antics of a touring theater troupe who find themselves caught in a sex farce of their own. The title, in theater terminology, refers to commotion offstage, which, in this case, makes for lively onstage entertainment. Directed by Don Alder. See the show at Lakewood Center for the Arts, 368 S. State St., Lake Oswego.

The Mousetrap at Experience Theatre Project through April 6.

Artistic director Alisa Stewart directs this classic Agatha Christie murder mystery, which is the longest running play ever, having opened in London’s West End in 1952. The story features the guests of the remote Monkswell Manor House who are trapped in a snowstorm when they discover a murderer is in their midst. This intimate, immersive production is limited to only 45 people per show and will be performed in Experience Theatre Project’s new space at ​18850 S.W. Alexander St. in Aloha.

Theater News

The Macbeths, a retelling of Shakespeare’s Macbeth that was set to open on March 6 at Milagro Theatre, has been cancelled. Milagro ended the third-party rental to Red S Theater, which was producing the new play, after it learned of a social media discussion about one of the co-creators and stars of The Macbeths, Mary McDonald-Lewis, who has frequently posted anti-trans statements on various platforms.

In a statement about the cancellation, Milagro wrote, “Milagro has always been and remains an arts organization dedicated to serving our community, particularly its most disadvantaged and marginalized members. We are firm in stating: Milagro does not support, condone, or tolerate discrimination, hate speech, or violence against the LGBTQIAA+ community, nor do we support those who do.”

Clowns Without Borders presents two benefit shows at Alberta Rose Theatre on March 8.

Top circus, comedy, and variety acts will come together to support Clowns Without Borders USA in the group’s 26^th annual benefit show in Portland. Two shows, a one-act matinee and a full evening performance, aim to entertain both adults and families.

Poki McCorkle and Sadye Osterloh of Shoestring Circus will be the comic MC’s for the evening show. Also performing are Theatrical Basque clown Iman Lizarazu; youth performers from Echo Theater Company and Cedarwood Circus (starring in the matinee show); partner acrobatics from Tempos Contemporary Circus, plus juggling, aerial dance and Leapin’ Louie Lichtenstein, the lassoing cowboy comedian.

For more than 25 years Clowns Without Borders USA (CWB-USA) has used laughter and play to bring emotional relief to children and families living in crisis situations worldwide. Through performances and workshops, CWB-USA helps those in refugee camps, conflict zones, and disaster-affected areas. Portland hosts the longest-running and most successful fundraising event for CWB-USA, and more than a dozen local performers have joined CWB projects internationally in countries such as Haiti, Turkey, South Africa, El Salvador, and Mexico. See this year’s benefit show at the Alberta Rose Theatre. Find tickets and scheduling information here.

The Liberty Theatre in Astoria celebrates 100 years with a Roaring Twenties Dance Party.

The Liberty’s 100th Birthday Bash will be a Roaring Twenties Dance Party at the theater’s historic McTavish Ballroom. The April 12 event promises to  “transport you to the glamorous era of the 1920s,” with music by the Ne Plus Ultra Jass Orchestra, which will perform dance hits from the era. Doors open at 6 p.m. 1920s attire is suggested but not required. Find tickets for the limited-capacity event here.

PETE’s Suzuki & Viewpoints Summer Intensive.

Registration is open for Portland Experimental Theatre Ensemble’s Suzuki & Viewpoints Summer Intensive, which will be July 21-Aug. 1, Monday through Friday from 10 a.m. to 4 p.m., in the Fir Acres Theatre at Lewis and Clark College, with room and board available. Participants can join for one or both weeks, but must have previous experience if they want to come for the second week only. Find more information here.