Pity the poor theater-goer who has to select which shows to see from the wealth of season-openers onstage in the coming weeks.

Portland Playhouse is presenting Paradise Blue, a jazz-infused show that honors Black excellence on and off the stage. Portland Center Stage is offering Primary Trust, which is purported to be like TV’s Gilmore Girls with a bit more trauma. Artists Repertory Theatre is staging the sparkling The Bed Trick, Stumptown Stages will rock hard with the musical Rock of Ages, and Northwest Children’s Theatre is presenting Ken Yoshikawa’s original fairy tale From a Hole in the Ground, which was nominated for a 2025 Oregon Book Award.

Of course, that’s not counting continuing seasons such as Broadway Rose’s production of Triangle, a musical love story that mixes past and present, and Broadway in Portland’s touring production of Disney’s The Lion King. Plus, there’s still time to see The Cake at Triangle Productions, Apple Season at 21ten Theatre, Dial M for Murder at Clackamas Rep, and Dracula at Lakewood Theatre.

Still not enough choices, you say? Portland has a new theater company, 100 Lives Repertory, which will make its debut with Orange Flower Water, Sept. 26-Oct. 12. Dedicated to celebrating the work of female artists over 40, co-founders and co-artistic directors Brooke Totman, Blaine Palmer, and Annie Kehoe are, according to the company’s website, “launching a movement that champions depth over flash, experience over novelty, and connection over comfort.”

As Totman said in a press release, “Audiences are hungry for the kind of complex, deeply human stories that only seasoned artists can bring to life, and we’re here to share these stories in all of their prismatic and visceral nuance while creating community in the process.” 

Orange Flower Water, which is called “a gripping, sexy and surprisingly funny glimpse behind the closed doors of two married couples,” will be followed by The Body’s Midnight, Tira Palmquist’s play about a couple who take off on the perfect American road trip in an attempt to escape a troubling diagnosis, Feb. 6–Mar. 1. The Pavilion by Craig Wright, a show that’s been called “an Our Town for our time,” will round out the season May 15-June 7. Performances are at Spotlight Theatre, 1123 S.E. Market St. in Portland. Find tickets and schedules here. 

Other season openers

Thought-provoking thrills: Experience Theatre Project leads audiences into Frankenstein’s world.

One of the pleasures of attending an immersive production is that you get to dive into your imagination – that part of your brain that always wondered, for example, what it would be like to have cucumber sandwiches with Algernon Moncrieff. As its name suggests, Experience Theatre Project is dedicated to creating such experiences for its audiences, taking them from Jay Gatsby’s 1922 flapper-filled mansion in Great Gatsby’s Daisy to the scene of the crime in Clue.

For Experience’s fall production, artistic director Alisa Stewart has adapted Mary Shelley’s 1818 novel, Frankenstein, which moves from the remote Scottish laboratory of Dr. Victor Frankenstein  (Ryan Kennedy) to the moors of Geneva. In a recent email interview, Stewart talked about her fascination with the Frankenstein story and what to expect from a production that promises to be as thought-provoking as it is spine-tingling.

This interview has been edited and condensed for clarity.

What drew you to this story?

You know, I really love gothic horror. I loved watching the old ’30s black and white stories like Nosferatu, Dracula, The Cabinet of Dr. Caligari, and Frankenstein. That is what inspired us to create our “Gothic Horror Stories” event in 2018, which featured the ghosts of Edgar Allen Poe, Bram Stoker, and, of course, Mary Shelley, reading their own stories. 

I started envisioning an immersive Frankenstein that would bring people inside the lab of Dr. Frankenstein, and how thrilling that must be at the moment he shouts, “It’s alive!” Granted, that phrase was never in the original novel, but in the kind of theater we create, we want to meet people’s expectations with certain beats. Nothing wrong with combining influences to make one great, live, memorable experience.

To that end, I decided to take people into a black-and-white world with German Expressionism influences and remain as close to the original story as possible. The production should remind folks of the 1931 Boris Karloff film, mixed together with the dream-like images inspired by The Cabinet of Dr. Caligari. To make things more interesting, anytime the monster recognizes beauty in the world, the world will give way into color. Kind of like a reverse Wizard of Oz. 

I love the idea of the story being told from Margaret Saville’s point of view. How did you get the idea for that, and what does it add to the story?

The original book has three narrators: Robetr Saville, Victor Frankenstein, and the monster. The entire story is being recorded by Robert, so it made sense for us to take what Robert has recorded and sent over to his sister Margaret. Having his sister Margaret be the narrator allows us to distill all three narrators into one voice, and also allow us as storytellers to add a little more dimension to the story.

The Savilles live in the “real” world, so their world is in color. We invented a backstory for Margaret Saville – she runs an orphanage with her husband Percy (a homage to Mary Shelley) and reads to two of the orphans from her brother’s journal. She also acts as a commentator, as do the children, asking questions like, “Why isn’t Victor thinking about his family?” and “Is this real?” as she reads the story, a trope very much inspired by The Princess Bride (Peter Falk telling the story of the Princess Bride to his grandson). We also added a surprise ending, one that offers an opportunity for the monster to consider staying alive rather than being “borne away by the waves and lost in darkness and distance.” 

Did you draw from other sources for your adaptation?

I have read the novel now probably five times, lol. That really forms the solid basis for the adaptation. I also read a few of the books that the novel mentions, like Milton’s Paradise Lost (which allows the monster to identify with Adam), and De Occulta Philosophia by Cornelius Agrippa, whose writings on alchemy fascinate Victor and provide context for a couple of supernatural moments we’ve incorporated in our adaptation. Books about the supernatural were often read by Mary Shelley and her contemporaries, so that seemed pretty apropos.

I also read a number of books about Mary Shelley to try and find similarities between her life and that of her most famous work, and I re-watched the old movie The Cabinet of Dr. Caligari and Fritz Lang’s Metropolis (eerie film to watch given our place in history — needs to be remade, I think). The movies influenced me to marry the styles together for this production. 

The 1931 movie really deviates from the original material, with Frankenstein (named Henry in the film rather than Victor) being a mad scientist who creates a nonverbal creature who is hunted down and killed by an angry mob, with a happy ending for Frankenstein and his bride Elizabeth. Gone are the nuances of familial love of a father to a son and the monster’s demand that Victor create a mate for him so they (he and she) could be ostracized from society together.

It is a shame most people think that the quintessential Frankenstein has a bolt through his neck and has a squared off head when, in fact, he is much more complicated, and emotionally deeper than that. I think people who are familiar with the novel will see our production and appreciate our loyalty to the original material while incorporating the pop culture fun (“It’s alive!”) from the film.

It sounds like your production will emphasize the idea of isolation. How are you bringing that theme to light?

The theme of isolation, I think, resonates today. First, the story emphasizes modern anxieties people have of outsiders – that MAGA followers want outsiders to stay out. If you don’t look just like me, you are someone to be feared. That xenophobia can lead to isolation. But you do not need to be xenophobic to become isolated. It is very easy to isolate oneself at home, in front of a phone or computer, spending hours scrolling. When human connection is lost, so is any sense of empathy. It becomes easy to lose compassion.

Here we have an ambitious young man who isolates himself in the pursuit of ego, withdrawing from family, friends, and society, focused on a single goal that leads not only to the monster’s creation, but also to the loss of his loved ones. He ignores the human connection in pursuit of ambition. The Monster, on the other hand, is born innocent and desires companionship. He is forced into isolation by Victor’s rejection of him and justified fear of society. This rejection turns him vengeful. The monster becomes a mirror of what isolation does to a soul.

We are adding a second level to our space, which often serves as a level of isolation for the monster. The chiaroscuro of the black and white adds to the starkness of his feelings. 

Is there anything else you’d like people to know about the production?

The experience is in promenade form, so there are no seats. When you enter the show, you will move through each space of the story, from Geneva to Ingolstadt, from Victor’s laboratory to a church in Geneva. Part of the production will take place outside, in front of the theater, in the parking lot. The various spaces and places only add to the already interesting aspects of the experience. Audiences will be able to sit during intermission, and a handful of “ghost chairs” will be found in every scene in corners of the room for those who need to sit. 

Fun fact: for our monster, we had prosthetics professionally created by Sam Cobb, a local makeup artist who was a finalist in Season 1 of the reality show Face Off.

Frankenstein will be performed at Experience Theatre Project, Sept. 26-Nov. 2. Find tickets and schedules here.

Paradise Blue at Portland Playhouse Sept. 24–Nov. 2 (opens Sept. 27).

With a smoky, noir setting, Paradise Blue tells the story of Blue (Mikell Sapp), a gifted trumpeter struggling to keep his beloved jazz club alive in 1949. As the pressures of gentrification mount, and with the sudden arrival of a mysterious stranger named Silver (Cycerli Ash), Blue and his makeshift family of musicians face difficult decisions about their future. “Paradise Blue sings with both urgency and joy,” said artistic director Brian Weaver in a press release. “It asks hard questions about survival and sacrifice, but it’s also a celebration of the pleasure and resilience found in art, music, and community.”

This jazz-infused show was written by the award-winning playwright Dominique Morisseau and is directed by Lou Bellamy, with an ensemble cast that includes Netty McKenzie, Lester Purry and La’Tevin Alexander. The play is a co-production with Penumbra Theatre of Saint Paul, Minnesota.

From a Hole in the Ground at Northwest Children’s Theatre, Sept. 27-Oct. 5.

Nominated for a 2025 Oregon Book Award, Ken Yoshikawa’s original fairy tale about mischief, nature, and a generational curse will start NWCT’s new season. Someone – or something – has returned from the grave fixated on a long due confrontation, upsetting the world of the good folk, and set to bring chaos to mortals, too. Content Warning: The play contains a character named “Death,” and the concept of death is discussed. Produced in partnership with Corrib Theatre.

Primary Trust at Portland Center Stage, Sept. 28-Oct. 26 (opens 10/3).

Kenneth has spent his life in the small town of Cranberry, New York, but when he’s laid off from his job at a small bookstore he has to find the courage to get out in the world and embrace change. Eboni Booth’s Pulitzer Prize-winning play is directed by PCS associate artistic director Chip Miller. On social media, PCS said the play “is like an episode of Gilmore Girls, with a liiiitle bit more trauma.” Featuring Larry Owens, Shareen Jacobs, Austin Michael Young, and Ted Rooney (aka the Gilmores’ chill neighbor, Morey). On the PCS Main Stage.

Rock of Ages at Stumptown Stages, Oct. 3-25.

Big hair and big bands: What’s not to love? Stumptown’s season begins with the ’80s rock musical spoof. A celebration of classic ’80s rock, the Tony-nominated Broadway show features hits from the likes of Night Ranger, REO Speedwagon, Pat Benatar, Twisted Sister, and more. It’s directed by Landy Lamb, who sparkled in Stumptown’s Tootsie earlier this year. Tickets for the show, onstage at Portland’5 Winningstad Theatre at Antoinette Hatfield Hall, can be found here or by calling the box office at 800-915-4698.

The Bed Trick at Artists Repertory Theatre, Sept. 30-Oct. 26 (opens Oct. 4).

This comedy by Seattle’s Keiko Green kicks off Artists Rep’s 2025-26 season of new plays written by women with roots in the Pacific Northwest. Called a “frisky comedy” and “a bedroom farce for the social media age” by the production’s director, Luan Schooler, the play was inspired by Green’s experience playing Helena in All’s Well That Ends Well and promises to dive into the complexities of sex, ethics, and Shakespeare.

ART’s production of The Bed Trick will be the play’s second staging, following its 2024 premiere by Seattle Shakespeare Company. “A play can only be fully understood once it’s staged, and writers don’t always have the chance to completely refine the script during its first run – that chance comes with the second production,” says Schooler, who is ART’s interim artistic director. Schooler adds, “[W]hile world premieres get the headlines, second productions might be even more important to a play’s life.”

The cast includes returning artists Isaac Lamb (The Storyteller, Playboy of the Western World, Assassins), Sami Yacob-Andrus (The Storyteller, True Story), Claire Rigsby (True Story, The Thanksgiving Play), Madeleine Tran (The Talented Ones), and Mac Schonher (The Storyteller, The Great Leap), and welcomes Angie Tennant (Uncle Vanya/21Ten Theatre) in their ART stage debut. 

Also opening

The Lion King at Keller Auditorium, Sept. 17-28.

One of the longest-running and most attended Broadway tours in history is coming back to Portland. ArtsWatcher Jason Vondersmith previewed the show here.

Triangle at Broadway Rose New Stage, Sept. 18–Oct. 12.

This musical love story is set against the backdrop of 1911’s infamous Triangle Shirtwaist Factory fire in New York and its modern-day inhabitants. The musical follows two romances: a Jewish immigrant seamstress and her Italian foreman, and a graduate student and his relationship with a handsome free-spirited stranger. The show parallels their stories as they are set in the same location, a century apart. Music by Curtis Moore, lyrics by Thomas Mizer, book by Thomas Mizer, Curtis Moore & Joshua Scher. Directed by Michael Baron. Audience discretion is advised.

Theatre Berk’s Anno Machina at Chapel Theatre, Sept. 26-Oct. 5.

Set entirely in cyberspace, Anno Machina begins 25 years after the first sentient machines came online. Now the most brilliant thinking machines ever built may not be capable of saving humanity … or even of agreeing on how to try. The show explores what “humanity” is as a concept, while using an immersive blend of lighting, experimental sound, projections, and recorded video segments to create a layered digital environment. Written and produced by William Thomas Berk, directed by Mishelle Apalategui, and starring Gabrielle Bosso.

More performances

Weeks 3 & 4 of CoHo’s Clown Festival 2025 through Sept. 18-28.

Clownfest 2025, celebrating physical comedy, movement arts, humor, and fringe performance, started on Sept. 4, but there are still plenty of performances to enjoy in the coming week, including Skinny’s Backstage Pass, featuring Skinny the roadie, a hilarious backstage guide to the rock-and-roll dream presented by Bay Area comedian Dana Merwin; Help Wanted, in which an exuberant and determined Reynato slips into the circus in a show that explores immigration, identity, connection, and the sweet side of losing yourself to find who you truly are in the most unexpected places; a Clown Workshop for ages 18+ led by Jusby the Clown, who will teach the art of Spooky Clown, Butoh and Laughter Yoga; and Honeybuns, the Los Angeles-based artist Dean Evans, who sometimes bills themself as “The World’s Greatest Mime,” and who promises to deliver a “a rowdy, ribald, and rotund show.”

Week four of the festival will also include Clowns Not War; Bad Habits; and a Comedy Variety Open Mic hosted by Stefano Iaboni. Performances will take place at CoHo Theater, 2257 N.W. Raleigh St. in Portland. Find pay-what-you-can tickets for all the shows here.

Cliffbanger Musical Improv at PSU’s Lincoln Hall, Sept. 18 & 19.

For two nights, Cliffbanger’s cast of comedians and musicians will create a completely improvised musical show from a single audience suggestion. Every lyric, scene, harmony, and move will be made up on the spot. The company’s press says to “[e]xpect big laughs, sharp rhymes, and songs you’ll swear were rehearsed.” Directed by Rachel Rosenthal, with live music from Mont Chris Hubbard. The performance is funded in part by the Regional Arts & Culture Council and Portland’s Office of Arts & Culture and will take place at Portland State University’s Lincoln Performance Hall in the Boiler Room Studio Theater, 1620 S.W. Park Ave.

A reading of Mikki Gillette’s Trans Femme at Twilight Theatre Company, Sept. 20.

In 2011, trans femme support group leaders Sloan and Astrid’s relationship is challenged by fiery newcomer Leela, and impoverished Kat pins her hopes on the older Sunny’s pledges that she’ll leave her cis wife Fran. Tempers and intrigue fly, as the women struggle not to turn the stigmas society directs toward them onto one another or themselves.

Spotlight: A Family Arts Festival returns to Northwest Children’s Theatre, September 20 & 21, 11 a.m.–3 p.m.

For one weekend, enjoy music, dance, theater, and visual art in every corner of THE JUDY, Portland’s downtown hub for youth arts. Among the featured artists are the PSU Mariachi Ensemble; drumming by en Taiko; songwriter/performer Mo Phillips; Catalyst, NWCT’s youth performance company; Jeff Sanders (aka Brick Bending), a LEGO virtuoso; Maeve Stier, a Portland singer and accordionist; and students of Sarada Kala Nilayam presenting South Indian dance, rhythms and storytelling. Most enjoyed by ages 5 and up. Pay-what-you-will tickets start at $10.

A reading of Dinner with Friends at Twilight Theater Company, Sept. 26 & 27 at 8 p.m.

This Pulitzer Prize-winning play by Donald Margulies delves into the complexities of friendship and marriage as it centers on two couples – Gabe and Karen and their longtime friends, Tom and Beth – whose relationships are tested when Tom and Beth announce their divorce. Directed by Paul Roder.

Continuing shows

The Glass Menagerie at Bag&Baggage, through Sept. 21.

A fresh look at Tennessee Williams’ classic play about memory, family, loss and escape. ArtsWatch previewed it here.

Speculative Drama’s Pericles, through Sept. 21.

This immersive production of Shakespeare’s high seas romance will be performed in the lobby of the Armory at Portland Center Stage. ArtsWatch previewed it here.

The Cake at Triangle Productions, through Sept. 20.

Della can’t wait to bake the wedding cake when Jen, who’s like a daughter to her, announces she’s getting married. But she has second thoughts when Jen’s intended turns out to be another woman. Written by Bekah Brunstetter, with a strong cast that includes Danielle Valentine as Della, Dave Cole as her husband, and Lydia Fleming and Setaria DePue as the young couple. ArtsWatch reviewed it here.

Worry Dolls at Teatro Milagro, through Sept. 21.

Maya Malan-Gonzalez’s post-pandemic play is about two middle-school girls who are dealing with mental health issues.

Apple Season at 21ten Theatre, through Sept. 21.

Oregon playwright E.M. Lewis has written not one but two apple plays, both of which will be on Portland stages in the coming months. Next spring, Artists Rep will stage Apple Hunters!, and 21ten has kicked off its 2025/26 season with Apple Season. The story centers on Lissie and her brother, Roger, who fled their family farm when they were teens. Now they’re back for their father’s funeral, and when an old friend offers to buy the farm, the siblings are forced to face their past. Find the ArtsWatch review here, and ArtsWatcher Bobby Bermea’s interview with Lewis and director Francisco Garcia here.

Xanadu at Gallery Theatre in McMinnville, through Sept. 21.

Based on the 1980 movie starring Olivia Newton-John, this musical features the Greek muse Kira, who descends from Mount Olympus to 1980s Venice Beach and inspires Sonny, a struggling artist, to create the first roller disco. But when Kira falls for Sonny, her jealous sisters interfere. The show’s book is by Douglas Carter Beane, with music and lyrics by Jeff Lynne and John Farrar.

Dial M for Murder at Clackamas Repertory Theatre, through Sept. 28.

Tony, who suspects his wife, Margot, has been unfaithful, plans to kill her for her money. In Jeffrey Hatcher’s 2021 adaptation of the 1952 play, though, Margot’s former lover is another woman, adding a new layer to the show. Karlyn Love, who directed Clackamas’s summer production of Damn Yankees, is back to direct this updated thriller. The show will run Thursday-Saturday evenings at 7:30 p.m., with a 2:30 matinee on Sunday afternoons, and a 2:30 matinee replacing the evening show on Saturday, Sept. 20.

The Saloon Ensemble’s live J.A.W.Z. THE MUSICAL – IN 3D, through Sept. 28.

The return performance of this theatrical adaptation of the cult movie classic promises new jokes and choreography. Catch it at Alberta Rose Theatre.

Dracula at Lakewood Theatre Company, through Oct. 19.

Get a head start on your Halloween chills with this adaptation of Bram Stoker’s classic vampire novel. The talented Leif Norby, fresh off his role as the Devil in Clackamas Rep’s Damn Yankees, stars, and Mark Pierce directs. Recommended for ages 12 and up.

It’s also not too late to catch a play at The Oregon Shakespeare Festival. Performances will continue through October 26. Find tickets and schedules here.

Looking ahead to early October

Hokus Pokus Live in Portland Oct. 1 & Eugene Oct. 2.

A love letter to the 1993 Bette Midler film Hocus Pocus, the North American tour of this theatrical production stars actress, comedian, singer, and recently crowned RuPaul’s Drag Race All Stars winner Ginger Minj, Sapphira Cristal, Jujubee, and Landon Cider.

The Guy Who Didn’t Like Musicals, at Ten Fifteen Theater in Astoria, Oct. 3-18.

Comedy, music and a touch of horror mix in this show by Matt and Nick Lang. Everything in Hatchetfield is normal until a musical pandemic sweeps the city, causing people to sing and dance. Paul (an average guy who doesn’t like musicals) and his friends must stop this musical apocalypse and fight for humanity’s future. Performances are Thursdays, Fridays, & Saturdays at 7:30 p.m. and Sundays at 3:30 p.m.

A Comedy of Tenors at Pentacle Theatre in Salem, Oct. 3-25.

What do you get when you mix one hotel suite, four tenors, two wives, three girlfriends, and a soccer stadium filled with screaming fans? This farce by award-winning playwright Ken Ludwig takes place in 1930s Paris where Henry Saunders is producing the concert of the century while also keeping Italian superstar Tito Merelli and his hot-blooded wife, Maria, from causing chaos.  

Theater news

Bag&Baggage Productions launches a Bridge the Gap fundraising campaign.

Due to the lingering impacts of the pandemic, higher expenses, and a precarious funding climate, Bag&Baggage Productions is experiencing a cash flow crunch that’s putting its season at risk. Aiming to raise $60,000 by Dec. 31, the company has launched a new fundraising campaign, Bridge the Gap. Without these funds, the company says, it will be forced to consider reducing programs, canceling shows and furloughing staff, at the very least. “[T]his is about more than just keeping the lights on,” a recent press release stated. “It’s about keeping our artistic fire burning bright, right here in downtown Hillsboro.” Donations can be made here.

Next year’s newly expanded Fertile Ground Festival will run April 10-26; applications for the festival’s GROW Program are open now.

Growing from 11 days to three weeks, the Fertile Ground Festival will give audiences more time to see more shows in 2026. In the meantime, applications for the festival’s GROW Program, which supports underrepresented artists, are now open. Each selected artist will receive: $500 in unrestricted funds, free Fertile Ground registration for the 2026 festival, guaranteed placement in a Festival Partner Venue, professional project photos, participation on a pre-Festival GROW panel, and a development-focused feedback session with a local artist with expertise in the specific project’s goals/medium. Applications will be accepted until Oct.3, 2025 at 11:59 p.m. PDT. Learn more at FertileGroundPDX.org/Grow

Gallery Theater in McMinnville announces its 2026 season.

The McMinnville theater company has a full slate of shows planned for the coming year, including Almost, Maine by John Ariani, Jan. 30-Feb. 15; Bye Bye Birdie, book by Michael Stewart, music by Charles Strouse, lyrics by Lee Adams, March 6-29; Tom Stoppard’s modern masterpiece Rosencrantz and Guildenstern Are Dead, April 17 to May 9; Steel Magnolias, by Robert Harling, July 24-Aug. 16; and Cabaret, with a book by Joe Masteroff, based on the play by John Van Druten and stories by Christopher Isherwood, music by John Kander and lyrics by Fred Ebb, Sept. 4-27. Find more information on Gallery’s 2026 season here.  

Fishtrap and Missoula Children’s Theatre invite Wallowa County youth to audition for Alice in Wonderland.

Fishtrap, an organization that inspires writers of all ages, invites Wallowa County K-12 youth to audition for a role in an original production of Alice in Wonderland. No advance preparation is necessary for the audition, which will be on Monday, Sept. 22, at the Wallowa School Cafeteria from 4-6 p.m., followed by a rehearsal from 6:15-8:15 p.m .for several roles. Subsequent rehearsals will be Tuesday through Friday from 4-8:15 p.m. each day, with the performances taking place on Saturday, Sept. 27.

“This is a wonderful opportunity for students throughout Wallowa County to come together and enjoy a distilled, joyous week of theater,” said Jennifer Hobbs, Youth and Community Outreach Manager at Fishtrap. Two Missoula Children’s Theatre residents direct the play and work at the host school during the week. Last fall 38 students were cast in the show, and many more attended theater workshops and assemblies. Participation in the play is free for all K-12 students, including public, private, and homeschool learners.

A longstanding Wallowa County tradition, Missoula Children’s Theatre has been touring internationally for more than 40 years, with every residency including workshops and/or assemblies at the host school in addition to the play. This year’s local sponsors include Soroptimist International of Wallowa County and Nez Perce Wallowa Homeland.

Alice in Wonderland will be presented on Saturday, Sept. 27 at 2 p.m. and 4:30 p.m. at Wallowa School, 315 First Street in Wallowa. Admission: Adults $10, Seniors/Fishtrappers $8, Youth Ages 12-18 $5, Kids under 12 free. Tickets available online or at the door. For more information visit here or contact jennifer@fishtrap.org.

An Introduction to Playwriting: An Online Workshop with E.M. Lewis begins in October: Fishtrap is also presenting an introductory online playwriting workshop with prominent Oregon playwright E.M. Lewis. The course will be held on Mondays, Oct. 6, 13, 20, 27, 6-8 p.m. Registration is $240, or $215 for Fishtrappers. Find more information here.

CSz Portland moves to a new location in Northwest Portland.

After 29 years on Northwest Kearney Street, CSz Portland (aka ComedySportz Portland) has moved to a larger space with more room for performances and classes. The new location, 535 N.W. 16th Ave., is just a few blocks away from the company’s previous space.

CSz Portland was founded in early 1993 by Ruth Jenkins and Patrick Short and is now run by Rick Steadman, a 23+ year veteran of CSz Spokane, Los Angeles and Seattle. “I’m really pumped about how hard the team has rallied around Rick,” Short recently said on social media.

A $10,000 Kickstarter campaign helped cover moving expenses, and a stretch goal of $30,000 will be used to build a stage, add a wall to separate the lobby, and cover licensing for serving food and beverages. “We spent years – 32 – building a community around our organization, and we are gratified to see Rick carry it forward, support people and improve CSz Portland every day,” said Short.