Just as The Bard liberally borrowed from other sources, a bevy of fresh plays on Oregon stages have been inspired by his works. Opening on Nov. 1 at 21ten Theatre, Sue Mach’s Madonna of the Cat fills in the 16-year gap Shakespeare left open in The Winter’s Tale. Shake&Pop has a few more performances of  A Midsummer Night’s Dream, and you still have a chance to catch Artist Rep’s The Bed Trick, a comedy that questions the ethics of All’s Well That Ends Well.

Meanwhile, Lakewood Theatre is featuring a concert reading of The Boys from Syracuse, Rogers and Hart’s take on The Comedy of Errors; Speculative Drama is back with its one-hour Macbeth, Upon this Blasted Heath, for Halloween; and Red Octopus Theatre in Newport continues performances of Twelfth Night.

For those who prefer Bart Simpson to The Bard, Chapel Theatre is presenting Mr. Burns, A Post-Electric Play. Plus, Profile Theatre’s delicious production of Jen Silverman’s Witch continues through Nov. 2.

Learn more below about these shows and others, plus theater news from Fertile Ground and Shaking the Tree:

“Madonna of the Cat”: Gemma Whelan directs Sue Mach’s response to a “tyrant run amok.”

Gemma Whelan had just biked home from a rehearsal at 21ten Theatre and was a little breathless when she answered the phone the other day.

“I absolutely love it,” she says. “I’m not one of those big cyclist people. I use my bike to commute. I have no Velcro. I have none of that gear.”

What she does have is a love for creative challenges.

Besides being a novelist, a publisher, and the co-founder/former artistic director of Corrib Theatre, she’s directing the world premiere production of Sue Mach’s play Madonna of the Cat, which covers a lot of territory, both thematically and scenically, as it deals with female relationships in a patriarchal world, and alternates between the court in Sicilia and the pastoral Bohemia.

“It’s a good challenge,” says Whelan, although she admits that the process of mounting this play in 21ten’s tiny space is intense. “There are a lot of interesting and challenging props and design problems. Costume-wise as well – we’re covering 16 years.”

Those years are the gap between Acts III and IV of Shakespeare’s The Winter’s Tale. In that play, Leontes, king of Sicilia, suddenly gets a bee in his bonnet and falsely accuses his wife of infidelity with his best friend, Polixenes, the king of Bohemia. No matter that the condemned Hermione is a faithful partner and nine months pregnant with her husband’s child. Imprisoned, she gives birth to a daughter, Perdita, whom Leontes has ordered to be abandoned and left to die in Bohemia; and Hermione, we’re told, is dead as well.

That’s where Mach’s play comes in. Although Leontes has all the power – Whelan calls him “a tyrant run amok” – Mach focuses on female relationships – those between Hermione (Crystal Ann Muñoz) and Paulina (Maria Porter), a Sicilian woman who hides the queen, and between Perdita (Emma Greene) and the Bohemian shepherd’s wife, Donna (Luisa Sermol), a maternal character that Mach created.

To build the two worlds of the play, scenic designer Alex Meyer has created both the pastoral Bohemia and a little elevated room where Hermione is kept until it’s safe to reveal she’s still alive: “Madonna of the Cat definitely addresses the aspect of Hermione returning. I think in Winter’s Tale, it’s like [Leontes] sees she’s alive, and everything’s all great.” In contrast, Mach considers the way Hermione’s husband treated her and “what you do about that if everything is supposed to be restored.”

Under the dictatorial Leontes, people in Sicilia are in stasis and afraid to create – a situation that’s akin to our own times, says Whelan, as artists wonder how to resist when a president has attacked the arts by withdrawing National Endowment for the Arts funds and taking over the Kennedy Center. That’s  a move that’s from “the authoritarian playbook,” she says. “You take over all aspects of society. It’s an acknowledgement of how important the arts are.”

Whelan’s own artistry has taken her from her theater work, in which she started as an actor, to also writing and publishing two novels, Painting Through the Dark, and Fiona: Stolen Child, with more manuscripts in the works.

“In terms of similarities, [writing and theater] are all about story, building character, conflict,” she says. “There is a beginning, middle and end and then character development and motivations. It’s similar, and yet it’s so completely different.

“I’ve been a director for most of my career, and that’s very collaborative. I’m taking somebody else’s work and interpreting it and working sometimes with a playwright, as now, and collaborating with actors and designers. It’s very public, whereas the act of writing is very private. I like the balance, now that I’ve been writing quite a bit more in recent years.”

Continuing to create any type of art, says Whelan, is a radical act in a climate where rising fear can lead to self-censorship, and it’s also central to helping Mach’s characters. That’s a fitting development for a play that takes its name from Guilio Romano’s 16^th century painting “Madonna of the Cat,” a work that shines “many rays of light in this dark universe.”

Mach’s imagination beams its own brightness, especially when she turns Shakespeare’s bear (from the memorable stage direction, “Exit, pursued by a bear”) into a character portrayed by Mach’s husband, Bruce Burkhartsmeier. “The bear is a bear. He speaks. He speaks to us. He’s very funny. He’s a very sweet, loving bear.” He also looks after Perdita, which is in contrast to her father’s treatment. “There’s a lot of counterpoint in the play,” says Whelan. “There’s a lot of joy in the relationships.”

While the play is not a musical – Whelan stresses there are no musical “numbers” in Madonna – it does have its own original score by Stephanie Schneiderman, and as part of the story, it features movement.

And for those who’d like to savor Mach’s words after seeing the show, Whelan’s press Shangana is publishing it, with copies available to purchase at the performance. “I love this idea, because it happens in Ireland quite a bit – the Abbey Theatre does it – and very often you can buy the play there.”

Madonna, she emphasizes, is a stand-alone work that doesn’t require familiarity with The Winter’s Tale. “It’s not Shakespeare. It’s not written in Shakespearean language,” she says. “It’s Sue Mach. Everybody should be able to come and enjoy the play.”

Madonna of the Cat will be onstage at 21ten Theatre (2110 S.E. 10^th in Portland) Nov. 1-23, with pay-what-you-will previews on Oct. 30 and 31. Find schedules and tickets here.

Also opening

Cabaret at Pacific University, Oct. 23-26.

Guest artist Dan Murphy, managing director and co-founder of Broadway Rose Theatre Company, is directing this production of the award-winning Kander and Ebbs musical, which takes place in the Kit Kat Club, a Berlin nightclub, during the rise of fascism in 1930s Germany. The show is a collaboration between Pacific University’s theater and music departments. Recommended for ages 13+. Tickets are $8 for general admission and free for Pacific students.

The Boys From Syracuse at Lakewood Theatre Company, Oct. 24 & 25.

Based on Shakespeare’s The Comedy of Errors, this production of the 1938 Rogers and Hart musical is part of Lakewood’s 16^th season of its Lost Treasures Collection, a series of rarely performed musicals. The shows, staged in a concert/cabaret style, are presented script-in-hand, with minimal staging at the Side Door Stage, in the Community Meeting Room at Lakewood Center for the Arts, 368 S. State Street in Lake Oswego. Light food, snacks, and drinks are available for purchase before and during the show.

Evil Dead, the Musical, Albany Civic Theater, Oct. 24-Nov. 8.

This musical campy comedy based on Sam Raimi’s movie follows five college students on a weekend getaway to a remote cabin in the woods. When they accidentally unleash an evil force, they find themselves fighting for their lives against demons known as Deadites. “This is a reprise of last year’s production with a fresh new take and some new cast members,” says Johanna Spencer, the show’s director. “It’s perfect for both fans of the movies and musical lovers looking for a hilarious and bloody good time.” There will be a midnight showing on Halloween, with doors opening at 10:45 p.m. that night.

Broadway in Portland presents Shucked at Keller Auditorium, Oct. 28-Nov. 2.

A semi-neurotic New York comedy writer crosses paths with two music superstars from Nashville in this “corn-fed, corn-bred American musical,” with a book by Robert Horn (Tootsie) and a score by the Grammy–winning songwriting team of Brandy Clark and Shane McAnally. Directed by Jack O’Brien (Hairspray). Recommended for ages 10+, due to its adult themes, moments of adult language, and corny innuendo.

Scary Home Companion, a live 1940s-style radio show at the Victorian Belle Mansion, 7 p.m. Oct. 30.

The vintage horror-comedy experience returns, complete with live Foley sound effects, eerie music, and spine-tingling tales. Hosted by Screamvina and Mr. Satan, the show delivers the humor and camp of classic Halloween broadcasts with the promise of a distinctly Portland twist. This year’s performance features local celebrity guests Rebecca Vega and Jared Bradley, co-owners of Raven’s Manor and Black Cat Frozen Custard. Doors and dinner at 6 p.m.

Speculative Drama’s free one-hour Macbeth, Upon This Blasted Heath, Oct. 31 only.

Now in its fourth year, this immersive outdoor performance explores Shakespeare’s ghostly play, reliving the events leading up to his bloody reign through a series of vignettes that ask, “What makes a man a monster?” The audience is invited to meet at 5 p.m. at the oversized sidewalk chess set at the southeast corner of Director Park, 815 S.W. Park Ave. in downtown Portland, and follow the Three Weird Sisters to a nearby outdoor arena. Trick or Treat bags for adults are available before the show, which begins at 5:30 p.m.

The production is free, but all donations and tips are 100% tax-deductible and support the company’s goal to reflect the diversity of the communities it serves, showing fellow people of marginalized identities that they have a place in the classics.

All actors are fully vaccinated and tested day-of, and audience masks are heavily encouraged for the safety of the actors. Anyone wearing a mask will be treated to a special gift. Directed by Myrrh Larsen, with Nik Hoback as Macbeth, plus Isabella Buckner, Megan Skye Hale, Elizabeth Neal, Kate Belden, and Katie Mortemore

Continuing shows

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

One hotel suite, four tenors, two wives, three girlfriends, and a soccer stadium filled with screaming fans add up to a farce by award-winning playwright Ken Ludwig. In 1930s Paris, 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. 

Shake&Pop’s A Midsummer Night’s Dream at the Odd Fellows Lodge in Milwaukie, through Oct. 25.

This reimagined Midsummer keeps the poetry, comedy, and mischief of the original while inviting audiences into a world that’s inclusive and contemporary. According to Shake&Pop’s press, “the ‘cool auntie’ of Shakespeare’s plays just got a whole lot cooler.”

Rock of Ages at Stumptown Stages, through Oct. 26.

Big hair and big bands: What’s not to love? 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’s Winningstad Theatre at Antoinette Hatfield Hall, can be found here or by calling the box office at 800-915-4698.

Primary Trust, Portland Center Stage, through Oct. 26.

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 in Eboni Booth’s Pulitzer Prize-winning play. Darleen Ortega reviewed the show for ArtsWatch here.

The Bed Trick at Artists Repertory Theatre, through Oct. 26.

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 explores the complexities of sex, ethics, and Shakespeare. ArtsWatch reviewed the show here.

Design for Living, Imago Theatre, through Oct. 26.

Noel Coward’s polyamorous story involving a painter, a playwright, and the woman they both love was a hit in the U.S. when it opened on Broadway in 1933. As Imago’s press states, the farce is “more than a ménage à trois of brilliant banter” – it’s also “a celebration of embracing one’s true self, regardless of society’s conventions and sexual norms.” Directed by Jerry Mouawad, this production features actors K.J. Snyder, Joe Cullen, and Caitlin Rose in the roles originated by Coward and his friends, Alfred Lunt and Lynn Fontanne. ArtsWatch reviewed the show here.

Light Opera of Portland’s The Yeomen of the Guard, through Oct. 26.

To celebrate its 10th anniversary, Light Opera of Portland is performing one of Gilbert & Sullivan’s most acclaimed works, renowned for its compelling blend of drama, romance, and humor. Set in the Tower of London, the operetta weaves a tale of intrigue, love, and mistaken identities. The production features a cast of local performers, accompanied by a live orchestra, bringing to life the appealing melodies and witty dialogue that have entertained audiences since its first performance in London on October 3, 1888. ArtsWatch reviewed the show here.

Who’s Afraid of Virginia Woolf?, Gallery Theatre in McMinnville, through Oct. 26.

Edward Albee’s 1963 Tony award-winning play employs edgy banter with an undercurrent of tragedy. When long-married Martha and George host a young professor, Nick, and his naïve bride, Honey, for drinks, the night turns into a burn-down-the-house verbal brawl. Directed by David Bates. ArtsWatch previewed the show here.

The Halloween Ball, Northwest Children’s Theatre, through Oct. 26.

A costume parade, interactive storytime, dance party, and sing-a-long await young masqueraders at this annual event. Halloween treats will also be available to purchase. Saturdays and Sundays at 10 a.m., 12:30 p.m. & 3 p.m. Most enjoyed by ages 4 and up.

Paradise Blue, Portland Playhouse, through Nov. 2.

In this jazz-infused show of Black excellence, Blue (Mikell Sapp), a gifted trumpeter, struggles to keep his beloved jazz club alive in 1949. According to Darleen Ortega, who reviewed the play for ArtsWatch, this production is not to be missed.

Frankenstein, Experience Theatre Project, through Nov. 2.

The immersive production is a blend of Mary Shelley’s 19^th-century novel, German Expressionism, and the 1931 Boris Karloff film. ArtsWatch previewed the show here.

Ride the Cyclone, Twilight Theatre, through Nov. 2.

In this darkly comic musical, the lives of six teenagers from a Canadian chamber choir are cut short in a freak accident aboard a roller coaster. When they awake in limbo, a mechanical fortune teller invites each to tell a story to win a prize like no other – the chance to return to life. By Jacob Richmond & Brooke Maxwell and directed by Dorina Toner, with choreography by Alicia Turvin.

Witch, Profile Theatre, through Nov. 2.

Jen Silverman’s dark, delicious retelling of a Jacobean drama follows a charming devil who arrives in the quiet village of Edmonton and bargains for the souls of its residents in exchange for their darkest wishes. Directed by Josh Hecht. ArtsWatch previewed the show here.

Magnetic Electric at Fuse Theatre Ensemble, through Nov. 2.

Portland playwright Mikki Gillette’s first musical centers on a trans woman, Celine (Alexis Pilo), who owns a college bar where she performs her own music. The drama heats up when a romance with Rain (Cosmo Reynolds), a new adjunct professor, causes problems in Celine’s relationship with Cole (Michael Hammerstrom) … and when Archer (John Bruner), a white nationalist provocateur, targets her venue. Directed by Ruby Welch; ArtsWatch previewed the show here.

Rogue Theatre’s Waiting for Godot, through Nov. 2.

This production of Samuel Beckett’s classic play features actor Jonathan Haugen, who worked 17 seasons as a member of the Oregon Shakespeare Festival, and fellow OSF veterans Derrick Lee Weeden and Ray Porter. All performances are at 1 p.m. at Grizzly Peak Winery in Ashland.

Spark Plug Theatre, Dead Man’s Cell Phone, through Nov. 2.

An incessantly ringing cell phone in a quiet café. A stranger at the next table who has had enough. And a dead man – with a lot of loose ends. So begins Dead Man’s Cell Phone, a comedy by MacArthur “Genius” Grant recipient and Pulitzer Prize finalist Sarah Ruhl. A work about how we memorialize the dead – and how that remembering changes us – it is the odyssey of a woman forced to confront her own assumptions about morality, redemption, and the need to connect in a technologically obsessed world.

Twelfth Night, Red Octopus Theatre in Newport, through Nov. 2.

Stranded on the coast of Illyria, the quick-witted Viola assumes the disguise of a page boy for Duke Orsino and finds herself at the center of a love triangle in which identity, passion, and gender all threaten to come undone in one of Shakespeare’s most popular plays. Directed by Milo Graamans.

Honk Jr. the Musical, HART Theatre in Hillsboro, through Nov. 2.

This youth production for all ages is based on Hans Christian Andersen’s The Ugly Duckling. Two Mallard parents, Drake and Ida, hatch a chick who looks nothing like his siblings and who makes a strange “honk” sound instead of the expected quack. Book and lyrics by Anthony Drewe, with music by George Stiles. Directed by Don Cleland.

Dancing on the Sabbath, Shaking the Tree Theatre, through Nov. 8.

In this intriguing take on the Grimm Brothers’ The Twelve Dancing Princesses, the most incorrigible, unruly princesses are sent to the Center of Compliance to master the art of obedience. Of the king’s twelve daughters, five have been declared unmarriageable and must be retrained to become “proper” wives. But something is amiss at the Center, and even under lock and key, the princesses are up to no good. “In our piece, dancing is used as a potent metaphor for the many aspects of life, particularly for women, that they may feel compelled to keep hidden or pursue secretly,” says Shaking the Tree’s press. Directed by Samantha Van Der Merwe, with choreography by Laura Cannon and featuring Sammy Rat Rios, Joellen Sweeney, Olivia Mathews, Kailey Rhodes, and Kayla Hanson as the princesses.

Alebrijes — A Día de Muertos Tale, Milagro Theatre, through Nov. 9.

This comedy about the life and almost death of Pedro Linares, original creator of alebrijes (fantastical folk-art sculptures), reveals art’s capacity to transcend mortality. Audiences will follow Pedro on his nostalgic visit to Mexico City in 1936, discover his special relationship to his animal totems, and join him in his journey through a psychedelic Oaxacan underworld. Written by Beorgina Escobar and directed by Juliana Morales Carreño. Recommended for Ages 12+.

Once, Greenhouse Cabaret in Bend, through Nov.15.

Based on the film of the same name, this musical weaves the ethereal music of Glen Hansard and Marketa Irglova into a tapestry of love and longing, as a chance encounter between an Irish musician and a Czech immigrant turns into a meaningful connection. Los Angeles actor Will Graziano leads the mostly Central Oregon cast, including singer/songwriter Beverly Anderson.

Coming in early November

Recent Tragic Events, at Third Rail Repertory, Nov. 7-23.

In 2005, the newly minted Third Rail produced this bold show written by Craig Wright. Now the company is kicking off its 20th anniversary season with the play that started it all, reimagined and directed by founding artistic director Scott Yarbrough. It’s September 12, 2001. In a Minneapolis apartment, four people fumble their way through blind dates, pizza orders, and drinking games as they push forward with life even as the world is left grappling with the unbelievable events of the day before. As the evening progresses, a series of comic and uncanny coincidences lead the group to ask if we’re in control of our actions, or whether we are mere puppets espousing freedom? The cast includes company member Rolland Walsh (superb last year in Infinite Life), Third Rail mentorship alums Emily Eisele and Rose Proctor, returning guest artist Benjamin Tissel, and founding company member Stephanie Gaslin.

Miracle on 34th Street at Lakewood Theatre Company, Nov. 7-Dec. 14.

Kris Kringle, an older man living in a retirement home, takes a job as Macy’s Santa and spreads goodwill by sending parents to other stores to find the right toys for their kids. Viewed as delusional by Macy’s vocational counselor, Kris finds himself in a court competency hearing, and one girl’s belief in Santa is at risk. Karlyn Love directs Mountain Community Theater’s adaptation of the novella by Valentine Davies, who also wrote the story for the 1947 film.

Mt. Hood Repertory Theatre’s True West at Wyrd Hut, Nov. 7-30.

For the first time in more than 10 years, Mt. Hood Repertory Theatre is offering three shows for the 2025/2026 season. First up is True West, by Sam Shepard, a play about a screenwriter and his bullying big brother. “I wanted to write a play about double nature, one that wouldn’t be symbolic or metaphorical or any of that stuff,” Shepard said in a 1980 interview with The New York Times. “I just wanted to give a taste of what it feels like to be two-sided. It’s a real thing, double nature. I think we’re split in a much more devastating way than psychology can ever reveal. It’s not so cute. Not some little thing we can get over. It’s something we’ve got to live with.” Directed by Chris Patton, the show will be onstage at Wyrd Hut, 4704 S.E. 65^th Ave. in Portland.

Rhythm & Autism, at Walters Cultural Arts Center, Nov. 7 only.

Andee Joyce unites music, humor, and spoken word to tell her tale of growing up autistic amid the pop culture of the 1960s and 1970s. This sensory-friendly solo show returns with some fresh new features, including live accompaniment by Ray Maras, guitarist Rob Cork, and Charlie Mitchell on the keytar. As a recipient of a City of Hillsboro Performance Series Grant, this 7:30 performance directly supports Andee Joyce, with a portion of the proceeds benefiting Influence Music Hall/Tualatin Valley Artists.

Mr. Burns: A Post-Electric Play at Chapel Theatre, Nov. 7-22.

Anne Washburn’s imaginative dark comedy – a play with music featuring songs by Washburn and Michael Friedman – takes place nearly 100 years in the future. After the collapse of civilization, a group of survivors share a campfire and begin to piece together the plot of The Simpsons episode Cape Feare entirely from memory. Seven years later, this and other snippets of pop culture (sitcom plots, commercials, jingles and pop songs) have become the live entertainment of a post-apocalyptic society sincerely trying to hold onto its past. Seventy-five years later, these are the myths and legends from which new forms of performance are created.

A paean to live theater, and the resilience of Bart Simpson, Mr. Burns explores how the pop culture of one era might evolve into the mythology of another. Directed by Illya deTorres, with choreography by Corinn deTorres, and music direction by James Liptak. The cast includes Bonnie Auguston, Cristian Villaquiran, Illya deTorres, Jessica Curtiss, Magnolia Brown, Matt Sunderland and Mishelle Apalategui. Onstage at Chapel Theatre, 4107 S.E. Harrison St. in Milwaukie.

Theater news

Fertile Ground offers two new venue partners for the 2026 festival.

As reported by ArtsWatch last month, applications for the Partner Venue Lottery for Fertile Ground producers are open through October 27, 2025.

Portland State University’s Boiler Room Theatre and The House Studio, a newer, immigrant-operated venue in Beaverton, will be joining 21ten Theatre and The Back Door Theatre as partner venues, creating more opportunities for independent artists to share their new works at the 2026 festival.

Launched for the 2025 festival, the Partner Venue Program was designed both to reduce the challenge of producing live performance and to strengthen connections between artists and Portland’s small performance spaces. The festival rents each participating venue for multiple weeks and subleases it to festival producers through a lottery system, ensuring equitable access for local creators.

“Finding an affordable, appropriate venue is a huge challenge for producers –  it’s the first hurdle to producing, and it impacts every aspect of the work,” says festival director Tamara Carroll, who developed the program. “The audience’s experience begins the moment they walk into the lobby. The space shapes the creative possibilities, the technical potential, and the overall perception of the event. These great spaces exist, managed by wonderful community-oriented companies, and we want to bring new artists and new audiences into them. Our theatrical venues are precious resources to our communities, and we need to safeguard them.”

Carroll emphasizes that these partnerships are about collaboration, not just logistics. “The companies that run these spaces want to host more events during Fertile Ground; they just don’t have the administrative capacity to manage that many projects while producing their own shows. This program helps bridge that gap.”

Last year’s partner venues (CoHo Theatre, 21ten Theatre, and The Back Door Theatre) collectively hosted nearly 100 performances of 29 projects during the 2025 festival. Building on that success, the festival is expanding its reach in 2026 with the addition of its two new partners.

Fertile Ground is open to any local artists developing original work. Its 2026 festival will run April 10-26. For details on registration or venue applications, visit here.

About the Partner Venues

21ten Theatre – A rectangular black box theater in Southeast Portland known for its intimate scale and versatility. The space is ideal for solo performances, small ensembles, and staged readings with minimal technical needs, offering artists a focused, audience-forward environment for experimentation.

The Back Door Theatre –  A cozy black box tucked behind the Common Grounds Coffee Shop, The Back Door features nontraditional seating (including couches and café tables) that invite audiences into a relaxed, immersive experience. With LED lighting and projection capability, it’s a favorite for readings, workshops, and small-scale original productions.

The Boiler Room Theatre (Portland State University) – A 67-seat black box theater housed in PSU’s Lincoln Hall and operated by the University’s Theatre Program. Through the festival partnership, PSU students will gain hands-on production experience as festival interns and technicians, and participate in events designed to connect them with Portland’s professional theatre community.

The House Studio (Fool House Art Collective) – Located in Beaverton, The House Studio is operated by Fool House Art Collective, a group of artists with ties to Eastern Europe and Central Asia. The collective’s mission is to serve as a community arts hub for Beaverton’s diverse population, creating accessible space for multicultural storytelling and cross-disciplinary collaboration. Equipped with professional lighting, sound, and projection systems, the venue embodies Fertile Ground’s goal of connecting artists and audiences across cultures.

Shaking the Tree Theatre names Dani Baldwin as its education director.

Shaking the Tree Theatre, the innovative Southeast Portland company, recently announced that Dani Baldwin will be its education director, in charge of building a teen education program. Classes will go on sale November 1st, and start in the new year.

Baldwin is a theater artist and educator who was the former artistic director of the Young Professionals Company at Oregon Children’s Theatre. She’s also an award-winning director. Among her credits are productions of A Year with Frog and Toad, The K of D, and Pestilence: Wow! Onstage, she’s performed with Love Street Playhouse, Milagro Theatre, and others. She’s also experienced in film and voiceover work, choreography, costume and prop design. 

“I’m beyond excited about starting a theatre program for teens at Shaking the Tree Theatre,” Baldwin said in a press release. “STT’s bold, innovative, and creative approach to making art is the perfect space for youth to explore their place in the arts. Through classes and workshops, we’ll provide a supportive and fun environment to expand individual skills and build a theatrical community.”