For Bag&Baggage’s innovative production of The Glass Menagerie, actor Taya Dixon finds strength in the typically sad and fragile Laura.

Taya Dixon, who portrays Laura in Bag&Baggage’s upcoming production of The Glass Menagerie, sees more than sadness in Tennessee Williams’ 1945 classic work.

Directed by Nik Whitcomb, who was eager to add new layers to the play without making big changes to the script, the production portrays a family that fights a lot but also feels genuine affection for each other. As Dixon said over Zoom last week, “We’ve tried really hard to bake a lot of love into it.”

Laura is a version of Williams’ own schizophrenic sister, Rose, who was lobotomized less than two years before The Glass Menagerie became a Broadway success. In his notes for the play, he wrote that Laura ”is like a piece of her own glass collection, too exquisitely fragile to move from the shelf.” Because of a childhood illness, she walks with a limp, and she’s terrified of new people and new experiences, yet lives with a mother, who expects her to be a Southern belle, entertaining a string of “gentlemen callers.”

Together, Whitcomb and Dixon talked about how she might use her own life experience to look at Laura in a new light and add depth to her character.

“The number one thing for me when I was cast is that I am a person who is plus-sized, and I’m also Indigenous, and those are things that I walk around with in my physical body no matter what character I play. And so bringing that to Laura – who is talked about in the play a lot as being fragile, talked about like she can’t make friends, she can’t make connections with people, there’s a lot of anxiety in her – there are things I was able to connect those to, being me, that are a little bit different than how a lot of people interpret Laura.”

Samuel Campbell, who plays Laura’s brother, Tom, is also Indigenous, giving the two actors some common ground on which to create their characters. While Dixon says the production isn’t specifically “Indigenified,” the actors were able to reflect on what it means for Laura and Tom to have an Indigenous father who left the family and a white mother, Amanda (Kymberli Colbourne), who causes contention by constantly pressing her ideas about what’s socially acceptable on her children.

“We talk about the father the whole play, about how he was here, and he was a man who ran away from our family, and he’s no longer around. When building Laura, [I] attached to that being part of the reason – coupled with the physical stuff she has going on – why she has anxiety or why she doesn’t want to meet new people. I think she has a fear that people are always trying to leave. She misses her dad. She loved her dad.”

The fact that B&B has moved the play to 1950s New York (Williams set it in Depression-era St. Louis) gives another subtext to this production. “I think it adds an element to the script – my mom trying to make me married or trying to make my life better. The pressures of that are amplified for Laura because we have talked about what it would feel like to be a kid that is mixed in that timeline.” For Tom, too, the 1950s setting creates a chance to explore his implicit queerness at a time when the U.S. was on the brink of the sexual revolution.

“[Laura]’s not a 1950s poster woman. She doesn’t look that way. She doesn’t feel that way. But that’s the ideal: You should be that, you should want that, and if you can’t be that, you need to become a wife and you need to run a household, because that’s the role you play.”

In this sense and others, Dixon says Laura’s anxiety hasn’t been hard to tap into. “The world is not kind to people with bodies like mine,” she says, pointing out that Laura is visibly different because of her disability, and that affects the way people treat her.

“I don’t feel that way as a plus-sized person, but there’s still a social element and how people react to, talk about, and talk to other-bodied individuals.”

Although Laura is seen as fragile, Dixon appreciates Laura’s strength, which comes out in her interactions with her family.

“One thing we’ve done in this show that I really like is there’s lots of caretaking that Laura gets to do for her mom, so I think we’ve given her a sense of agency,” Dixon says. “She’s trying to take care of her family as best she can while still being scared and not having good social prowess. She’s still really goofy with her family and is really comfortable with her family, which I really like. We found lots of warmth and love amongst us, even though there’s lots of fighting in the play.”

Dixon, who has a loving relationship with her own three siblings, also feels especially close to Campbell, who was in her BFA program at Southern Oregon University, along with Carlos-Zenen Trujillo, the dramaturg for this production. “I know Sam very well, and there’s lots of play that we are able to do [with the] sibling dynamic that reminds me of me and my brother.” That comes across onstage, she says, with Tom and Laura’s obvious warmth for each other … and in the choice looks they shoot each other when one of them starts to stir up their excitable mother.

“As an actor, sometimes it’s hard in plays like this to develop a family connection that feels real or authentic because you don’t know the person well,” says Dixon, who also already knew and loved Colbourne. “There’s been a natural warmth in the room that has made becoming a family super easy.”

“Almost every day [Sam and I] look at each other like, ‘I’m so happy I get to do this with you. This is so fun!’”

Aside from the joy of working together, the beauty of Williams’ writing also saves The Glass Menagerie from dreariness for Dixon. Her favorite line in the play is when Tom talks about “brief, deceptive rainbows.”

“I just love that. Again, somber in essence. But it’s true: Life is hard and things don’t go our way a lot. But there are pockets and moments that are so beautiful and so wonderful that those are the things we reach to…. That’s so sad and so beautiful.”

The Glass Menagerie will be onstage at Bag&Baggage’s Vault Theater, 350 E. Main St. in Hillsboro, Sept. 5-21, with a preview on Sept. 4. Find tickets and schedules here.

Speculative Drama stages an immersive Pericles in the PCS Armory lobby, Sept. 5-21.

Celebrating 10 years of presenting immersive shows, Portland’s Speculative Drama is headed for high seas adventure with its production of Shakespeare’s Pericles at Portland Center Stage’s Armory lobby. Pericles is a prince who risks his life to win a certain princess, only to find she’s “in a relationship” with her own father. The subsequent story is packed with everything from starvation and a storm to a banquet and a brothel.

There’s been debate on whether Pericles was solely written by Shakespeare, but the play has much in common with his other late romances – Cymbeline, The Winter’s Tale and The Tempest – which also feature epic stories and fantastic reunions. “A special appeal of these dramas,” wrote Shakespearean scholar Russ MacDonald, “is their willingness to grant the impossible, to offer second chances.”

The play is considered to be a tough one to stage – especially because it has a narrator, the medieval poet John Gower, who comes back from the grave to deliver his comments in archaic English. The scrappy Speculative Drama, though, is not a company that balks at a challenge. Earlier this year it presented Bitter Herb (ArtsWatch previewed it here), an immersive version of the Rapunzel story, in Multnomah County’s Central Library, and in 2024 it put on Twelfth Night in the midst of the dimly lit clamor of the Southeast Portland dive bar Angelo’s.

To bring Pericles to life, co-directors Myrrh Larsen and Megan Skye Hale and their cast, which features Eric Island in the title role, will make the most of the high ceiling and balconies of the PCS Armory’s two-story lobby, an expansive space where audience members are encouraged to roam and follow the action. The production will also feature stylized puppetry and paper-craft props, and what they call “the absurdism of British humorist skits, and the visual style of ’80s and ’90s adventure films.”

Along the way, the production also promises to take a surrealist look at class dynamics, asking if it’s even possible to be both a good king and a good man. This enthusiasm for serious reflection blended with joyful and innovative craft are hallmarks of Speculative Drama’s method and one that makes a winning combination.

Pericles will be performed at the Portland Center Stage Armory Lobby, 128 N.W. 11th Ave., Sept. 5-21, Friday and Saturdays at 7:30 p.m., Sundays 5:30 p.m. Masks are heavily encouraged, and N95 masks will be available at the door. Find tickets and schedules here.

Also opening

Broadway in Portland presents Some Like It Hot at Keller Auditorium, Sept. 2-7.

Based on Billy Wilder’s 1959 movie starring Jack Lemmon, Tony Curtis and Marilyn Monroe, the Tony-award-winning musical Some Like It Hot will open Broadway in Portland’s 2025–2026 season. Called “a super-sized all out song-and-dance spectacular” by The New York Times, the cast features Broadway actor Bryan Thomas Hunt, who grew up in Portland. ArtsWatcher Jason Vondersmith previewed the show for ArtsWatch here.

The Cake at triangle productions!, Sept. 4-20.

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 Lyd Flem and Setaria DePue as the young couple.

Dial M for Murder at Clackamas Repertory Theatre, Sept. 5-28, previews Sept. 4.

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.

Worry Dolls at Teatro Milagro, Sept. 5-21, previews Sept. 4.

Maya Malan-Gonzalez’s post-pandemic play is about two middle-school girls who are dealing with mental health issues. Dr. Eleanor Gil-Kashiwabara will co-moderate a post-show conversation with the audience after the 2 p.m. Sunday, Sept. 14 performance, alongside Multnomah County Health Education Curriculum Specialist Molly Franks.

Portland Queer Arts Spectacular, Alberta Rose Theatre, Sept. 6, 7 p.m.

“Do You See Me?” is the theme for the 2^nd Queer Arts Spectacular, a multidisciplinary performance presented by Portland Queer Arts Foundation, which aims to uplift and celebrate Portland’s queer artists, advocates, and allies. This year’s guest artistic director is acclaimed choreographer and performer Franco Nieto (he/him), a Princess Grace Award-winner and founder of Open Space Dance. Liberace impersonator David Saffert will serve as the master of ceremonies for the evening, which promises to feature original dance, drag, music, spoken word, and visual arts. Find tickets and more information here.

Dracula at Lakewood Theatre Company, Sept. 12-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.

Opening later this month

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

One of the longest-running and  most attended Broadway tours in history is coming back in Portland. The Broadway score features Elton John and Tim Rice’s songs from the animated film, along with three new songs by John and Rice; additional musical material by South African Lebo M, Mark Mancina, Jay Rifkin, Julie Taymor and Hans Zimmer; and music from “Rhythm of the Pride Lands,” an album inspired by the original music in the film, written by Lebo M, Mark Mancina and Hans Zimmer. 

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 the Office of Arts & Culture and will take place at 7:30 p.m. Sept. 18-19 at PSU’s Lincoln Performance Hall – in the Boiler Room Studio Theater, 1620 S.W. Park Ave., Portland.

The Saloon Ensemble’s live J.A.W.Z. THE MUSICAL – IN 3D, Sept. 19-28.

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

Paradise Blue at Portland Playhouse Sept. 27–Nov. 2, previews begin Sept. 24.

This jazz-infused portrait of Black resilience and survival in 1949 Detroit was written by Dominique Morisseau and is directed by Lou Bellamy. The show is a co-production with Penumbra Theatre of Saint Paul, Minnesota.

Continuing shows

Hairspray at Pentacle Theatre in Salem, through Sept. 6.

In 1962 Baltimore, Tracy Turnblad’s big dream is to dance on the popular Corny Collins Show. Will she dethrone the reigning Teen Queen, win the affections of heartthrob Link Larkin, and integrate a TV network?

I’m Gonna Pray For You So Hard, at Twilight Theater through Sept. 14.

Halley Feiffer’s play revolves around Ella, a fiercely competitive actress who has one goal in life: to make her famous playwright father, David, proud. Over drinks, the two start talking about whether to read the reviews of her Off-Broadway debut … and things get more intense from there. The cast includes Doug Sellers and Jessicah Neufeld. Directed by Samm Hill.

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, when someone offers to buy the farm, the siblings are forced to face their past. ArtsWatcher Bobby Bermea interviewed 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 was by Douglas Carter Beane, with music and lyrics by Jeff Lynne and John Farrar.

Theater News

Oregon Children’s Theatre pauses programming.

Oregon Children’s Theatre (OCT) paused all programming on September 1, due to the financial troubles that ArtsWatch reported on last spring. “While this means we will not be producing shows or hosting classes this fall,” a recent press release stated, “we are thoughtfully working behind-the-scenes, envisioning a new community-centered, inclusive, and financially-sound pathway forward in service to the children, youth, and families in Oregon and Southwest Washington.”

This month, the staff and board of directors will analyze data, review survey responses and plan the steps it needs to take in order to reopen. The organization wants to bring back all programming as soon as it’s financially feasible, with hopes of relaunching its youth-oriented education programs in 2026.

To help with this process, OCT is looking for individuals to join small-group advisory committees that focus on specific needs, and is also seeking new board members. Anyone who’s interested can reach out to board president Katie Slavin at board@octc.org.

So far, OCT has raised more than $415,000 toward the $1 million fundraising goal it needs to keep going. Contributions can be made here.

Imago Theatre plans for a new season.

Imago’s new season includes a couple of plays for adults, along with the family holiday favorite ZooZoo. This fall, the innovative company will present Noël Coward’s risqué drawing room comedy Design for Living. The play, which was made into a film by Ernst Lubitsch, will run Oct. 10-26. Next up, everyone’s favorite masked and miming menagerie, ZooZoo, will return with performances geared for ages 4+ Dec. 19-Jan. 4. Then Sam Shepard’s thriller about a psychic who has to predict derby winners for his kidnappers, Geography of a Horse Dreamer, will be onstage Feb. 13-March 1. Rounding out the season will be absurdist playwright Carol Tripple’s Nice People May 1 to May 16. Find tickets and schedules here.

Be a cow: Donors have a chance to portray the Brown Cow in OSF’s ‘Into the Woods.’

The non-speaking role of the Brown Cow is up for grabs in Oregon Shakespeare Festival’s production of Into the Woods, which will be onstage at the outdoor Allen Elizabethan Theatre through Oct. 11. Those who donate $1,500 are invited to make an appearance onstage along with the Baker, his Wife, and the Witch, promising a unique way to experience this classic Stephen Sondheim play. For more information, email development@osfashland.org or call 541-488-3880.

Submit scripts to the Ashland New Plays Festival beginning Sept. 3.

This year’s Ashland New Plays Festival is coming in October. In the meantime, ANPF will open script submissions from new and established playwrights for its 2026 Fall Festival on Sept. 3, 2025.

ANPF’s annual Fall Festival is a weeklong celebration of the four winning plays selected from these submissions, which are received from playwrights all over the world. A team of around 70 volunteer readers review 350 submissions over the course of six months. The scripts are assessed and scored until a group of finalists is sent to ANPF’s artistic director, Jackie Apodaca, who chooses the winners. The playwrights of the featured plays are then brought to Ashland for the festival, which includes a week of script-focused collaboration among the winning playwrights, professional actors, and directors. The festival culminates in two readings of each play for Ashland audiences, followed by audience talkbacks.

The winning playwrights each receive a $1,500 honorarium, airfare, and local accommodations. ANPF accepts previously unproduced scripts only and is looking for plays that are full-length drama or comedy, intermission preferred. Submissions close once 350 scripts are received, or on December 1, 2025, whichever comes first. There is a $20 submission fee.

ANPF’s 2026 Fall Festival will take place Oct. 12–18, 2026. Find submission requirements here.

Salem’s Pentacle Theatre announces its new season.

“Our 2026 season has it all — laugh-out-loud comedy, edge-of-your-seat thrills, daring adventures, heartfelt journeys, and the origins of a holiday classic,” says Pentacle Theatre’s executive director Steven Trahan. The coming season includes: You Can’t Take It With You, a timeless American comedy, Jan. 30-Feb. 21; Something Rotten!, a Shakespeare/musical theater mashup that follows two brothers in 1595 as they set out to write the world’s very first musical, March 20-April 11; The Lost Virginity Tour, a road-trip play by Bend playwright Cricket Daniel, May 8-30; Rumors, Neil Simon’s farce about a dinner party gone wrong, June 26-July 18; Catch Me If You Can, a musical based on the true story of con artist Frank Abagnale Jr., Aug. 14-Sept. 5; Angel Street (Gaslight), a thriller about a woman who slowly questions her reality. Oct. 2-24; and Charles Dickens Writes A Christmas Carol, a family-friendly show that delves into the creation of the timeless tale of Ebenezer Scrooge, Nov. 20-Dec. 12.