ONE OF THE PLEASURES of theater is exploring the how as well as the what. As in, how can artists find new ways to express an idea or feeling?

That’s a question Portland Experimental Theatre Ensemble (PETE) is asking again with Another Dialogue, a play it calls “an experiment in form and process.” Last December the company performed the show, directed by Jacob Coleman, for one night at Now Serving, a warehouse space with room for events, as well as two pickleball courts, in Southeast Portland.

This time around, the production, which includes layers of music in conversation with a dialogue between two friends, will be onstage at PICA for one weekend, April 25-27.

Music is also key in Elliot Lorenc’s new play, The Ballad of Iron Jo. Making its world premiere at Bag&Baggage Productions on April 25, the show’s four songs entertain while also emphasizing the importance of community.

ArtsWatch talked with both Lorenc and Coleman, one of the founding members of PETE, about how they developed their new productions. 

Music changes the meaning of a looping conversation in PETE’s ‘Another Dialogue.’

What tangled personal histories lie beneath our everyday actions and conversations?

That’s a question Jacob Coleman, director of PETE’s Another Dialogue, wanted to explore with the show, which will be onstage at PICA, the Portland Institute for Contemporary Art.

“To me, one of the interests of the piece is we go about our day, we talk to each other, we make dinner, we go grocery shopping. We do all the sort of everyday things just to get by,” Coleman said in a phone interview.

“There’s an underneath part of that. There are things happening in our psyches and in our souls – the bigger undercurrents of our lives. These are the things that only happen in the quiet insides of ourselves that are based on our personal histories or traumas. They’re always there, right? They’re sort of the undercurrent of our experience of life. So the challenge is how to show that.”

For PETE, the answer is to combine a looping 10-minute conversation between two women (Rebecca Lingafelter and Amber Whitehall) with music by Mark Valadez and Elsa Dougherty, who perform off to the side, creating another layer of conversation with the dialogue itself.

At first the play feels fairly naturalistic: There’s some tension between the women, but there’s also affection. “It’s not high drama,” Coleman said.

That perception, though, shifts as the conversation loops seven times. As it repeats, the music changes, allowing the audience to feel or notice something different with each round of dialogue.

As Coleman said, this play between the music and the action onstage reveals what’s going on beneath the surface, showing “the parts of ourselves that aren’t little talking heads moving around through our lives.” For instance, there’s a moment when the music rises in intensity, which matches what’s happening in the conversation. The dialogue, though, moves forward, while the music stays in that emotional space.

“It reminds me of the way something can happen in your family or your life that completely changes the texture of your experience for days or weeks or months, but you go along,” Coleman said. “Something has fundamentally shifted ,and that’s not necessarily obvious as you move through the world.”

After the one-night-only performance of Another Dialogue in December, audience members said the play made them think about the patterns in our relationships and the ways we try to break those patterns, even when it feels impossible.

For Coleman, the play’s repetition emphasizes this: “It has a quality of, ‘Are these people locked into this thing?’ Sometimes you’re in a relationship with people in your life, and you’re both looking at each other and both thinking, ‘We’re trying to change this,’ and neither one of you can. What a strange kind of thing that is. It has a feeling of deep mystery to it, of ‘How did this come to be?’”

To develop the show, Coleman started talking with musicians Mark Valadez, one of the company’s associate artists, and Elsa Dougherty, who was the vocal director of PETE’s Cardiac Organ: A Goth Cabaret, about how they might use music with a repeating scene.  

“At that point, we needed a smart playwright to come and think about this with us. So we brought Chris [Gonzalez] in after the initial few days of playing with these ideas, and, as is his way, he really got it.”

Having worked with fellow PETE members for a long time, Coleman said this iterative process has become second nature to the company. “I’m particularly grateful to know someone like Chris. My sense is, the education of the young American playwright is not particularly well-suited to collaborate and write in this way.”

For the April performances at PICA, the stage will be set in a big warehouse area, with the audience sitting in an intimate space around a simple mat surrounded by a circle of lights that echoes the repetition in the play.  

With this easily portable set, PETE wants to take the show around Portland, with a possible outdoor pop-up performance during the summer. 

“Just like the way the music slightly recontextualizes each round, the hope is the different spaces we bring it to will also slightly recontextualize the whole experience,” Coleman said. “At least for some people, coming back to see it again in a new place will prove to be an interesting way of interacting with the piece.”

Another Dialogue will be onstage at PICA, 15 N.E. Hancock St., April 25-27. Find ticket and schedule information here.

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The Ballad of Iron Jo: A Grimm-inspired musical for all ages at Bag&Baggage.

Elliot Lorenc’s new musical The Ballad of Iron Jo may feature a talking goose puppet as well as a talking tree stump, but Lorenc always knew they were creating a play that isn’t exclusively for children.

Inspired by Iron John and other Grimm Brothers tales, Iron Jo, which is having its world premiere at Bag&Baggage Productions this month and is directed by resident artist Mandana Khoshnevisan, features a magic golden ball, a trip into an enchanted forest, and a strange creature.

“I’m particularly attracted to retellings of folktales and finding what is still relevant, still useful, and what can be adapted to our modern circumstances,” Lorenc said in a phone interview.

When Lorenc began working on the script, they wanted to push back on the late poet Robert Bly’s probing of Iron John, which he wrote about in his 1990 bestselling book, Iron John: A Book About Men. Bly was a major leader in the late 20^th century men’s movement, which was a call for males to bond and deal with their identities in a world where women were refusing to be shackled to their old subservient roles at home. In an interview with PBS for the 1998 program No Safe Place: Violence Against Women, Bly said his book, which was seen by many as an attack on feminism, was a call for father figures to help show younger men “how to go into a gentle and responsible masculinity.”

When reading Bly’s work, Lorenc felt conflicted. “There’s a lot of that book that’s of its time,” he said. “A lot of it felt very dated, and the sort of jumping-off point from that book to the show was specifically about gender. I wanted to tear apart the idea of gender that Iron John had been tied with.”

Along these lines, Lorenc used nongender pronouns for the characters in Iron Jo, which they started writing before the pandemic hit. Then, with the rise of social unrest in the U.S. in 2020, Lorenc’s play began to encompass other themes as well, including community, labor rights, and the environment.

In Iron John, a young prince must wander through a forest to learn about the world. Like the original, Lorenc’s tale features a forest. Near this one, though, is the skyscraping headquarters of a mega company that’s polluting a pond, and the characters, much like Americans today, must band together to find a way to right grievous wrongs.

Iron Jo may spark discussion, but it’s also an entertaining one-hour musical. “In writing the show it was my first and most driving desire not to make social commentary or make social critique. It was first and foremost just to tell a good story,” Lorenc said. “If you approach a work of art, and your primary objective is to change someone’s mind about something or deliver some kind of message, one, that can kind of seem like you’re talking down to the audience, telling them what to believe, and two, the line between art and propaganda becomes extremely thin.”

Instead, Iron Jo promises a good time, with fantastical puppets that emphasize the magic of community and music.

Lorenc, who is also performing in the production, led Iron Jo workshops with students of both Northwest Children’s Theatre, which helped produce the show, and Oregon Children’s Theatre. Afterwards, the kids were asked who the show was for. To Lorenc’s delight, the response was often “Everyone.”

“The Ballad of Iron Jo” will be at Bag&Baggage April 25-May 11. Tickets and schedules here.

Also opening

The Storyteller at Artists Repertory Theatre, April 26-May 18.

Portland writer Sara Jean Accuardi’s new play was inspired by Shakespeare’s The Tempest and Prospero’s misguided attempts to protect his daughter. The production, which is a world premiere, follows 17-year-old Randy, who lives off-grid with her dad in an old houseboat along the Columbia River. Whenever she asks him where she came from or what happened to her mother, he responds with a tale of mermaids and stars. Exploring the magic and danger of stories, the play was the winner of the Oregon Book Award for drama, the International Thomas Wolfe Playwriting Competition, and a finalist for the O’Neill Center’s National Playwrights Conference. Directed by Luan Schooler. Previews begin April 22.

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Beirut Wedding’s Push: Black Mamas Changing the Culture of Birth at CoHo Productions, April 25-27.

This new play written by Dr. Roberta Hunte and Bobby Bermea is devised from the narratives and expertise of Black doulas, public health workers, midwives, birthin g people, researchers, and home visitors. Addressing the critical challenges faced by Black women and birthing people in the U.S., the show also highlights the humanity, joy, and possibilities for change that happen every day. According to its press, “Push is an invitation to come laugh, shed a tear, and open your heart to the beautiful storytelling of mamas changing the culture of birth.” Jamie Rea and Bobby Bermea direct a rotating company of actors to create a new experience with each performance.

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The Brothers Size at Portland Center Stage, April 25-May 18.

Written by Tarell Alvin McCraney, one of the Oscar-winning writers of the film Moonlight, The Brothers Size features the steadfast Ogun Size as he fights to connect with Oshoosi, his aimless younger brother, who has recently been released from prison. The Guardian, which called a 2018 London production of the Louisiana Bayou story a “magical and bracing portrait of southern masculinity,” also wrote, “McCraney’s 90-minute script for his story, part-parable, about reunion and separation, fizzes and snaps. As the actors announce their own stage directions and occasionally break into song, the language treads the lines between poetry and prose, comedy and drama.” PCS’s production is directed and choreographed by Chip Miller. Previews began April 20.

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Boeing Boeing at Experience Theatre Project, April 25-May 25.

Aloha’s immersive theater company lands in a Paris apartment for its production of Boeing Boeing, a 1960 farce written by Marc Camoletti. Here, the playboy architect Bernard lives with three fiancées, flight attendants whose work keeps them from home at different times … until one day it doesn’t. Paul Order directs this production, which was translated by Beverley Cross and Francis Evans.

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Broken Toe Productions’ No Sex Without Toys at Shaking the Tree Theatre, April 25-May 10.

The world premiere of this comedy by Doug Sellers follows best friends Randy and William, who are overheard by Aaron, a nonbinary server at their golf club, complaining about not getting enough sex at home. The solution? A night for the men at The Honeymoon Hideaway, where the couple in the next room seems to be having a much better time.

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Six the Musical at Keller Auditorium, April 29–May 4.

The six wives of Henry VIII take part in a pop competition in this touring production of the musical comedy, which is part of Broadway in Portland’s current season. Although the hit show won 23 Tony awards for the 2021/22 season, its roots were humble: Toby Marlow and Lucy Moss came up with the idea for their play about Ann Boleyn and her discarded sistren when they were students at Cambridge University in early 2017.

That same year, it was first staged as the Cambridge University Musical Theatre Society’s submission to the Edinburgh Festival Fringe, where it featured student actors. In a 2021 review of the Broadway show, Jesse Green of The New York Times wrote, “Tudor London is the place to be if you’re looking for a sextet of truly empowered, empowering megastars.”

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Joe Turner’s Come and Gone at Portland Playhouse, May 3-June 8.

Set in a 1911 Pittsburgh boarding house, August Wilson’s masterpiece gets its title from a blues song. In a story about the African American post-slavery experience, the script follows Herald Loomis, who is searching for identity and belonging after being captured by a bounty hunter and serving seven years of forced labor. The show stars La’ Tevin Alexander, Lester Purry, and Bobby Bermea and is directed by Lou Bellamy. Previews begin April 30.

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a home what howls (or the house what was ravine) at Milagro Theatre, May 2-17.

Soledad Vargas is fighting for her family’s right to live on their land in this lyrical modern myth drawn from the real-life struggles of displaced communities around the globe. Lawrence Siulagi directs the show, which was written by Matthew Paul Olmos. Previews May 1.

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The Other Place at 21ten Theatre, May 2-25.

21ten rounds out its third season with Sharr White’s 2011 psychological drama The Other Place, directed by Gavin Hoffman. Diane Kondrat, Ashley Song, Todd Hermanson, and Tyler Shilstone star in this play about Juliana Smithton, a tough and brilliant scientist. On the verge of making a major breakthrough, Juliana sees a woman in a yellow bikini, a moment that could lead to the destruction of her life’s work, her marriage, and her own identity. Previews May 1.

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Roald Dahl’s Willy Wonka at Gallery Theater in McMinnville, May 2-25.

Based on the book Charlie and the Chocolate Factory by Roald Dahl, this musical follows Charlie Bucket’s visit to a mysterious chocolate factory. Adapted for the stage by Leslie Bricusse and Timothy Allen McDonald, the show features songs from the 1971 film starring Gene Wilder, plus new songs by Bricusse and Anthony Newley. Best for ages 8+.

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Roald Dahl’s Willy Wonka, Jr. at the Coaster Theatre Playhouse in Cannon Beach, May 2-4.

Coaster Theatre Kidz are also visiting the famous candy factory. This production stars young actors ranging from ages 7 to 14,and is appropriate for all ages.

Continuing shows

Great White Goes Down at Fuse Theatre, through April 27.

The third play in the Great White trilogy, Great White Goes Down, by Ajai Tripathi and Patrick Hilton, premiered as part of the Fertile Ground Festival and continues as the first play in Fuse’s 2025 season. ArtsWatch previewed it here.

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Blinking Eye Theatre’s Melancholy Play at Twilight Theater, through April 27.

A parachute keeps the comic action moving in this inventive production of Sarah Ruhl’s oddly uplifting play about sadness. Directed by Riley Parham, with music by Michael Roth. ArtsWatch reviewed the show here.

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Salomé at Imago Theatre through April 27.

Imago is presenting Oscar Wilde’s one-act and once-controversial drama Salomé as a newly conceived chamber-sized production adapted by Drew Pisarra and directed by Jerry Mouawad. Originally written in French in 1891 and based on the biblical tale of the femme fatale Salomé, who dances for her stepfather King Herod as a birthday present, then demands John the Baptist’s head on a platter as payment, the play was originally banned in England, which prohibited the depiction of biblical characters onstage.

Imago’s production includes many actors from its recent revival of Tennessee Williams’ A Streetcar Named Desire, including Jaiden Wirth, Jeff Giberson, Max Bernsohn, Merehuka Manurere, Danny Walker, and Matt Sunderland. ArtsWatch reviewed the production here.

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Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean in Sherwood, through April 27.

Sherwood Theatre & Arts Resource Society (STAR Society) is partnering with Oregon Food Bank on this production, encouraging audiences to bring a nonperishable food item. In a press release, STAR Society said, “This collaboration is more than just a food drive – it’s a call to action to show that together, we can create change. It’s also an opportunity to showcase the vibrant talents of local artists, both on and off the stage, as we celebrate the intersection of art and community.”

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Clue at Red Octopus Theatre in Newport, through April 27.

Dubbed a “hilarious farce-meets-murder-mystery,” Clue, featuring Professor Plum, Miss Scarlet, Col. Mustard and the rest of the board-game gang, is Sandy Rustin’s adaptation of Johnathan Lynn’s screenplay, with additional material by Hunter Foster and Eric Price. Directed by Cody Larsen. See it at the Newport Performing Arts Center.  In 2022, Juan A. Ramirez wrote in the The New York Times, “…the show is a very fun, very silly 1950s-set whodunit that strikes some contemporary parallels on the way to its grand reveal.” 

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Next to Normal at Greenhouse Cabaret in Bend, through May 3.

Debuting off-Broadway in 2008, this rock musical went on to win three Tony Awards and a Pulitzer Prize for drama. According to its press, “Next to Normal is an intimate exploration of family and illness, loss and grief. At its heart is Diana Goodman … a suburban wife and mother living with bipolar disorder and haunted by her past.” Featuring a score by Tom Kitt and book and lyrics by Brian Yorkey; directed by company founder John Kish and Greenhouse returnee Josh Curtis (Proof); music directed by Natalie True (Sweeney Todd). Recommended for ages 14+.

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Grease at Broadway Rose Theatre Company, through May 18.

Rock back to the 1950s in this musical that features the unlikely pair of “greaser” Danny and girl-next-door Sandy. In Broadway Rose’s capable hands, famous song-and-dance numbers like “Greased Lightnin’,” “We Go Together,” and “You’re the One That I Want” are sure to wow. Book, music, and lyrics by Jim Jacobs and Warren Casey, and directed by Sarah Jane Hardy. The show is sold out, but you can check with Broadway Rose for last-minute cancellations. 

Theater news

Oregon Children’s Theatre has launched a crucial $1 million funding drive to stay afloat.

Oregon Children’s Theatre (OCT) says it’s not over yet. Despite the organization’s March announcement that it was pausing all its programs beginning in September, the nationally recognized company says it won’t close for good, as long as it can raise the funds to stay afloat. 

OCT was founded in 1988 and is known for its mainstage productions, camps and classes, in-school programming, and its Young Professionals Company. 

In the coming months, the company will still offer spring break camps, spring classes, and summer camps, but says it will need to raise $1 million if the coming pause is to be temporary. 

“We know from the initial responses to our community survey that families love OCT and need us to thrive,” the company states in a press release. “In a time where the institutions that we know and love are at risk, it is up to us, the people, to protect what we care about. It’s up to the communities we are part of to preserve organizations that build culture.” Donations can be made here.

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The first Ashland Fringe Festival takes place May 2-4.

Following the 11-year legacy of the Oregon Fringe Festival, this fresh, grassroots festival is led by Southern Oregon University alumni and inspired by the world fringe movement of festivals that feature new works by emerging artists. The free festival will include theater, music, visual art, dance, storytelling, creative writing, film, and more.

“We are excited to welcome a high-quality lineup of artists who reflect our organization’s core values and mission: strengthening community, providing a platform for uniquely creative voices, bolstering unconventional new art, and making the arts accessible for audiences from all walks of life,” said Executive Director Mary Snelgrove. Find artist lineups and schedules here.

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Broadway in Portland announces its 2025-26 season.

Broadway in Portland’s upcoming season of touring shows presented at Keller Auditorium will be packed with dynamic award-winners, including Some Like It Hot; Disney’s The Lion King; the musical corn-fed comedy Shucked; the jukebox musical A Beautiful Noise: The Neil Diamond Musical; The Wiz; The Notebook: The Musical, based on Nicholas Sparks’ award-winning novel; Les Miserables; the perennially popular The Phantom of the Opera; Mamma Mia; and Back to the Future: The Musical. Find information about tickets here.

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Stumptown Stages will present five plays in its 2025-26 season.

Portland’s prize-winning musical theater company has announced its lineup for next season, which will be onstage at downtown’s Winningstad Theatre. The shows include Rock of Ages, Oliver!, Pippin, and The Prom. Stumptown will also present Avenue Q in spring 2026 at the Brunish Theatre. Find ticket information here.

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Season 42: Fuerza en Familia at Milagro.

Next season, Milagro will offer productions by women writers as the company explores the definition of “family” and the challenges of familial obligations. The lineup includes the world premiere of Worry Dolls by Maya Malan-Gonzalez, the comedic Los Empeños de una Casa by Sor Juana Inés de la Cruz, and the part play/part slam poetry Brown Face by Carissa Atalla.