It’s a funny time of year, with temperatures that still feel like summer, while the days are getting shorter (no more light-filled walks at 9 p.m.!), and the crabapple leaves on my street are already starting to look a little tired.

Local theaters, though, are here to keep things fresh with some exciting new works, such as Everybody’s Eyes Are on the First and Rules of the Rope, both part of The Hatchery, Many Hats Collaboration’s festival of new works; and Milagro Theatre’s production of Worry Dolls. 

At the same time, other companies such as Bag&Baggage, 21ten Theatre and triangle productions! are getting ready to start their fall seasons, and there’s still time to catch a summer musical or two such as Clackamas Rep’s Damn Yankees, which is playing through August 24.

In other words, fall may be coming, but this in-between time is still packed with plenty of onstage summer goodness.

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Hatching music and movement: Many Hats Collaboration’s festival of new works, The Hatchery, celebrates nontraditional theater with two workshop performances on Sunday, Aug. 24.

Now in its second year, Many Hats Collaboration’s festival of new works, The Hatchery, is well on its way to establishing a reputation for supporting historically marginalized artists who create theater based in music and movement.

Jessica Wallenfels, Many Hats’ artistic director, is passionate about giving such theater-makers the time, space, and resources to develop work that soars beyond words on a page. Last year’s powerful La Mariposa, by Sofía Leonila Marks and Isabel McTighe, for example, which was also recently performed through 21ten Theatre’s 2025 summer residency program, tells its story about a Latina girl through bachata dance, prayer, and a primal howl.

This year, The Hatchery is supporting two new shows, which will be developed during a week-long intensive in the studio, then presented as workshop performances at The Judy, Northwest Children’s Theatre & School’s space in downtown Portland (1000 S.W. Broadway).

First up at the celebratory one-day festival will be a 2 p.m. performance of Everybody’s Eyes Are On the First, a musical satire by Teague Shattuck and Naama Friedman, complete with catchy songs and a Hairspray-meets-Rent vibe. The story revolves around struggling actor Rafi, who becomes the first and only transgender infomercial host on the R&R Productions Shopping Channel, which sells pride kitty litter, rainbow pasta, and lounge chairs with built-in speakers that only play “Born This Way,” Lady Gaga’s LGBTQ+ anthem, which she dedicated to the trans community at a 2023 performance. But, as Rafi is about to find out, not everyone has his best interests at heart, and his hiring was part of an attempt to gloss over the social media-inspired boycott.

A performance of Josie Seid’s Rules of the Rope will follow at 7 p.m. Sisters Telma and Sugar have had a lifelong rivalry, but when their mother dies, they begin to realize the rules of jump-roping – dexterity, stamina, rhythm and speed – resemble the unwritten rules for life. The play explores the threads that weave through generations, and is tied together with joyful Double Dutch jump-rope-inspired movement and original music.

Additional festival events include an All Bodies Community Dance Class taught by Andrea Parson and Leiana Petlewski, which features fundamentals of contact improv for “regular people.” A complementary happy hour, and a Double Dutch jump rope demonstration will also round out the day.

“In a year of exceptionally dismal budget cuts to national funding for the arts, public media, and humanitarian programs, we are fortunate to have secured the support to produce The Hatchery again and advance its mission to present innovative new stories from marginalized communities,” Wallenfels said in a press release. “Along with expanding on a long-term working relationship with playwright Josie Seid, we’re proud to be part of the early stages of [Teague Shattuck’s] wry musical comedy about trans people finding their place in show business and the larger world.”

Last year, Wallenfels spoke with Dmae Lo Roberts on Dmae’s Stage & Studio podcast about how theatrical movement differs from conventional dancing: “For me, movement really comes from urge, I guess is what I would say; from an urge or an energy, and so that’s why it relates to intention and theater, as opposed to sort of dancer dancers who are much more concerned with line. And movement quality. That has never interested me as much as watching an actor pursue something silently. And watching the way that they use their bodies to pursue that intention. You could call it dance, you could call it theater without words. I don’t know what it is, but that’s the space where I live.”

Another hallmark of The Hatchery is its commitment to accessibility: All performances and events will include live ASL translation, optional audio description, and other accommodations. “According to Susannah Mars, our lead on Audio Description (AD) services, Many Hats is the ONLY company in town that’s doing innovative Audio Description,” Wallenfels said in an email. “We are also working with two Blind/Low Vision folks, Rick Hammond and Pearl Outlaw, for quality control.” 

Although there’s no admission for the dance class, jump rope demonstration, and happy hour, audience members are asked to reserve pay-what-you-can tickets for the performances of the plays. Check here for information, schedules, and reservations.

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Worry Dolls: Milagro Theatre’s new play looks at the long-term emotional effects of the pandemic for two middle school friends.

At the heart of Worry Dolls, Milagro Theatre’s new production of a play it debuted in 2023, are two post-pandemic middle school girls who are suffering from grief and anxiety, a scenario that’s all too familiar to Dr. Eleanor Gil-Kashiwabara, a psychologist and an actor who performs four supporting roles in the production.

In 2023, the Center for Disease Control (CDC) found that 40 percent of students had “persistent feelings of sadness or hopelessness.”

“These are very real symptoms of the times,” says Gil-Kashiwabara, who consulted with Milagro about its upcoming production of Worry Dolls, which centers on two friends, Luz (played by Mila Kashiwabara, Eleanor’s daughter) and Sonia (Clara Paez). Besides dealing with the strangeness of returning to school full-time after lockdown, Sonia is also grieving for her mother, who died during the pandemic. As for Luz, she blames herself for her own secret anxiety, feeling like there’s no good reason for her emotions.

Gil-Kashiwabara, who performs under the stage name Eleanor Amorós, said in a recent phone conversation that while she understands why people are eager to move past the pandemic, she’s glad that Worry Dolls, which was written by Portland native Maya Malan-Gonzalez and is directed by Alexandra Meda, is bringing these issues to light.

“I myself as a psychologist am surprised at how little we discuss the long-term mental health impacts on our youth who were very young during the lockdown,” she says. “What I think is really great about this play is that it brings that reality to the surface … particularly the impact for Latino youth.”

Because the play is taking place in 2022-23, it doesn’t portray the terror the Latino community is experiencing today (as of August 11, 2025, The New York Times reported the number of people in immigration detention had reached an all-time high of 60,000), but Worry Dolls addresses another reality for some communities of color: the stigma of mental health issues, especially when there’s a family member who, as Gil-Kashiwabari says, “views mental health and getting help with a very judgey lens.”

In Worry Dolls, this stigma is compounded for Luz, who doesn’t understand why she’s anxious. Unlike Sonia, she didn’t lose a parent. Also, her family hasn’t been confronted with deportation, as another friend has. “There’s a moment [in the play] when the therapist is like, ‘Let’s not forget this was a really scary time. You were young and a lot of people died. This was a collective trauma, and everybody can go to therapy … it’s ok to feel the way you feel.’”

With Milagro’s plans for at least four school matinee performances of Worry Dolls, Gil-Kashiwabara hopes that such scenes will help normalize getting help, while also offering representation for the Latino community, which doesn’t often get the chance to see characters who look like them. 

In the play, Luz is afraid to tell anyone about her feelings, but she has a set of Guatemalan worry dolls that help her cope with her emotions, and Yosmel López Ortiz has created puppets that turn those dolls into characters in the show. As Luz and Sonia’s anxiety grows, the puppets get progressively larger as well.

“I love the use of these characters,” Gil-Kashiwabara says. “There’s a field journalist who represents the voice in [Luz’s] head. It’s like having this narrator explaining what’s going on during those panic moments, bringing the internal world of these kids to life.”

Such creativity, she says, goes hand-in-hand with her work as a psychologist, where she tries to find ways to help people cope with and re-frame their experiences. Similarly, the play gives people a way to see the effects of the pandemic differently, and creates a way of talking about hard-to-face problems.

“It’s such a hard moment now. It is indeed a crisis,” says Gil-Kashiwabara. “We have higher rates of youth dying by suicide. We have higher rates of depression and anxiety.”

Even with her professional experience, she recognizes how overwhelming these mental health issues are. “As I talk to you, I myself feel, oh, there’s so much to do,” she says. At the same time, she admires the way Worry Dolls gives people specific ideas of what they can do or say to help someone who’s struggling.

“Just saying one thing … or reaching out in a small way can make a huge difference,” she says. “We don’t realize the impact we might have.”

Worry Dolls will be onstage at Milagro Theatre, 525 S.E. Stark St. in Portland, Sept. 5-21, with a preview on Sept. 4. 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. Find tickets and schedules here.

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Also opening

I’m Gonna Pray For You So Hard at Twilight Theater, Aug. 29–Sept. 14; previews Aug. 28.

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, Aug. 29–Sept. 21.

Oregon playwright E.M. Lewis has written 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 is kicking off its 2025/26 season this month with Apple Season. The story centers on Lissie and her brother, Roger, who fled their family farm when they were both still in high school. Now they’re back for their father’s funeral, when someone from their past offers to buy the farm, forcing the siblings to unravel a tangle of grief and memories.

Like Lewis’s Dorothy’s Dictionary, which 21ten staged last year, Apple Season is a BareBones production, meaning that after its run at the theater, the company will also take it on the road to those who have little or no access to live theater, such as the elderly, houseless, and detained people. Francisco Garcia will direct the production.

Xanadu at Gallery Theatre in McMinnville, Aug. 29-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.

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.

The Glass Menagerie at Bag&Baggage, Sept. 5-21.

For the first show of B&B’s new season, former producing artistic director Nik Whitcomb directs this revival of Tennessee Williams’ The Glass Menagerie. This semi-autobiographical classic follows Tom Wingfield as he struggles between duty and desire, caught between his overbearing yet fiercely loving mother, Amanda, and his painfully innocent sister, Laura. This production features resident artists Kymberli Colbourne and Taya Dixon in what promises to be “a fresh and intimate staging” of Williams’ timeless masterpiece.

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, The Cake asks the question, To bake or not to bake? The strong cast includes Danielle Valentine as Della, Dave Cole as her husband, and Lydia Fleming and Setaria DePue as the young couple.

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

“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.

“This theme is a love letter to all the ways we show up – for ourselves and each other,” says Nieto. “Queer visibility is not just about being seen by the world. It’s about claiming our space and seeing one another with care, curiosity, and joy.”

 “Franco brings not only world-class artistry but a heart-forward leadership style that aligns beautifully with our mission,” says president and founder John T. Perry. “We’re thrilled to support his vision and to welcome audiences into a show that promises to be as visually stunning as it is emotionally meaningful.”

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.

Continuing shows

Them, presented by the University of Oregon at the Ellen Bye Studio, through Aug. 23.

A tense and timely drama about a young couple who must decide whether or not to flee their home, a city under siege, beautifully staged by UO theater arts professor Malek Najjar and performed in Portland Center Stage’s intimate Ellyn Bye Studio. ArtsWatch reviewed it here.

Damn Yankees at Clackamas Repertory Theatre through Aug. 24.

In this classic musical, middle-aged baseball fanatic Joe Boyd trades his soul to the Devil. Bob Hicks reviewed the show for ArtsWatch here, calling it “a bright and sassy revival of the 1950s musical-comedy hit.”

Torchsong Theater Company’s Ballad of the Merry Folx, through Aug. 31.

This original folk-punk musical by Portland artists Aric Clark (libretto and music) and Ken Bussell (music) reimagines the story of Robin Hood. Young professional Marian has moved to the gentrifying neighborhood of New Nottingham and become entangled in a conflict between her unhoused neighbors, the landlords, and the Sheriff. Audiences are encouraged to cheer and sing along as Robin and the Merry Folx hatch a plan to find dignity for all. Directed by Clark, with choreography by Amanda Eichsteadt and Makaela Terance. See the show at Samaritan Odd Fellows Lodge, 10282 S.E. Main St., Milwaukie.

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

It’s 1962 in Baltimore, and teenager 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? The show won eight Tony awards, including Best Musical Book by Mark O’Donnel & Thomas Meehan. Music by Marc Shaiman, lyrics by Scott Wittman & Marc Shaiman. Directed by Robert Salberg.

Theater news

The State of Oregon commits $1.5 million to Portland Center Stage.

The shows must go on. Thanks to funds appropriated to the Oregon Business Development Department via Oregon House Bill 5006, The State of Oregon has committed $1.5 million to Portland Center Stage (PCS). The company can now move forward with its plans for its 2025-2026 season, which will begin with a production of the Pulitizer Prize-winning Primary Trust in October, with previews beginning September 28.

With the new funding, the financially struggling PCS has surpassed its goal of raising $2.5 million by August 31, and the organization is well on its way to raising a total of $9 million by June 30, 2026. Donations of any amount continue to be welcome. Another way to help, says PCS, is to become a 2025/26 season subscriber, which includes early access to Storm Large tickets.

Broadway Rose announces its 2026 season … and upcoming leadership changes.

“The Season of Belonging” is the theme for Broadway Rose Theatre Company’s 35th anniversary season, featuring stories about what happens when people dare to be themselves. The year will begin with In Clay (Jan. 22-Feb. 15), a one woman show based on the true story of the early 20th-century French ceramicist Marie-Berthe. Also on tap are Dear Evan Hansen (March 19-April 19); Once Upon a Mattress (May 21-June 21); Newsies (July 16-Aug. 16); Million Dollar Quartet (Sep. 24-Oct. 25), a play about a legendary jam session among Elvis Presley, Jerry Lee Lewis, Carl Perkins, and Johnny Cash; and The Silver Belles (Nov. 25-Dec. 20), a musical about community, chosen family, and a troubled Christmas pageant.

In other news from Broadway Rose, managing director Dan Murphy announced last week that he’ll be retiring at the end of 2026. “As one of the founders of Broadway Rose, it’s been an incredible journey – from our very first season to the vibrant, thriving organization we are today,” Murphy said in a press release. “It’s been a good run, and I’m deeply grateful for all the opportunities this theater has given me.”

Murphy plans to continue directing, choreographing, and acting locally and around the country, as well as spending more time with his grandson: “Sharon Maroney and I have been planning for this transition for years. Our goal has always been to ensure that Broadway Rose continues to flourish long after we’ve stepped away from our roles. We agreed early on to stagger our retirements – I’ll go first, and Sharon still has some exciting productions and plans ahead before she’s ready to hang up her director’s hat.”

As part of the couple’s long-term plan to keep the thriving company going, they’ve hired Meredith Gordon as executive director and Madison Conrad as operations manager.

“Meredith is now overseeing the overall health and vision of the organization, and I’ve been mentoring Madison, who will be promoted to General Manager and will be in charge of the day-to-day operations. With a year and a half before I officially retire, we have plenty of time to ensure a smooth transition and continue strengthening the team.”

Murphy said he’ll also continue to serve on the board of directors. “Most importantly,” he added, “I wouldn’t even think about retiring if I weren’t completely confident in the outstanding staff, dedicated board, and extraordinary support we receive from our patrons, partners, funders, and friends. Broadway Rose is stronger than ever, and I’m so proud of what we’ve built together.”

Third Rail Repertory’s 20^th anniversary season.

To celebrate its 20^th anniversary, Third Rail will stage the play that put the company on the map back in 2005: Craig Wright’s Recent Tragic Events. According to a press release, “Founding Artistic Director Scott Yarbrough returns to direct what was our very first production, working with a cast of young Portland actors to breathe new life into a show that remains as powerful now as it was upon its premiere.”

The show will be onstage at CoHo Theatre, 2257 N.W. Raleigh St., Nov.7-23. Next up, company member Isaac Lamb will direct A Mirror by Sam Holcroft. The show is called “a meta-theatrical, multi-layered exploration of censorship and storytelling that twists, excavates, and turns inside out your expectations of what’s coming next,” and will be onstage at CoHo Theatre Feb. 27-Mar. 15, 2026.

Pentacle Theatre announces the return of its acting workshop taught by Jo Dodge.

Director and actor Jo Dodge has trained more than 2,000 students since founding her acting class, which emphasizes confidence and connection, back in 1981. This year, the 11-week workshop is back and will begin Saturday, Sept. 6.

According to a press release, “Jo’s most important gift lies in the intangibles. She helps us expand our sense of our collective humanity and the variety of the human condition. Her direction is insightful and deeply human, guiding students to find truth in every line, every scene, and ultimately within themselves.”

In this all-levels class, students will learn to interpret scripts with precision; find emotional truth in performance; collaborate in a safe, supportive, and non-competitive environment; and develop a deeper understanding of character, subtext, and story. Both experienced actors and curious beginners are welcome. Check here for more information or to register.