It would be hard to find two stories that use more vastly different voices than Christopher Demos-Brown’s 2016 American Son, which is opening at Twilight Theater on January 23, and Lauren Yee’s 2015 Samsara, which begins preview performances at Profile Theatre on the same night. While both works set out to make us think, Samsara, co-directed by Jamie M. Rea and Ajai Tripathi, uses humor and fantasy to start conversations about colonialism, parenthood and marriage. In contrast, American Son, directed by Téa Johnson, realistically depicts the nightmare of an estranged biracial couple awaiting news of their missing son after a traffic incident.
Besides stirring audiences, the two plays also present rich thematic and artistic challenges for their actors to explore. In separate email exchanges, performers from both works discussed their roles in these powerful productions.


Benjamin Tissell (left) and Veda Baldota in Lauren Yee’s play “Samsara.” Photos courtesy of Profile Theatre.
Veda Baldota and Benjamin Tissell find a connection with their characters in Profile Theatre’s off-the-wall Samsara.
When Veda Baldota, who will be onstage at Profile Theatre as Suraiya, an 18-year-old pregnant surrogate living in India, says that when she first read the script for this whimsical wow of a play, “I thought it was wack, confusing, in a good way, layered and human.”
That’s an apt description for a work that uses comic fantasy sequences, such as a fetus (played by an adult, Abrar Haque) conversing with his birth mother, to probe ideas about parenthood and power.
Benjamin Tissell, who portrays Craig, one-half of the white couple that chooses a surrogate from India to save money, agrees with Baldota’s summation of the script. “I’m a big Lauren Yee fan. I love how she makes you laugh and then spoons in the medicine while your mouth is open.”
Besides humor, Yee has created flawed but appealing characters for audiences to ponder. Against the odds, the guarded Suraiya is driven to get into medical school, despite her limited resources and the fact that she’s a woman in a male-dominated society. “Suraiya is very strong, sometimes more strong than she should be,” Baldota says. This is especially true when she tells the fetus to think of her as a “microwave” – a funny bit that is also Suraiya’s attempt to separate herself from a situation that’s almost guaranteed to be emotionally wrenching.
Throughout the play, Suraiya uses such distancing tactics to stay focused on her career goals, exhibiting a determination that Baldota, who just graduated with an MFA in acting from Columbia University, can appreciate: “Despite her tough situation and rough past, I love the way she never uses that as an excuse for anything, but rather a motivator to achieve something in her life. I know what it is like to fight for something, for a dream/passion of being an actor, and deal with the consequences and sacrifices that dream requires.”
While not a parent himself, Tissell says he also feels a kinship with Craig. “I relate to a lot of his foibles. But he also has an open-hearted sweetness that’s very winsome. I like spending time with him day after day.”
Tissell, who portrayed Carole King’s troubled first husband with warmth in Broadway Rose’s production of Beautiful: The Carole King Musical last summer, is no stranger to complex characters. Although Craig is amiable, his private thoughts about Suraiya using surrogacy – and therefore her body – for income give the audience a glimpse of his darker side. Likewise, the play has opened new windows of understanding for Tissell:
“I am learning so much about the subtlety of entitlement, supremacy, colonialism, and just the way we carry unchecked assumptions with us all the time. Our directors and our cultural competency consultant have been so wonderful in taking the time to explore all the implications and nuances of the story and the text.”
Baldota, too, says she’s gained a new way of thinking about the subject of surrogacy: “Throughout this process of becoming Suraiya and having a deeper understanding of this play, I realized surrogacy isn’t easy for anyone involved, it’s not just ‘oh his sperm, her egg, my body and bam! In 9 months, a baby for them and I get the money!’ It is physically, emotionally, extremely challenging.”
“I have had two women in my life who have been surrogate mothers,” Baldota says, “and I hope I honor them and their stories in my performance.”
Profile’s production of “Samsara” will be onstage at Artist Repertory Theatre, 1515 S.W. Morrison St. Portland, Jan. 23-Feb. 9. For tickets, visit https://profiletheatre.org/samsara/.


Brrent McMorris stars at Twilight Theater in Christopher Demos-Brown’s “American Son.” Photo: Allison Barr
Brent McMorris brings a wealth of experience to his role in the emotionally intense American Son at Twilight Theater.
At Twilight Theater, Brent McMorris has been rehearsing for American Son, a play whose style The New York Times said “is neither surreal nor poetic; it’s ticktock realism, deployed in real time. And the focus is not on the young men or the police but on the parents caught in between.”
McMorris, who was so effective in last year’s chilling The Resistible Rise of Arturo Ui at Twilight, plays Scott, the white father of a biracial teenage son who’s missing. “My first impression of the script was that this was some serious stuff that was very current and topical,” he says.
“Scott is an FBI agent who was formerly in the military. He is rigid and disciplined in his way of thinking, and he has specific expectations about his son’s future.” The part, he says, is appealing to him specifically because Scott is so different from himself. “He can be a bit of a jerk, but he is also very protective of his family. He wants the best for his son, but he doesn’t necessarily want to listen to what his son wants. And while he is separated from his wife, it is obvious he still cares deeply about her.”
With such an intense script, plus playing a part in which McMorris and Jari Haile, who stars as Kendra, Scott’s estranged wife, are on stage for most of the show, the role could have been emotionally crushing. By all accounts, American Son does nothing to sugar-coat its harrowing premise, and the script keeps the tension coming with a specific message in mind: the vulnerability of Black people when dealing with police.
To safeguard his own emotional health throughout rehearsals, McMorris, who is a father of an adult daughter, relied on the experience of other professionals:
“I have received some very good advice from acting coaches to avoid using any difficult or traumatic events from my own personal life as the reference material for a role that requires tapping into any negative feelings. The risk is that relying on personal memories from difficult past experiences can be triggering. So the first self-care is to work around anything that hits too close to home – an emotional land mine.”
The other option, he says, “is to give everything you have into the performance and then leave it on the stage. Afterwards, go home or go out and do some other activity, but don’t take it with you. Or as Taylor Swift says, shake it off.”
See “American Son”at Twilight Theater, 7515 N. Brandon Ave. in Portland, Jan. 23 – Feb. 9. For tickets, visit www.twilighttheatercompany.org/.
Also Opening

8-Track: The Sounds of the 70s in Concert at Broadway Rose Theatre, Jan. 23-Feb.16.
Billed as a “fast-paced musical romp,” the show tells the story of a decade through its music, with songs such as The Jackson 5’s chart-topper “I Want You Back” and the BeeGees’ disco hit “Stayin’ Alive.” Even with added performances, tickets are selling fast for this production, which will be presented on the Broadway Rose New Stage, 12850 S.W. Grant Ave. in Tigard.

Mrs. Harrison at Portland Center Stage through Feb. 16.
The play, by novelist and advice columnist R. Eric Thomas, takes place in a “well-appointed faculty restroom at a prestigious university,” where two former friends — Aisha, a Black, successful playwright, and Holly, a white, struggling stand-up comedian — meet during their 10-year reunion. Coincidentally (or not), Aisha’s most successful play resembles a tragic event from Holly’s past. See it on the U.S. Bank Main Stage at PCS, 128 N.W. 11th Ave. in Portland.
Love, Shakespeare, an improvised Elizabethan comedy, Jan. 23 & 24.
Thanks to this improv group, Shakespeare’s output keeps coming. With the help of audience suggestions, the troupe creates an Elizabethan show, often on the fly. Love, Shakespeare premiered at Curious Comedy Theater and ran 2019-2023. Since 2024, it’s been touring around Portland as well as comedy festivals across the country. As ArtsWatcher Marty Hughley wrote, “For all its highfalutin associations and tradition-bound expectations, the work of William Shakespeare provides plenty of room for playful experimentation – especially if you’re not really performing the work of William Shakespeare. The improv-comedy group Love, Shakespeare takes themes, tropes, tricks from the Bard’s world (loosely defined), tosses them around the room, and spins those associations and expectations on their pointy heads.”
See the show on two nights at the Boiler Room Studio at Portland State University’s Lincoln Performance Hall, 1620 S.W. Park Ave., Portland.
Fly By Night, Jan. 24-Feb. 2, presented by Tapestry Theater Collective at Bridgetown Conservatory.
The musical is a dark fantasy comedy rock musical that follows two sisters who move to New York City. Written and composed by Kim Rosenstock, Michael Mitnick, and Will Connolly, the story features an actress, a waitress, a sandwich maker, and a fortune teller whose lives collide. This is Tapestry Theater Collective’s first musical. Members of the group, which hopes to someday form a company, says they “love creating purposeful work together” and want to “share stories that highlight the beautiful intricacies of human connection.” Fly By Night is directed by Abigail Torres and will be at Bridgetown Conservatory’s Black Box Theatre in Portland.
Portland Experimental Theatre Ensemble presents Faena at CoHo Theatre, Jan. 30 & 31.
PETE’s production, which was written by Dylan Hankins, features an absurd matador’s date with death. According to its press, the play “is an homage to the esperpento, a uniquely Spanish genre of tragicomedy that utilizes baroque, flamboyant, and grotesque exaggerations of reality to comment on a deeper truth.” Watch for Bobby Bermea’s upcoming preview for ArtsWatch. See the show at CoHo Theatre, 2257 N.W. Raleigh St. in Portland.
“Becoming: An Evening of Student Written Theatre” produced by Sunstone Theatre, Jan. 31 & Feb. 1.
Sunstone Theatre, which is entirely run by students and young professionals, will be producing an evening of three new works written by students or playwrights from across the country. Everyone working on the production is also a student or young professional based in the Portland area. The shows, which are directed by Bennett Buccholz, include Uno, a short comedy by Gene Berg about a family game night; Timothy Turner’s The Stapler, which is described as a “genre-bending piece”; and Meredith BlackCreek’s Saturation, about a young boy diagnosed with a terminal illness. The shows will be presented at 21ten Theatre, 2110 S.E. 10th Ave, Portland.
Arsenic and Old Lace at Pentacle Theatre in Salem, Jan. 31-Feb. 22.
This black comedy featuring a homicidal family was written by Joseph Kesselring in 1939; then Frank Capra made a film adaptation starring Cary Grant in 1944. Pentacle’s production is directed by Scott Ramp.
One Act Wonders at Ten Fifteen Productions in Astoria, Jan. 24-Feb.8.
A collection of one-act plays, collectively known as One Act Wonders will begin the Astoria company Ten Fifteen Productions’ 2025 season. The three plays have their own directors, but will feature an ensemble cast, and the audience will have the opportunity to vote for their favorite play, which will then be entered into the American Association of Community Theatre’s One Act Competition. The plays include ‘dentity Crisis by Christopher Durang, directed by Ryan Hull; Out at Sea by Slawomir Mrozek, directed by Karen Bain; and Conflict by Wade Bradford, directed by Deborah Jensen.
Continuing Shows
A Streetcar Named Desire at Imago Theatre through Feb. 2.
ArtsWatch reviewed Imago’s stunning re-imagining of Tennessee Williams’ masterpiece here. Directed by Jerry Mouawad.
The Maltese Falcon at Lakewood Theatre Company through Feb. 9.
Based on Dashiell Hammett’s 1930 novel and John Huston’s 1941 film noir starring Humphrey Bogart, this U.S. premiere of The Maltese Falcon features private detective Sam Spade, a priceless statue, a femme fatale, and a murdered partner. ArtsWatch reviewed the show here.

Stumptown Stages’ Hairspray, through Feb. 9.
Based on John Waters’ comic film of the same title, the musical version of Hairspray, which won eight Tony Awards, takes place in 1962 Baltimore, where social outcast Tracy Turnblad is determined to dance on the “Corny Collins Show.” Gary Wayne Cash portrays Tracy’s mother, a role that was originated by Divine in the 1988 film, followed by Harvey Fierstein in the 2002 Broadway musical, and John Travolta in the 2007 musical film. The production is directed by Julianne Johnson-Weiss, and Jeff George, who choreographed Stumptown’s recent It’s a Wonderful Life, is back to design the dancing.
Fiction at Mask & Mirror, through Feb. 8.
The intriguing-sounding play by Steven Dietz features a woman who asks her husband to share his diaries with her after she’s diagnosed with a tumor. Directed by Tony Broom and onstage at Tualatin United Methodist Church.
Looking Ahead
Scarlet Envy’s Bad Advice Tour at the Greenhouse Cabaret in Bend, Feb. 2.
Scarlet Envy, an alumna of RuPaul’s Drag Race, will perform a 90-minute live cabaret, poetry and variety show that promises a “jazz twist on her pop hits.” See the show at Greenhouse Cabaret in Bend, 1017 N.E. 2nd. St.
Perspective, 3 new short plays presented by Sowelu Dramatic at the Back Door Theater, Feb. 6-9.
Sowelu Dramatic presents Perspective, three new short works which are part of a live multimedia event exploring contemporary social, political and environmental issues The new works are by Nannette Gatchel, Luke Heyerman and Nick Lloyd and are directed by artistic director Barry Hunt at the Back Door Theater, 4319 S.E. Hawthorne Blvd., in Portland. Watch for Bobby Bermea’s upcoming ArtsWatch feature on Sowelu.

Frida un retablo at Milagro Theatre, Feb. 6-22.
Written by Dañel Malán-González and directed by Mia Torres, this bilingual play paints a portrait of Frida Jahlo through three versions of her that “separate themselves from the gift shop imagery and show their true selves.” Presented with supertitles (subtitles above the action) for non-Spanish speaking audience members. To celebrate the production, Milagro will also offer special free events, including art workshops and artist talkbacks, which will begin Jan. 25 and continue throughout the run of the production. See the play at Milagro, 525 S.E. Stark St. in Portland .
JC: Gospel According to an Angel at Triangle Productions!, Feb. 6-22.
The new musical, with book and lyrics by Don Horn and music and additional lyrics by Michael Allen Harrison, poses the question, “Why do you believe in what you believe?” The show follows an aging, dying man who asks questions of an angel who doesn’t have all the answers. Among the cast is Lauren Allison, who was splendid in Triangle’s production of Perfect Arrangement last year. The show will be on Triangle’s stage, 1785 N.E. Sandy Blvd. in Portland.
“Liza’s Lounge” at the Greenhouse Cabaret stage in Bend, Feb 6-8.
Fertile Liza, an elegant lady of the night, hosts this evening of entertainment with live music. Liza’s Lounge is from John Kish, the creator of Cocktail Cabaret, and promises to deliver “decadence,” with a ticket price that covers the show and coat check, one drink, amuse bouche/petit fours from Foxtail Bakery, and two hours of local talent. The theme of this second rendition of the show is “Love,” and the dress code is “Creative Black Tie,” which welcomes an artistic look. The show will be at 1017 N.E. 2nd St. in Bend.
Fiddler on the Roof at McMinnville’s Gallery Theater, Feb. 7-Mar. 2
The classic musical that follows the story of Tevye the milkman and three of his daughters who buck tradition to marry the men of their choice will be onstage at Gallery Theater, 210 N.E. Ford in McMinnville.
Theater News

Spotlight: A Family Arts Festival takes place on Feb. 1 & 2 at The Judy, 11am-3pm.
This vibrant festival for ages 5 and up includes music, dance, theater, and visual arts all in one place for one weekend. Among the participating artists are David Durosier, a dance teacher, drummer and choreographer from National Ballet of Haiti; BodyVox’s JAG, a pre-professional program for dancers ages 14+; Estampa Mexicana, a baile folklórico dance group from Gresham; and Jeff Sanders (aka Brick Bending), a Portlander whose geometric LEGO creations have been seen 250 million times on online platforms. Pay-what-you-will tickets start at $10.

“I Lived to Tell the World Live,” a live immigrant storytelling event at Oregon State University, Feb. 1.
A week of events on the OSU campus will focus on survivors of genocide who’ve rebuilt their lives in Oregon. Among the featured events is I Lived to Tell the World Live, presented by The Immigrant Story, in partnership with Patricia Valian Reser Center for the Creative Arts (PRAx) on the OSU campus. Four people share first-person accounts of courage, resilience, and fortitude in stories that were also featured in the recently released book I Lived to Tell the World (Oregon State University Press), which is said to “highlight the strength of the human spirit and the enduring importance of hope.” Rama Yousef, one of the storytellers and a child survivor of the war in Syria, has said, “By sharing my story, I hope to put a human face on the realities of war, displacement, and survival. These issues are often reduced to statistics, but behind every number is a life, a family, and a unique struggle.” The event will take place at 7 p.m. at PRAx, 470 S.W .15th St., Corvallis.
Miz Kitty’s Parlour “New Loves & Old Flames!” on Feb. 1 at the Mission Theater.
Entertaining Portland audiences since 2002, Miz Kitty’s Parlour’s “New Loves & Old Flames!” is back at the Mission Theater in Portland for one night. The show promises to be “an unforgettable and eclectic evening of music, comedy, painting, juggling, stories, sass, surprises and door prizes presented in the style of a Vaudeville show.” See it at the Mission, 1624 N.W. Glisan St. in Portland. Suggested for ages 18+.

Pretty Guardian Sailor Moon: The Super Live, March 29 at Keller Auditorium.
The hit 2.5D musical sensation based on the popular manga series by Naoko Takeuchi will stop in Portland for one night as part of its North American tour. With book, lyrics and direction by Kaori Miura (Musical: The Prince of Tennis; Tokyo Revengers The Musical), choreography by Satomi Toma, and music by Go Sakabe and KYOHEI, the show promises to be visually stunning as it follows Usagi Tsukino, a teenage girl who transforms into the heroic Sailor Moon. Together,with her fellow Sailor Guardians, she battles dark forces to protect the Earth from evil. The show will be performed in Japanese with English subtitles. Tickets go on sale Jan. 31.
Northwest Children’s Theater has won its first NEA grant.
NWCT has been awarded a $40,000 Arts Projects Grant by the National Endowment for the Arts to support the creation of an original musical, The Golem’s Gift, written by Benny Zelkowicz and Ezra Weiss. According to the company, this is the largest NEA award to an Oregon arts group this year.
NWCT is a 32-year-old nonprofit arts organization that produces everything from mainstage productions to immersive family arts festivals. The group also offers year-round theater classes and camps for artists ages 4-14. In April 2023, NWCT opened its new home, The Judy, which serves thousands of families in and around the Portland area.
Experience Theatre Project prepares for its first productions in its new space.
Experience Theatre Project will be presenting its first two shows in its new theater: Agatha Christie’s The Mousetrap and BOEING BOEING, a comedy farce by Marc Camoletti. Both shows will be immersive experiences, with the audience, which will be limited to 42 people, sitting amongst the actors. The Mousetrap will run Feb. 28-April 6, and Boeing Boeing will be performed Apr. 25-May 25 at the new space, located at 18850 SW Alexander Street in Aloha.
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