On August 1st, I was in Astoria to catch the opening night performance of Sarah Ruhl’s For Peter Pan on Her 70^th Birthday at Ten Fifteen Theater.

As luck would have it, it was also the evening of Astoria’s first annual Salmon Run. By that I mean not the biological phenomenon of fish returning to their spawning grounds, but a group of human merrymakers, the majority of them adults, whooping and trotting through the downtown area toward the riverwalk. Many of them were astride papier-mâché salmon-head hobby horses, although I did see one woman carrying an elegantly curved salmon carved out of wood.

After witnessing this wonderfully whimsical display, I could see why Ten Fifteen’s Executive Artistic Director, Danyelle Tinker, who was born and raised in Portland, was drawn to live in the small-town coastal community that has become a flourishing arts hub.

A nonprofit community theater with an edge, Ten Fifteen stages stimulating shows for the locals who don’t want to drive to Portland to see accessible but thought-provoking theater of the type often on stage at North Portland’s Twilight Theater Company, which Tinker co-founded in 2013.

“Our audience is mainly composed of individuals who live in Astoria and the surrounding area, which is a stark contrast to other theaters on the North Coast who tend to draw more of the tourist crowd,” Tinker said in an email. “Some of that may have to do with the fact that we focus on shows geared toward adults. … Over the years our most popular productions have been Tiny Beautiful Things, Macbeth, and most recently, AGAIN! The Act of Perfection, which was an original work by local artist Marco Davis, telling his story of growing up queer in Astoria.”

The tiny theater is located in the 100-year-old Odd Fellows building, which was the first structure to be restored after a 1922 fire destroyed nearly every building in the business district. When Ten Fifteen took over its space in 2020, it staged Harold Pinter’s Betrayal in January and was all set to run Conor McPherson’s The Weir in March, only to open and close the show after just one performance, due to the pandemic.

“A donor stepped in to cover the basic overhead to ensure the theater would survive the shutdown, and then I was hired on to reboot the theater when that time came,” says Tinker, who took on the role of executive artistic director in 2021.

To begin with, Tinker was a volunteer with a budget of $5,000. Since then, she’s become a full-time employee and was able to hire another part-time employee this year: “I am constantly in awe of how much growth we have been able to sustain in such a relatively small amount of time.”

This is largely due to the commitment of Ten Fifteen’s steadily increasing group of volunteers. “As we began, our volunteer base was primarily a small community of folks who had done theater together for decades, but we’ve grown to over 200 volunteers per year, with new faces in every production. It’s also been rewarding to have our work recognized (twice!) on a regional and national level through the American Association of Community Theatre – an accolade I would not have dreamed of when I was starting out here.”

Since 2022, Ten-Fifteen has presented six shows a year. It also offers theater education for teens and adults, such as the free theater-appreciation class it held this summer, and it works with other artists and organizations, providing a venue for their work.

“As for the future … the sky’s the limit!” Tinker says. “I’m really hoping to beef up our education program in this coming year, with a focus on making our classes free to our community. I’m also turning our focus to finding a path to paying our performers. Our production staff currently receive small stipends for their work, and I’d like to see that include actors next year.”

Tinker says leaving Twilight Theater was the hardest part of saying goodbye to Portland seven years ago. “My husband and I had talked of moving to the coast ‘someday,’ but ‘someday’ became ‘why not now?’ when he had a job opportunity in 2018. I honestly thought I was finished with this part of my life when we moved, and was looking forward to ‘just being an actor’ again, but here we are!

“I feel very fortunate to have been able to build our company here in Astoria. Ten Fifteen’s mission is very similar to Twilight’s, which you wouldn’t necessarily expect in a small, rural community – but in some ways it’s almost easier out here. There’s less competition than in Portland, so our audiences are able to get behind us in a big way.”

In a town where people embrace their inner child and participate in a make-believe salmon run, Ten Fifteen’s current production of For Peter Pan on Her 70th Birthday, a play about growing up … or not … seems like a perfect fit for its audience.

Review: For Peter Pan on Her 70^th Birthday at Ten Fifteen Productions.

From the sidewalk on Astoria’s Commercial Street, passersby might not realize that a gem of a space lies beyond the windows of Ten Fifteen’s storefront theater, which is tucked between Sea Gypsy Gifts, a shop that sells mugs, tiles, magnets and prints by local artists, and T&C Home Furnishings, featuring both rent-to-own and retail sales.

Stepping through the glass front door of Ten Fifteen, though, is like stepping into another world, where the tiny lobby is graced with a curving, wood-planked counter, and just a few more steps take you into the theater itself, where magic happened during the company’s performance of For Peter Pan on Her 70^th Birthday, by Sarah Ruhl. 

As directed by Deanna Duplechain, this glowing production made me feel as if I’d been transported into the intimate setting of someone else’s family, immersing me in a culture that felt both familiar and intriguingly foreign at times.  

The story revolves around Ann (a vibrant Paige Jones) and her four siblings, ranging in age from late fifties to late sixties and holding a vigil in the hospital room where their father (Arnie Hummasti) is dying of cancer.

Ruhl, who based the show on her mother’s family, divided the script into three sections, which she likens to the movements in Japanese Noh theater. Of the three, the first carries the biggest emotional wallop, and anyone who’s lost a parent will feel its immediacy. Here, the exhausted siblings try to nap; talk about eating and realize no one is hungry; and when all else fails turn on the TV. Mostly, though, they hover over the hospital bed while their father struggles to breathe. Clearly not one of them is yet ready for him to leave.

Of course, being a family, they argue, too. Taking place “sometime in the Clinton era,” the group is divided by gender: The three brothers, Jim (Judy Goff-Menegat), John (Nancy Watkins), and Michael (Marc Weaver), are conservatives who think of Bill Clinton as “slick Willie,” a nickname that pains their liberal sisters, Ann and Wendy (Nancy Montgomery). The characters are also divided on how best to care for their father. The men want to up his morphine dosage for palliative purposes, while the women – especially Ann – are afraid of accidentally euthanizing him.

As different and quarrelsome as the quintet can be, though, they have deep roots, and the wonderful cast makes their affection feel as real as their fierce arguments. Sharing a mostly happy past, they spontaneously burst into singing “Can’t Buy Me Love”; and in an especially moving moment, their bodies rise and fall in unison like lungs inhaling and exhaling, a stylized touch that shows us their familial bond without spelling it out for us.

In the second movement, we see the five characters back in their old home and having a spontaneous Irish wake fueled by Jameson’s Whiskey. Here, they reminisce about their childhood, laughing about how their mother used to smoke while she wrapped their Christmas presents in Santa-printed paper. All the while, the ghost of their father threads through them, reminding us that the dead are always with us.

Despite this hint of spirituality, the adult kids’ conflicts escalate as they delve deeper into their divisive politics. Ann, too, feels more and more like an outsider as she realizes she’s the only one who resists the idea of growing up, much like Peter Pan, a character she portrayed onstage as a child.

If the writing in the third movement is a little fuzzy, that may be because Ruhl wrote her play, which premiered in 2016, specifically to be a 70^th birthday gift for her mother, and the conversation may not be as meaningful to everyone as it is in the more universal first movement.

Still, there’s a charm in witnessing how this particular group of people deal with their own aging. Here, the siblings become characters in a version of Peter Pan, with Ann playing the title character dressed in a green tunic and tights. As the Darling children from that play, the other actors, who wear old-fashioned nightgowns, are amusing as they perform with the kind of mannered acting you might see in a children’s production, while also complaining of arthritis and feeling too old to attempt to fly anymore.

Ruhl says she interviewed her extended family and asked for feedback from them on her drafts. If that attempt at fairness muddies her meaning a bit, then at least it was for an honorable cause, showing the warmth and goodness in all the characters, despite the political differences she personally has with them. And although she envisions the most conservative brother as Captain Hook, which isn’t exactly a compliment, Goff-Menegat’s portrayal of Jim creates an intriguing and complex character more than a one-dimensional villain.

According to her daughter, Kathleen Ruhl, the real Ann “embodied the magic of theater,” and we can feel that in this movement, with Ann’s luminous smile and silvery blond hair blown by a fan, giving her the look of someone experiencing the raptures of flight. 

The scenic design by Duplechain captures some of that magic, too. Between movements, the audience watches as the hospital room is transformed into a breakfast nook, with the institutional curtain turned around to reveal golden drapes. A rosy tablecloth over what had been their father’s bed and peachy crocheted antimacassars over the bland chairs complete the picture of a once-happy home.

The show’s costumes, designed by Jennifer Mikel, provide hints to the siblings’ characters. The free-spirited Wendy is dressed in flowy purple top and culottes; Michael, a doctor, wears preppy loafers; the even more conservative Jim wears a suit with a tie and vest. 

In the context of today’s more fraught social conversations, I enjoyed the irony of seeing this conventional male character being convincingly portrayed by a female performer. In the end, though, the production somehow avoids being overtly political, which today may be the most tantalizing – and admirable – magic trick of all.

*** 

For Peter Pan on Her 70^th Birthday continues at Ten Fifteen Theater in Astoria through Aug. 16. Find schedules and tickets here.

Also opening

Third Rail’s elevated staged reading of Grace at CoHo Theatre, Aug. 10.

To celebrate its 20th anniversary season, Third Rail is presenting a series of elevated staged readings that revisit some of the notable plays from its production history. Grace, which was first onstage at Third Rail 18 years ago, is Craig Wright’s tragicomic exploration of faith, and follows an evangelical couple who decide to relocate from dreary Minnesota to sunny Florida. When Sara and Steve face a series of bizarre interruptions – including a mysterious itch, a reticent neighbor, and  a pest exterminator with a dark past – their lives and beliefs begin to unravel.

Founding Artistic Director Scott Yarbrough returns to direct original cast members Stephanie Gaslin, Damon Kupper, and Leif Norby, who will be joined by company member Bruce Burkhartsmeier. Writing about Craig Wright for The Oregonian back in 2010, Marty Hughley called the show a “carefully calibrated examination of faith and knowledge, love and beauty, failure and redemption.” The reading starts at 6:30 p.m. at CoHo Theater, 2257 N.W. Raleigh St. in Portland.

Compass Productions presents The Last Five Years at Tualatin Heritage Center, Aug. 14-17.

Written by Jason Robert Brown, the Tony Award-winning composer of Parade, this show follows a couple from meeting to breakup and back again to meeting. Compass, in it first big mainstage production, has also added a twist: Instead of using the same two-person cast, each of its five shows will feature a different pair of actors, giving audiences a chance to see different interpretations of the same material. In a press release, artistic director Evan Tait said, “We are a musical theatre company focusing on authentic casting, where each performer who is on stage represents the community at large, coming from every different gender identity and expression, body shape, ethnic background, you name it!”

Broadway in Portland’s & Juliet at Keller Auditorium, Aug. 5-10

This pop-song-filled musical imagines what would have happened if Shakespeare’s Juliet had lived. ArtsWatcher Jason Vondersmith previewed the show here.

CESSAIR: The Birth of Ireland, a free bimonthly reading presented by LineStorm Playwrights at Artists Rep, Aug. 10 only.

Inspired by an Irish legend, the workshop reading of this new musical features a dazzling cast, including Austin Comfort, Isaac Lamb, Melory Mirashrafi, Sammy Rat Rios, Joellen Sweeney Ben Tissell, Maddie Tran, and Leah Yorkston. Cessair’s grandfather, Noah, tells her there’s no room for her on his ark, so she takes her husband and 39 women on a voyage to what’s now known as Ireland. Music & lyrics by Holly Richards. Book and lyrics by LineStorm co-founder Lolly Ward. Directed by Holly Griffith, with music direction by Eric Nordin.

Presented with ASL interpretation, the show starts at 5 p.m. at Artists Repertory Theatre, 1515 S.W. Morrison St. in Portland.

Les Misérables, a teen summer production at Broadway Rose, Aug. 14-16.

The Tony Award-winning musical is based on Victor Hugo’s novel and follows Jean Valjean, a man condemned to 19 years of hard labor for stealing a loaf of bread to feed his family. The story moves from Valjean’s adoption of the orphan Cosette to the fiery rebellion in the streets of Paris. Music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer, original French text by Alain Boublil & Jean-Marc Natel, additional material by James Fenton. Directed by Trevor Hennigan.

Hairspray at Pentacle Theatre in Salem, Aug. 15-Sept. 6.

It’s 1962 in Baltimore, and teenage 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.

Outro: A new psychedelic country musical at 21ten Theatre, Aug. 15-17.

Country star Wynn Crier is planning to end her life when she’s forced to work with her ex, Woody Stall, on one final album. Stuck in a Nashville studio, Wynn and Woody take a giant dose of psychedelic mushrooms as they create music and explore what happened to their marriage. The book, music, and lyrics are by Holly Anne Mitchell, a Los Angeles-based artist who is co-producing the show with 21ten Theatre.  

Torchsong Theater Company’s Ballad of the Merry Folx, Aug. 15-31.

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.

Continuing shows

Theatre 33 Summer Fest at Willamette University, Salem, through Aug. 10.

The City and the Sea, a new musical by Paul Lewis, follows a radio astronomer whose father disappeared from Astoria, Oregon, in the 1940s. The show will run through Aug. 9. Another featured production, LineStorm playwright Susan Faust’s Confabulous, a comedy-drama about two feuding sisters providing round-the-clock care for their aging mother and the stoner kids who mows the lawn to help out, will continue through Aug. 10. And you can catch the final performances of I Want You, by Kathleen Cahill, and Proper, A Steampunk Comedy of Manners, by Angela Gyurko. Learn more about the festival in ArtsWatcher Brett Campbell’s recent story.  

All Shook Up at Lakewood Theatre through Aug. 17.

The Portland-area premiere of this zany Elvis Presley/Twelfth Night mashup features disguises, five love matches, and a lively, committed cast who sing 24 Elvis songs. Directed by Thomas C. Graff. ArtsWatch wrote about the show here.

Anything Goes at Broadway Rose Theatre Company, through Aug. 17.

Courtney Fero – who was so superb in Stumptown Stages’ Tootsie earlier this year – also dazzles in the iconic role of Reno Sweeney. Music and lyrics by Cole Porter, original book by P.G. Wodehouse & Guy Bolton and Howard Lindsay and Russel Crouse, new book by Timothy Crouse & John Weidman. Directed by Peggy Taphorn. Get your tickets soon, because Broadway Rose shows tend to sell out. Onstage at the Deb Fennell auditorium in Tigard.

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.