A blizzard of plays will be onstage at Oregon theaters in January. Experience Theatre Project, Portland Center Stage, Milagro, Mask & Mirror, Corrib Theatre, Bag & Baggage, Oregon Cabaret Theater, Stumptown Stages, Ten Fifteen, Twilight Theater, Profile Theatre, triangle productions!, Gallery Theatre, Pentacle Theatre and Northwest Children’s Theatre all have shows opening this month. Whew!

Below is a rundown of productions opening in the first few weeks of January. Also, Dorinda Toner, Twilight Theater’s artistic director, talks about the edgy community theater’s 13^th season.

Macbeth meets Radiohead at Experience Theatre Project

Experience Theatre Project, Aloha’s immersive theater, is known for its innovative productions, and its newest show is no exception: a movement-driven Macbeth, adapted and directed by Alisa Stewart, who was inspired by the Royal Shakespeare Company’s Hamlet: Hail to the Thief, which she saw during its summer 2025 run in London and Stratford.

Set to the haunting music of Radiohead, the production gives Shakespeare’s Scottish play an unsettling soundscape.

“Radiohead’s music opens a door into Macbeth’s internal world,” Stewart said in a press release. “Its restless energy and atmospheric depth allow us to explore the supernatural, the political, and the personal in ways that feel urgently modern. Seeing the RSC’s Hail to the Thief production demonstrated how music can reshape a classic; this Macbeth continues that exploration.”

Besides directing, Stewart will perform live music with the band during the show.

The production will also feature movement choreographed by Andrea Parson. In a recent phone conversation, Parson told ArtsWatch that Stewart asked her to design movement that serves a purpose in the story, especially in the witches’ scenes.

“It was fun researching witchcraft a little bit, what it is these witches are doing and how they’re calling in elements of nature in order to cast a spell,” says Parson. “Movement-wise, I was trying to bring in some of that inspiration.”     

Parson also wants to find new ways to express the emotions of the play. “It’s been a process, layering the movement with the text and with the actors. Three days ago was the first time we had live music in the space, and that was revealing to me. I started to see the play in a way I hadn’t seen it before. I started to see movement opportunities I hadn’t seen before.” As a result, she says she’s encouraging the actors “to really hear the music and allow it to affect them.”

Combining music and movement with Shakespeare’s text is a delicate process, she says, and involves “figuring out the balance between when the text is leading and then when the music can take the lead.”

In all, she thinks the choreography will help make the show more accessible. “In some ways it’s a break for the brain … because with acting, text and language, you’re having to process a lot. Then with movement, for me I feel like, ‘I don’t have to try to figure this out.’ It also adds a layer that can’t be expressed in words.”

“It’s a bold move, it’s a brave thing to combine Radiohead and Macbeth, and we’re figuring it out.”

Macbeth

• Where: Experience Theatre Project, 18850 S.W. Alexander St., Aloha
• When: Jan. 16-Feb. 22, 7:30 p.m. Thursdays-Saturdays; 1 p.m. Sundays
• Ticket and show information: Here.

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The Play That Goes Wrong: Murder and Mayhem at Portland Center Stage

Portland Center Stage is starting the year with big laughs, co-producing The Play That Goes Wrong with Seattle Rep.

Chaos strikes on opening night for the Cornley Polytechnic Drama Society’s production of the 1920s murder mystery Murder of Haversham Manor when the actors trip over their lines, set pieces, and a murder victim who has difficulty playing dead.

Written by Henry Lewis, Henry Shields and Jonathan Sayer, and directed by Dámaso Rodríguez, artistic director of Seattle Rep and former artistic director of Artists Rep in Portland, the show was the winner of the 2015 London’s Olivier Award for Best New Comedy.

“The theatrical magic of this play lies not just in its humor, but in the intricate craft required to make the on-stage mayhem seem effortless,” says Rodríguez. “It takes precision, timing, trust, and collaboration behind the scenes for everything to go wrong in all the right ways.” PCS artistic director Marissa Wolf adds that the show “is a gleefully fun romp for the whole family.”

The Play That Goes Wrong

• Where: The Armory at Portland Center Stage, 128 N.W. 11^th Ave., Portland
• When: Jan. 18-Feb. 15 (opens Jan. 23), 7:30 p.m. Wednesdays-Sundays; 2 p.m. Saturdays and Sundays, 2 p.m. select Thursdays.
• Ticket and show information:Here

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Twilight Theater starts 2026 with Mr. Marmalade

North Portland’s Twilight Theater, which will be presenting the dark comedy Mr. Marmalade this month (previewing Jan. 22, opening Jan. 23), turned 12 in December, and the company is celebrating its past accomplishments as well as its future growth.

In a recent phone conversation, artistic director Dorinda Toner compared the company to the little engine that could, saying, “Every time we’re sort of knocked back, we pick ourselves up.”

She points out that in the last year, Twilight physically grew, with a new set shop and onsite storage in the basement of the company’s home in the Brandon building, a move that will help them increase production value. “When you can’t store anything in the building everything is very transient,” she says.

For its 2026 season, Toner says Twilight, while not “rolling in money,” is in the best financial shape of its history and continues to be committed to presenting more challenging material than the typical community theater fare.

The season-opener, Mr. Marmalade, is a surreal dark comedy by Noah Haidle about a four-year-old girl (played by the adult actor Jessicah Neufeld) with imaginary friends, including the coke-addicted Mr. Marmalade (Clyde Berry). “It’s dirty, it’s naughty, it’s quirky, it’s funny, it’s disturbing,” says Toner. “It’s a really interesting little piece, and I thought if there’s anything that encapsulates what we’ve tried to align ourselves with it’s this – something that’s going to help create community, spark conversation.”

While Twilight doesn’t usually repeat shows, it first staged Mr. Marmalade in 2016, Toner’s first year as artistic director. “This year is a reflection of how far we’ve come and what we’re able to do now,” she says. The wide range of shows on tap for 2026 also includes Richard Bean’s comedy One Man, Two Guvnors; Bad Seed, a thriller by Maxwell Anderson; and a fully staged production of Mikki Gillette’s The Dark Stuff (following the Mikki Gillette Reading Series that Twilight offered over the past few years) as well as two musicals, Next to Normal and Rent. 

“Sweeney Todd [in 2024] was such a huge success for us,” Toner says. “We always felt we were too small to tackle musicals, but we took a risk, and it’s paid off, so putting two musicals in one season is a look to what the future could hold for us, not limiting ourselves.”

Before coming to the U.S. from Canada more than 20 years ago, Toner herself was a vocal artist, as well as an actor in professional and community theaters. Although she earned degrees in English Literature and Performance Arts, with a capstone in directing, when she moved to Portland on her husband’s work visa, Toner wasn’t allowed to get a job for the first few years here, and her husband encouraged her to get involved with theater again as a volunteer.

“Getting back into community theater was a return for me – I fell back in love with the art,” says Toner, who wants to challenge the idea that it’s “not as good as or not as important as” professional theater. “It doesn’t have to be a good old chestnut. We can really push the boundaries of what people think we can accomplish and also provide a space where actors feel motivated and challenged and excited about the projects they’re working on.”

In past seasons, pushing those boundaries has included staging Paula Vogel’s How I Learned to Drive in 2019, starring Adria Malcolm as a woman who was molested by her uncle (played by Michael J. Teufel); 2023’s The Resistible Rise of Arturo Ui, Bertolt Brecht’s parable about the rise of Hitler, a production that mixed increasing dread and vaudeville to make a chilling comment on current-day politics; and Fezziwig’s Fortune, a warm and spellbinding holiday play by local playwrights Josie Seid and Sara Jean Accuardi.

The company, says Toner, couldn’t produce this type of material without its volunteers, some of whom have been with Twilight longer than she has. Everyone – directors, actors, designers and Toner herself – donates their time, with stipends established in 2020 for every position.

“It’s that spirit of camaraderie that allows us to grow and keep reinventing ourselves. I think the thing I’m most proud of is our community.”

Toner adds that every small theater – community or professional – has the same goal: survival.

“I’m not going to sugar-coat it. Funding in the arts is terrible. I mean it was never great, and post-pandemic has been the worst ever.” Still, she’s optimistic about Twilight’s continued growth.

“It’s sort of like when you see someone who’s been working for 20 or 30 years become an ‘overnight success.’ We’ve been toiling away and had some very very lean times where board members have pulled out of their own pockets to keep the doors open.”

Twilight’s continued existence proves, she says, that the model of community theater – “people pulling together to create something bigger than themselves” – works. 

“We’re more than a decade in, and we keep getting surprise accolades: best show, best director, favorite theater. And yet for some reason, we still sort of seem to not be on a lot of people’s radar, and I’d love to see that change,” she says.

“If you haven’t come and seen a Twilight show yet, this is the year to do it.”

Mr. Marmalade

• Where: Twilight Theater Company, 7515 N. Brandon Ave., Portland
• When: Jan. 22 – Feb. 8 (opens Jan. 23); 7:30 p.m. Thursdays-Saturdays; 2:30 p.m. and 7:30 p.m. Saturday, Feb. 7; 2:30 p.m. Sunday, Feb. 1 and Feb. 8.
• Ticket and show information: Here

Also opening

A Beautiful Noise: The Neil Diamond Musical, makes its Portland premiere at Keller Auditorium, Jan. 6–11

Neil Diamond is having his day on screens (Song Sung Blue, a movie about a Diamond tribute band) and stages alike. Created in collaboration with Diamond and featuring the songs that defined his career, the touring Broadway stage musical traces the singer’s rise to rock fame. Jason Vondersmith previewed the show for ArtsWatch here.

Nervous Laughter at 21ten Theatre, Jan. 9-24

Peter Lundquist’s solo show debut explores anxiety, resilience, and the healing power of laughter. Directed by Brooke Totman.

Dog Man: The Musical at Newmark Theatre, Jan. 9-10.

Based on the bestselling books by Dav Pilkey, the comical show follows the crime-fighting, furniture-chewing Dog Man, who has the head of a dog and the body of a policeman. Recommended for ages 6+.

The Oldest Profession, Kaytlin Bailey’s touring solo show at Clinton Street Theatre, 7 p.m. Jan. 11

Described as an “unapologetic, hilarious, and deeply researched performance,” this solo show sets out to rewrite the history of sex work. Bailey, a former sex worker herself, breathes life into stories of women whose legacies have been ignored, erased, or vilified throughout time. “Sex workers have always been here,” says Bailey, whose work has been featured on NPR, The New York Times, and Rolling Stone. “This show is about reclaiming our place in history.” Directed by Katherine Wilkinson. Curtain at 7 p.m.; doors open at 6:30 p.m. at the Clinton Street Theater, 2522 S.E. Clinton St.

Autoretrato de Fridita at Milagro, Jan. 15-25.

Full of music, dance and life lessons, young Frida Kahlo’s story was originally written by Ajai Terrazas Tripathi and has been adapted for puppets by Yosmel López Ortíz, who is also directing the show and designed the puppets, with costumes by Sara Bergman. The cast includes actor/puppeteers Ximena Morales and Pedro Martinez, who portray all the roles. To inquire about scheduling a group for a student matinee performance, email marketing@milagro.org or call 503-236-7253.

Almost, Maine at Mask & Mirror in Tigard, Jan. 16-Feb. 7.

In a town that’s so far north it’s nearly in Canada, quirky characters find love and connection in this series of nine vignettes blending humor, heartbreak, and magic. Jodi Johnson directs this whimsical play by John Cariani.

Continuing shows

Poirot: The Murder of Roger Ackroyd, Lakewood Theatre, through Feb. 9.

In Rick Robinson’s stage adaptation, the Belgian detective Hercule Poirot (Mark Schwahn) comes out of retirement to solve the murder of a friend. David Sikking directs. Note: The play is a mystery that depicts both murder and suicide, and isn’t recommended for children under 8.

SamFest: A reading series at CoHo Theatre celebrating the work of William S. (Sam) Gregory, through Feb. 1.

Friends of writer William S. Gregory are producing a reading series of a number of his works, many of which were discovered on his laptop following his death last year. Find the complete schedule, along with ticket information, here.

Theater news

Northwest Children’s Theatre opens registration for 2026 summer camps in Portland and Beaverton

Young actors can join Dumbledore’s army, travel back to the future or defy gravity with Elphaba in NWCT’s camps this summer, which run from June 15 to August 21. A variety of camps for ages 4-14 are available, from creative play and silly songs to performing a play or musical. Registration is open for the Portland and Beaverton locations, with Sherwood camp registration beginning in late February. For more information, check here.

Astoria’s Ten Fifteen Productions temporarily moves operations, including its expanded education program

Astoria’s Odd Fellows Building, which houses Ten Fifteen Productions, suffered severe damage in a storm on December 16, 2025. As a result, the theater space is undergoing repair and isn’t open to the public.

The company’s production of What the Constitution Means to Me will take place in the McTavish Room at the Liberty Theatre, 1203 Commercial St., Astoria, and the performance schedule has been shifted to the following dates and times:

• Thursday, January 29, 7:30 p.m. – Pay-what-you-can preview
• Friday, January 30, 7:30 p.m. – Opening night with champagne reception
• Saturday, January 31, 3:30 p.m.
• Sunday, February 1, 6 p.m.
• Thursday, February 5, 7:30 p.m.
• Friday, February 6,  7:30 p.m.
• Saturday, February 7, 7:30 p.m.

Current ticket holders will be contacted by Ten Fifteen Productions to inform them of the changes, and transfer tickets to one of the updated dates, if applicable. Those wishing to purchase tickets may still do so here.

The Ten Fifteen Education Program will be temporarily relocated to the Charlene Larsen Center for the Performing Arts, 588 16th St., Astoria. Registered students will be contacted by Ten Fifteen Productions to notify them of the new location and any applicable scheduling adjustments. Some courses still have spots available, and registration continues to be open here.

Ten Fifteen recently announced that it will begin offering theater education classes at no charge to the community.

In a press release, Danyelle Tinker, the community theater’s executive artistic director, said, “Over the past few years we have noticed a sharp increase in enrollment on the occasions we’ve been able to offer a class for free, while we often struggle to fill classes where any tuition is charged. This has indicated to us that many people are interested in learning theater arts, but cost is a barrier to those in our community. I’m thrilled to have found a path toward making the arts more accessible to those in the Astoria area.”

The new program will be led by Sam Dinkowitz, whose background includes teaching theater to adults and children alike. Dinkowitz is a regular director and designer at Ten Fifteen, and his goal is to offer continuous courses in both performance and technical facets of theater.

“By striving to ritualize creativity, we will foster the spark of artistic expression in our community,” he says. “The goal is to have participants think of these classes in the same way one considers their regular yoga class – they’re training a muscle, it becomes part of who they are. ”

The program is sponsored in part by a gift from the Kinsman Foundation. The first-quarter classes are all geared toward adults and include Acting Fundamentals, Improv, and Sketch Comedy Writing. Classes begin the second week of January.