News & Notes: Future Pinter provocations, Kristy Edmunds returns, more!

Imago has scheduled a second Harold Pinter play this season, Kristy Edmunds will lead a roving band in conversation

Tomorrow, we fully intend to get back to Maguy Marin’s “Salves (Salvos)”, which created quite a stir over the weekend. And maybe we’ll even take another jaunt to Lisa D’Amour’s “Detroit,” because suddenly the one informs the other. We’re so fond of ripping the scab off the Body Aesthetic to re-explore previous wounds!

Today we will start for Provocations Future, however.

Anne Sorce and Kyle Delamarter in Imago's "Beaux Arts Club"/Jerry Mouawad

Anne Sorce and Kyle Delamarter in Imago’s “Beaux Arts Club”/Jerry Mouawad

Jerry Mouawad has decided to double up on his Harold Pinter this season. Previously slated to direct Pinter’s dark classic “The Caretaker” (OK, “dark classic” describes just about ALL Pinter’s work), with Allen Nause as the homeless tramp Davies and Todd Van Voris as the man who invites him home, Mouawad has decided to bring the one-act “The Lover” to the Imago Theatre stage, as well. Anne Sorce and Jeffrey Gilpin star.

The Nause/Van Voris combination was already a highlight of the season. Nause, who recently stepped down as artistic director at Artists Repertory Theatre and is among the best actors in the history of Portland stage, starred opposite William Hurt in Pinter’s “No Man Land” two years ago, a production that stirs debate any time it comes up because of Hurt’s radical take on Spooner (or “insane take,” depending on which side you’re on). Van Voris, who has worked illustriously with Nause at Artists Rep, played in Mouawad’s previous Imago encounter with Pinter, “Betrayal.”

Allen Nause, left, with William Hurt in "No Man's Land" at Artists Repertory Theatre/Owen Cary

Allen Nause, left, with William Hurt in “No Man’s Land” at Artists Repertory Theatre/Owen Cary

I haven’t seen a production of “The Lover” in Portland, and Sorce’s comic predilections might signal that’s the direction Mouawad will go with it, though it can also play as a drama. “The Lover” plays for nine shows only, opening on December 5. “The Caretaker” opens on Feb. 27. To purchase tickets call Imago Box Office at 503-231-9581 or Ticketswest at 503-224-8499 or online at ticketswest.com. Or email imagotheatre@gmail.com.

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Kristy Edmunds, who changed the face of Portland arts by founding the Portland Institute for Contemporary Art, will be back in town from her post as executive and artistic director of the Center for the Art of Performance at UCLA on Sunday to moderate a discussion with artists Stephen Hayes and Fernanda D’Agostino about their respective exhibitions.

The twist is that these conversations will start at 2:00 pm at The Art Gym at Marylhurst University, where D’Agostino’s installation, “The Method of Loci,” is on display. Then everyone will pack up and move to Lewis & Clark College’s Hoffman Gallery, where Hayes’s deeply engaging “Figure/Ground: A Thirty Year Retrospective” is hanging from the walls, and where the conversation will pick up at 3:30 pm.

Stephen Hayes's retrospective, "Figure/Ground' at the Hoffman Gallery.

Stephen Hayes, “Film Still,” monograph, in “Figure/Ground’ at the Hoffman Gallery.

The conversations are free, but an RSVP is requested at gallery@lclark.edu or 503-768-7687. For more information, contact The Art Gym or the Hoffman Gallery.

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Computer analysis suggests Shakespeare had a hand in three collaborative plays, the anonymous  “Arden of Faversham,” Thomas Kyd’s “The Spanish Tragedy” and the anonymous “Mucedorus” all of which were performed by his London acting company. The three will now be included in a major edition of Shakespeare’s collaborative plays.

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The ‘smart’ business guys on the NY City Opera board pretty much killed it by raiding the endowment, the New York Times reported.

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This is the 50th anniversary of John Rechy’s “City of Night,” a first novel of uncommon craftsmanship and one with an uncommon protagonist, a gay hustler in New York City who resembled Rechy himself. Charles Casillo celebrates the novel in the Los Angeles Review of Books.

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