Brenda Hubbard

Farewell to the Tangerine Window

In his final days, the beloved set designer and artist Tim Stapleton hosted a steady flow of friends. Now, his final artwork is on display.

“To get to the Tangerine Window you had to go on a bit of a spirit journey,” as Mary McDonald Lewis puts it.

The window in question was at West Hills Health & Rehabilitation, a nursing facility in Portland’s Multnomah Village, with low-slung yellow-brick buildings and well-manicured lawns. “You’d walk down the narrow side of the building, through a gate and into a little courtyard of small lawns, park benches, little gardens,” McDonald Lewis continues. The anodyne surroundings are scrupulously, pleasantly plain — except for one section. There, little bursts of color catch the eye — flowers in sky-blue planter pots, a yellow rubber duck in a rusted iron bird feeder, large ceramic carp glazed in brilliant cobalt blue, seeming to swim along a dry stream of stones. And then, instead of the standard-issue white curtains of the other rooms, a flash of bright orange appears like a welcome.
“It’s like a window that you’d expect to see on ‘Mister Rogers’ Neighborhood.’ A window that glowed like monarch butterfly wings. But then, inside, is a very ill man. And yet, within moments you’re caught up in his eyes, and in his stories, and then it’s just Tim. You’re with Tim.”


Photographer Owen Carey, who shot this portrait of Tim Stapleton in 2013, joined forces with Stapleton on many a play and many a cocktail. Carey says that in one of his last text exchanges he asked if he should bring anything on his next visit. “He asked for ‘some Pirate’s Booty, your booty, and a Negroni in a sippy cup.’”

Timothy Wayne Stapleton, an accomplished and beloved figure in the Portland arts scene, died on Sept. 7, at age 71, from the effects of amyotrophic lateral sclerosis, or ALS, the motor neuron condition commonly known as “Lou Gehrig’s disease.” For the last several months of his life, pushing against the isolating effects of both the COVID-19 pandemic and his progressively debilitating illness, many of his many friends made pilgrimages to what everyone called the Tangerine Window.

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DramaWatch: A vintage Storm

Ten years after, Storm Large's short-run revival of "Crazy Enough" blows even stronger. Plus: Drammys Monday, openings, summer tips.

Around 2002 or 2003, not long after Storm Large had moved to Portland and started to establish herself as a local cultural phenom, several friends told me I had to go to the Old Town nightclub Dante’s to hear this amazing rock singer. During those days, I was the staff pop-music critic for The Oregonian, so I dutifully went to see what the buzz was about. Within a couple of minutes I could tell what had people talking: a tall, good-looking woman with a commanding stage presence and a voice as big and pliant as her attitude was bold and defiant.

Yet I wasn’t won over. Her vocal talent and charisma were undeniable. But the brash, bawdy Amazon-sex-goddess persona that had folks howling her praise? Meh, not interested.

Storm Large performs with (L to R) Greg Eklund (Drums) and Matthew Brown (Bass) in Crazy Enough. Photo: Kate Szrom/Courtesy of Portland Center Stage at The Armory

A few years later, in the fall of 2007, she starred in a Portland Center Stage production of Cabaret and I began to take a larger view, you might say. Her vocal chops extended beyond rock’n’roll belting, and she could convey emotional shades that weren’t evident in the bluster of Storm and the Balls. 

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