Carla Rossi

The arts moment: back, or ahead?

ArtsWatch Weekly: We're emerging, but into what? The culture, and the arts world, consider the possibilities and make plans.

LIKE MOST OF THE NATION, OREGON HAS ENTERED SOMETHING OF A STATE OF SUSPENDED ANIMATION. Are we in or are we out? Do we shrink or do we grow? Scurry back, or look ahead? In the immortal words of The Clash, should I stay or should I go? Large stretches of rural Oregon, apparently, are eager to go – out of Oregon and into Idaho. Meanwhile, we are free to go unmasked into public spaces if we’re fully vaccinated, but not everywhere and not all the time – and we either are or aren’t on an honor system: Grocery store and restaurant workers and others dealing with the public are being left to police the unmasked to make sure they’re not cheating, and to live with the consequences of their customers’ anger. Businesses that live and breathe on public access, such as the sweet Oregon-scaled Enchanted Forest amusement park south of Salem, have eagerly reopened – and then shut down again in the face of threats from unvaccinated would-be visitors over being required to wear masks. We are one state, it appears, deeply divisible, with liberty and justice dependent on your point of view.

Back to the future? Melvin Van Peebles’ 1968 debut feature “The Story of a Three-Day Pass,” about a Black American G.I. and a white woman who meet and hit it off in France, came two years before his breakthrough hit “Sweet Sweetback’s Badasssss Song.” And it is, Marc Mohan writes, “the most revolutionary ‘new’ movie to hit Portland this week.”

Still, the trend appears to be toward motion – moving ahead – and that includes the worlds of culture and the arts. Museums have reopened, with restrictions. Music and theater and dance are once again among us, if mainly via video stream or on outdoor stages. (But not completely: Portland’s Triangle Productions is entering the final weekend of its production of the comedy Clever Little Lies, live and on an indoor stage, with a quarter-of-the-house capacity of 50 people at a time.)

Here at ArtsWatch we’re shifting with the tide, too. For instance, we’ve renamed Marc Mohan’s movie column, which has been called “Streamers” through the pandemic because movies have been available only via streaming, as “FilmWatch” – because, as Marc notes, movie theaters are beginning to open up again, and whether it’s in a popcorn palace or streaming to your living room screen, a movie is a movie. Even then, as he writes in his latest film column, this whole moving-forward thing can be a confusing muddle of present, past, and possible future. “The most revolutionary ‘new’ movie to hit Portland this week is from 1968, of course,” he writes. That movie is The Story of a Three-Day Pass, the debut feature of maverick filmmaker Melvin Van Peebles, “a sneakily acerbic takedown of American racism, particularly its internalized effect upon the psyche of Black Americans.” A story ripped, or so it seems, from the headlines of pretty much any year you choose.



FRIDA’S POPPING UP ALL OVER, IN OPERA AND IN ART


LEFT: Catalina Cuervo as Frida and Bernardo Bermudez as Diego Rivera in Anchorage Opera’s 2020 production of ‘Frida’. They’ll repeat their roles this summer at Portland Opera. Photo by Kathleen Behnke, courtesy of Anchorage Opera. RIGHT: Kahlo and Russian revolutionary Leon Trotsky are among the figures in artist Molly Van Austen’s 175-foot scroll weaving around the Chehalem Cultural Center. Photo: David Bates

SUDDENLY IT’S FRIDA KAHLO SEASON IN OREGON: Onstage and via stream from Portland Opera, and on paper in a fascinating art exhibition at the Chehalem Cultural Center in Newberg. One of a handful of 20th century cultural figures whose work can draw a crowd just about anywhere, the ever-fascinating Mexican artist is either central to or an integral part of both shows. Here’s the word on each: 

  • PORTLAND OPERA’S BOLD NEW SEASON. As we noted here last week, Portland Opera will present Frida, its long-anticipated production of Robert Xavier Rodríguez’s opera about the life and times of Kahlo, in combined outdoor and streaming performances in June. This week, Angela Allen takes us beyond with a broad discussion of the big new changes brewing in the opera company’s new season, which ranges from its still-streaming Journeys to Justice concert of music about the Black experience to the coming traditional Tosca and the contemporary operas The Central Park Five, a Pulitzer Prize winner with music by Anthony Davis, and the “dystopian chamber opera” When the Sun Comes Out, which was commissioned by the Vancouver Queer Arts Festival. “Opera is for everybody, not just for millionaires and folks who get all dressed up,” Damien Geter, one of the company’s artistic advisors, told Allen. “People want to see things about real people, about real things, things that happened in recent times.” Soprano Karen Slack, Geter’s co-artistic advisor, added: “I am both a lover of grand traditional repertoire and new works. Having made a solid career on both sides, I know the power they both possess. A healthy mix of classics reimagined and new works is always exciting. A little something for everyone.”
     
  • ART FROM THE QUARANTINE LIFE. “Cultural life in Yamhill County hasn’t returned to pre-pandemic levels of activity, but the engine is revving louder these days,” David Bates writes. “People are making plans, holding rehearsals, scheduling summer art camps.” And at the Chehalem Cultural Center in Newberg, he adds, a “delightful new exhibit” addresses the question of what artists will make of the Shutdown Year: “How will a historic, life-changing pandemic translate to the stage, page, and canvas?” The show features suggestions from two artists: Joe Robinson, owner of the East Creek community art studio and anagama kiln near Willamina, who declares that the “large, beautiful pots” scattered around the gallery “can only be accomplished when many hands come together,” and Molly Van Austen, whose 175-foot scroll snaking around the gallery comprises something of a diary of her memories and imaginings during the pandemic. It’s a cavalcade of people: “Each image in this long drawing is a meditation on some dear person in my life. That brings me joy and sadness. Memories prolong life and intensify our emotions.” Among the crowd is a portrait of Kahlo with the Russian revolutionary Leon Trotsky. Frida seemed to know everybody – and as likely as not, everybody was at least as eager to be around Frida as Frida was to be around everybody.


PEAK EXPERIENCES: GOING TO THE MOUNTAINTOP


From left: Taylor Feldman, Ryan Stee, Stacey King and Shanita King on the trip to the top of Mt. Hood in Devin Fei-Fan Tau’s documentary “Who’s On Top?”

DEVIN FEI-FAN TAU: WHO’S ON TOP? In her newest Stage and Studio podcast, Dmae Roberts talks with Portland’s Devin Fei-Fan Tau, a gay Taiwanese-American filmmaker, about his new documentary Who’s on Top?, in which he and his crew follow four LGBTQ+ climbers – only one of them with previous climbing experience – in their quest to get to the top of Mt. Hood. It’s not just a physical journey, but an emotional one, too, and Roberts’ interview includes the voices of each climber talking about what led them to this pursuit. As Roberts puts it: “Historically excluded and ostracized as not belonging to the adventurer community, the climbers tackle not only a mountain, but assumptions about who they are and how they belong to the world of outdoor sports.” Bonus: The film is narrated by the great George Takei.

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Lawrence Shlim (American, born 1954). “Volcanic Ash, Centralia, Washington,” 1980. Gelatin silver print. Portland Art Museum, Gift of the artist, 81.41.2

TUESDAY, MAY 18, WAS THE 41st ANNIVERSARY OF THE ERUPTION OF MOUNT ST. HELENS, one of the signal events in the history of the Pacific Northwest. (It was a Sunday morning in 1980, and I was in Seattle, waiting at the depot to board the train back to Portland, which didn’t happen because the tracks were wiped out somewhere south of Centralia). The mountain’s cataclysmic explosion was the focus of the Portland Art Museum’s terrific exhibition Volcano! that opened last spring, and that in turn lost most of its run to another catastrophe, the coronavirus pandemic. Fortunately, the museum assembled this excellent online version of the exhibition, which you can still access. It’s a grand-scale show, with historic paintings going back as far as the 1850s, some wonderful post-explosion paintings by Henk Pander, George Johanson, Lucinda Parker and others, and many photos documenting both the devastation and the recovery that followed. If you click the link, you’ll find your own favorites. One of mine is the photo above, by Lawrence Shlim, of a street scene in Centralia, looking out a window at a man walking through a blizzard of ash. It seems to speak both to 1980 and the plague year of 2020: life enduring and moving on in the midst of disaster. A town staying, and going, too.



THE NIGHT JANET REED DANCED INTO BALLET HISTORY


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The arts: After the deluge, what?

ArtsWatch Weekly: Planning for a post-Covid Oregon cultural scene; pancakes and the art of dissent; good things come in multiples

AS OREGON HESITANTLY REEMERGES FROM ITS LONG COCOONING – baby steps, everyone: take it cautiously, and wear your masks – it’s not too early to think about what the “new normal” might look like for the state’s arts and cultural organizations. A couple of highly respected onlookers have been considering the changed landscape long and deep, and while they disagree on some fundamental issues, on one thing they’re in accord: It’s highly unlikely that enough money will be available to support everyone in the manner to which they’d like to be accustomed.

What to do, then, when financial push comes to shove?

Fear No Music playing music by Middle Eastern and emigrant-diaspora composers at The Old Church Concert Hall: Will the future of arts in Oregon by small and adaptable? Photo © John Rudoff/2017

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Field of Vision

Conference introduces national organization to Portland through performance and discussion of pressing issues in Oregon arts

A group of prominent Portland artists sat around a table with representatives of some of Oregon’s heaviest hitting arts funders, and the conversation was growing tense. How do funders determine which artists receive support, one artist asked, especially individuals and small organizations that might lack resources and track record compared to better-funded and -staffed institutions? Why do funds seem to flow to the same organizations year after year, even though the art they pay for doesn’t reflect the diversity of the community the organizations and artists both purport to serve? 

Such questions have long troubled Oregon’s art scene as it evolves into a more diverse community. But we seldom hear them voiced aloud in a public event, especially with both donors and recipients present. It’s even rarer for the conversation to proceed beyond accusation to explanation and understanding.

But that’s what happened last spring when Portland’s New Expressive Works hosted the 2019 National Field Network Conference. Presented by staff members from the national organization Jennifer Wright Cook and Shawn René Graham, local Field office representatives Jen Mitas and Katherine Longstreth, and conference consultant Subashini Ganesan, the two-day event — which included performances, installation, and discussion– introduced the New York-based arts organization The Field to Portland, and offered about 200 Oregon artists and arts advocates the chance to participate in conversations about the work The Field is doing, and related issues arts organizations face here.

Pepper Pepper performed excerpts from the forthcoming ‘Noise/Data’ at The Field conference. Image: Karl Lind.

Along with putting artists and art funders around the same table for candid discussions, the first day events presented The Field’s history and explained its Fieldwork method for giving artists needed feedback on their work. The second day featured a panel of Northwest artists discussing the role of social media and digital media in their art practices, plus several performances of dance, music, installation and multimedia art — a welcome injection of actual art into the discussion of arts issues. The event raised some tough but necessary questions about Oregon’s art scene pertinent to artists, presenters, funders, and audiences.

This weekend, Portlanders can see some of the fruits of The Field PDX’s work as artists who’ve received feedback through its Fieldwork process show their work at New Expressive Works’s 12th Residency Performance, where they participated in a residency with Longstreth.

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Drammys: Where’s the party?

DramaWatch: Attendance dropped and the drama crept behind the scenes at this year's Portland theater awards. What comes next?

Once upon a time I had a dream about the Drammys.

I don’t mean dream as in a sleepytime movie, but rather a hope, a wish, an ideal of a future. When I first began to care about the Drammy Awards, the annual celebration of Portland-area theater was held at the Crystal Ballroom. At one end of the oblong room, outstanding theater work was honored onstage. At the other end, the combination of the entrance and the bar catalyzed a sometimes raucous social scene as friendly acquaintances convened. There was tension between the two elements, with the loud, lubricated chatter from the back sometimes drowning out the official proceedings, but it had the feel of a fabulous party. That feeling continued once the event was done, as the crowd spilled outside into a stream of sidewalk clusters stretching around the block and into Cassidy’s, which suddenly boasted more actors than you could shake a script at. 

Drag clown Carla Rossi was emcee at this year’s Drammy Award ceremony, where attendance was down. Photo: Scotty Fisher/Sleeper Studios

I was writing about theater for The Oregonian, and was thrilled about all the interesting and talented local artists I was encountering. Seeing so many of them all together, as one big, convivial community, celebrating one another and the fine work they’d done over the past season, was exhilarating. 

I figured that excitement should be shared.

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DramaWatch: Drammys for all

This year's Portland theater awards put the spotlight on inclusion. Plus: "Indecent" opens in Ashland, "Wicked" flies back into town.

The annual Drammy Awards ceremony, which celebrates outstanding work in Portland-area theater, is a warm and welcoming event. How welcoming? Well, so much so that, after one acting award was announced, the evening’s host, Carla Rossi, observed, “That is the only instance in which it is acceptable to rise and cheer at the words ‘Nazi sympathizer.’”

Drag clown Carlo Rossi was emcee at an inclusionary Drammy Award ceremony. Photo: Scott Fisher/Sleeper Studios

Of course, the assembled theater artists and fans at last week’s party at The Armory weren’t cheering a Nazi sympathizer, but rather the portrayal of one, by Michael J. Teufel, who picked up a trophy for Outstanding Supporting Actor in a Musical as an unsavory character in Cabaret. Actual Nazis and their sympathizers weren’t among the welcome. As that production of Cabaret, by Fuse Theatre Ensemble, turned into the night’s big winner, acceptance speeches were peppered with what came to seem like the show’s unlikely mantra: “Fuck fascism!”

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