Chris Coleman

2018: A roller-coaster arts ride

Baby 2019's raring to get rolling. But first, a stroll down memory lane with Old Man 2018 and his slings and arrows of outrageous fortune.

Well, that was the year that was, wasn’t it? Old Man 2018 limps out of the limelight with a thousand scars, a thousand accomplishments, and a whole lot of who-knows-what. The new kid on the block, Baby 2019, arrives fit and sassy, eager to get rolling and make her mark. She’s got big plans, and the ballgame’s hers to win, lose, or draw.

New kid on the block: 2019 rolls into the picture, fit and sassy and ready to start fresh. (Claude Monet, “Jean Monet on His Hobby Horse,” 1872, oil on canvas, Metropolitan Museum of Art, New York.)

On the Oregon arts and cultural scene, 2018 entered the game with similar high hopes and then handled a lot of unexpected disruption, holding his ground and even making a few gains even as his hair grew thin and gray. He can retire with his head held high, if he’s not too busy shaking it from side to side over the things he’s seen.

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People & Conversations 2018

2018 in Review, Part 3: ArtsWatch goes behind the scenes for conversations with 22 creators who talk about their lives and art

By Sarah Kremen-Hicks

Theaters have their curtains. Paintings have their frames. Books have their covers. The act of presentation, of framing, of giving things edges, shifts the subject to the work itself and hides the artist away, if only a little bit. ArtsWatch’s writers have spent the past year seeking out the artists behind the frames and bringing them to you. Here are 22 glimpses behind the curtain from 2018.

 


 

Michael Brophy in his North Portland studio, 2017. Photo: Paul Sutinen

A conversation with Michael Brophy

Jan. 3: Prominent Northwest painter Michael Brophy talks with Paul Sutinen in an interview that begins with being “the kid that drew” and becomes a meditation on medium and viewership:

Where did that lightbulb come on for you to say, ‘OK, I saw all that stuff in London and now I want to go to art school.’

I knew the minute I saw paintings, like in the National Gallery. The scale of things—my mind was blown by the size of things. An artist I don’t think about much, Francis Bacon, there was a room of Bacon’s paintings [at the Tate Gallery] and it terrified me. I didn’t know that art could do that. I had to leave the room. I had a kind of like a panic attack.

I think they call it ‘epiphany.’

Yeah, so after that I just knew what I was going to do. Just as simple as that.

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Chris Coleman: The exit interview

Chris Coleman, now the former artistic director of Portland Center Stage, talks about lessons learned during his long tenure here

When people leave Portland for jobs in another city, all good journalists understand that they have just opened a door, not just on a new future for themselves but on the past. Or at least a more candid view of the past they shared with us while they were here. Nothing like putting a city and a job in the rearview mirror for loosening the tongue about the place they are leaving.

Not that anyone leaving Portland for Denver these days—as Portland Center Stage artistic director Chris Coleman announced he was doing last November after 17-and-a-half years here—can feel entirely unrestrained in conversation with a journalist. The more “dynamic” parts of such an interview will inevitably cross the Rockies. But still, at the very least, the leave-taking interview, the exit interview, can lead to a reflective state of mind that can be very valuable for those of us left behind.

Chris Coleman. Photo: Portland Center Stage

Coleman’s time here was marked by two overlapping events: The opening of The Armory’s two theater complex in the Pearl District and the Great Recession of 2008, which affected all the city’s arts organizations in dire ways. That Coleman led the company through both of those events is perhaps the major achievement of his time here. He also helped devise and pass a city Arts Tax, which has bolstered arts education in Portland and helped stabilize Portland’s biggest arts organizations. And he programmed and directed a series of important productions in the theater history of the city, including an “Oklahoma!” set in an African American town.

In February, just after Coleman’s epic “Astoria: Part Two,” opened, we got together to talk about…well, almost anything Coleman wanted to talk about. The conversation lasted more than an hour. I’ve edited it a bit for clarity and length, but mostly it’s Coleman talking as he spoke on the mezzanine level of the Armory Building.

What were the biggest challenges you faced when you started at Portland Center Stage; the biggest challenge you faced in the middle of your run here; and what’s the biggest challenge your successor will face?

The biggest challenge when I got here was moving the programming. I think the board was hungry for more adventure, the staff was hungry for more adventure, but nobody had checked in with the audience. And so I leaned forward at their encouragement, and I leaned too far forward, I think, initially. (1) If I had to do it over again…Julie Vigeland [who was the board president of Center Stage when Coleman was hired] and I have wrestled with this over and over. If I had it to do it over again, I think I would have been a little more evolutionary than revolutionary, because I think I could have kept more people in the fold longer, and it would have been a less difficult first couple of years. Julie feels like, you know what, we needed to say things have changed and this is where we’re going.

It was painful emotionally. It was painful financially. And it was scary initially. So, it was definitely trying to figure out, where is this community or this audience for this organization aesthetically, and how does that fit with what I want to do and how do we line up a little bit better. That was huge.

And then the organization was tremendously under-resourced for a company that was trying to fill 900 seats [in the Newmark Theatre]. The budget my first season was $3.2 million, and boy, that is a brutal equation. So selling the vision, trying to figure out where the community was, and trying to increase our resources so we could put better work on stage, those were the biggest challenges early on.

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DramaWatch: Third Rail’s the charm

The lowdown on this week's openings and closings, new seasons on the way, and a blast of a party coming up for Third Rail Rep

“When Third Rail first came on the scene,” says Maureen Porter, “there was little else happening. It was a different scene and a different city.”

So it was, back in 2005 when Third Rail Repertory Theatre — already a couple of years worth of planning meetings into its life as a fledgling company — rocketed onto theatergoers’ radar with an acclaimed production of Craig Wright’s Recent Tragic Events. An artists’ collaborative that started out as a fully professional Equity company, they were the little guy that could, quickly coming to be considered in the front rank of Portland theaters alongside Portland Center Stage and Artists Rep; significantly smaller in budget and number of productions, but consistently punching above their weight with top-quality work.

Maureen Porter

Not long after Third Rail began to solidify its reputation, I switched from my longtime position at The Oregonian, covering popular music, to writing about theater — an art form about which I knew all too little. (Yes, yes, I know — some things never change.) I quickly fell in love with theater, and Third Rail was (along with the Oregon Shakespeare Festival and, I suppose I’d have to say Artists Rep) why. The company picked great plays, comedies with devilish bite, dramas with surprising, insightful slants. The acting was consistently arresting, featuring a steady core of talented company members. The direction (in the early years, always by founding artistic director Slayden Scott Yarbrough) showed a scrupulous attention to detail, textual interpretation carried out coherently and cohesively through  all aspects of design and performance. The tremulous containment of Gretchen Corbett as a woman in political danger in A Lesson From Aloes; Porter’s fantastic (literally) bipolar mood swing in The Wonderful World of Dissocia; pretty much every little thing about Enda Walsh’s antic yet high-minded Penelope (a take-off on the Odyssey, set in an abandoned swimming pool)…for several years, it was high point after high point.

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A ‘Major’ deal with the Devil

In GB Shaw's "Major Barbara" at Portland Center Stage, good intentions and bad money duke it out on the moral battlefield. Guess who wins.

We’ve seen her type before: the Iron Matron. Imperious, but so impeccably mannered that you almost wouldn’t notice. So cunning that she’d never admit to her own cleverness. Intent on everyone doing things her way because, by god, that’s the way good people do things!

Alternately feigning helplessness, pulling strings and slinging barbs, Lady Britomart steals the opening scene of George Bernard Shaw’s Major Barbara, and with the marvelous Dana Green playing the role in the production newly opened at Portland Center Stage, that amounts to grand theft.

From left: Charles Leggett as Andrew Undershaft, Dana Green as Lady Britomart, Hanley Smith as Barbara Undershaft and Brian Weaver as Adolphus Cusins. Photo: Jennie Baker

Shaw gives the character such sly wit that you excuse all the exposition she’s hauling out. Under the guise of asking her grown son, Stephen, to take charge of family matters, she fills him in on family history, meanwhile laying out for us the play’s narrative premise as if she was setting the dinner table (though of course she’d have the help do that).

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DramaWatch Weekly: ‘Major’ news

A Shavian comedy at Center Stage, a baby in peril at CoHo, Peter Pan at NW Children's Theatre, shocks at Artists Rep, Triangle's new season

She is the very model of a modern Major Barbara.

Sorry, wrong Brit classic. Let’s try again.

Major Barbara, by the legendary British wit and armchair socialist George Bernard Shaw (not by Gilbert & Sullivan), is a play of ideas – big ones, as was Shaw’s wont – about the State of Society and How It Should or Should Not Be Run. Major Barbara Undershaft toils ceaselessly for the Salvation Army to uplift those in need. Her father, Andrew Undershaft, works just as hard to pile up money – in his case, by manufacturing and selling munitions. When he then plans to give some of that money to charitable causes, things, well, blow up. Can good causes accept gifts from bad sources? Can bad money do good things? The horror!

Charles Leggett as Andrew Undershaft in “Major Barbara” at The Armory. Photo: Jennie Baker

In the nonprofit world, this is an ever-present question, and the answer is usually (though not always) “We’ll take that money; thanks.” Shaw being Shaw, the question is delivered with more than a dash of switchbacks and wit – plus a fiancé or two. After several preview performances, Major Barbara opens Friday night on the Main Stage of Portland Center Stage at The Armory, and continues through May 13. Besides providing an increasingly rare chance to see a full-out professional production of a Shaw play, it’s special because this will be the final opening night at PCS for Chris Coleman, who’s been the company’s artistic director for many years and is leaving to take a similar post in Denver.

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REBECCA GILMAN IS KNOWN is known for writing socially and politically provocative plays such as Spinning into Butter, which puts its spin on political correctness on college campuses, and Luna Gale, her latest to hit town, appears to follow a similar path. It opens Friday (through May 12) at CoHo Theatre, with a cast including Sharonlee McLean, Danielle Weathers, Kelsey Tyler and others under Brandon Woolley’s direction, and digs into issues of child services, parents’ rights, and adoption. Luna Gale is the infant; the parents are teens under court order to undergo meth rehab; the mother’s born-again mother wants to adopt, against her own daughter’s wishes; and the caseworker’s in the middle of it all.

Sharonlee McLean in “Luna Gale” at CoHo. Photo: Gary Norman

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NORTHWEST CHILDREN’S THEATRE is ending its 25th anniversary season up in the air, and that’s probably a good thing. It’s reviving its popular 2012 production of Peter Pan, a fresh take with a new book by Milo Mowery and a new score by Rodolfo Ortega. Ryder Thompson is Peter, Grace Molloy is Wendy, Andrés Alcalá is Captain Hook, and Kevin Michael Moore is Smee. Flying by Foy, of course, will be on hand to keep things airborne. Opens Saturday; through May 20.

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IT’S BEEN 75 YEARS SINCE this musical fable about farmers and ranchers in the American Midlands rocked the Broadway world, and a fresh take on Rodgers & Hammerstein’s classic musical Oklahoma! joins the rep at the Oregon Shakespeare Festival in Ashland this week. Whatever else artistic director Bill Rauch’s revival does, it’s going to be topical, with same-sex lead couples. Plus, of course, those songs. Oklahoma! will join Othello, Sense and Sensibility, Destiny of Desire, Henry V, and the world premiere of Mary Kathryn Nagle’s Manahatta in the rep, with Romeo and Juliet, The Book of Will, and Love’s Labor’s Lost opening on the outdoor stage in mid-June, and The Way the Mountain Moved (by Idris Goodman; commissioned by the festival and also a world premiere) and Snow in Midsummer opening later in the season.

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NATURAL SHOCKS, Lauren Gunderson’s new one-woman play about gun violence, will have a staged reading at 7:30 p.m. Friday on the Alder Stage at Artists Rep, on the 19th anniversary of the Columbine shootings. It’s free, but you need to reserve a seat, and any donations will go to the organizations March for Our Lives and Everytown for Gun Safety. Lauren Bloom Hanover will perform, and Kisha Jarrett will direct. Gunderson is also the author of Artists Rep’s next full-run show, I and You, opening May 20.

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ANOTHER NEW SEASON: Triangle Productions has joined the recent crowd of companies announcing their 2018-19 seasons. The six-show season opens in September with Holland Taylor’s Ann, about the late and legendary Texas governor Ann Richards. It’ll star Margie Boulé, and that seems like a good pairing of smart, talented and witty women. In November and December it’s Who’s Holiday, starring Daria (Bad Dates, Judy’s Scary Christmas) and written by Matthew Lombardo (Looped!). In February 2019, Helen Raptis stars in I’ll Eat You Last: A Chat with Sue Mengers. No, it’s not about the Donner Party. Mengers was a fabled Hollywood agent with A-list clients. Dirt, no doubt, will be dished. March brings Straight, by Scott Elmegreen and Drew Fornarola, followed in May by Love, Loss, and What I Wore, an evening of monologues and ensemble pieces by the fabulously funny Ephron sisters, Nora and Delia. The season concludes in June 2019 with Matthew Lopez’s The Legend of Georgia McBride, about a guy who gets fired as an Elvis impersonator and then discovers a drag show’s taking his slot.

Astor’s great and messy quest

In Part 2 of Chris Coleman's sweeping historical drama "Astoria," a rich man's dream runs aground – but not before it reshapes Oregon's fate

In the early years of the 19th century, John Jacob Astor, a German immigrant who’d already become wealthy through the fur trade and Manhattan real estate, gambled big on a grand vision. His plan was to establish an “emporium” near the mouth of the Columbia River — a geographic feature only recently known to Europeans and Eastern settlers — supported by fur-trapping posts along its tributaries. This would allow him to dominate the Pacific Northwest’s vast supply of one of that era’s most valuable resources. His company would then be able to initiate a lucrative global shipping network, trading in not just furs but Chinese tea and European manufactured goods. Flush with early-American idealism, he further hoped to set the stage for a democratic government in the region, a political and cultural sister to the fledgling United States, then still clustered on the continent’s eastern edge.

Jimmy Garcia as Pierre Dorion and Leif Norby as Robert McClellan with members of the cast of “Astoria: Part Two.” Photo: Patrick Weishampel/blankeye.tv

To these ends, Astor, in 1810, sent two expeditionary parties toward the Columbia, one by sea around Cape Horn, the other overland, heading out from St. Louis along the trail blazed a few years earlier by Lewis and Clark. The harrowing, often deadly, adventures of these groups is vividly told in Peter Stark’s 2014 best-seller Astoria: John Jacob Astor and Thomas Jefferson’s Lost Pacific Empire, a Story of Wealth, Ambition and Survival, and now in Chris Coleman’s sweeping theatrical adaptation for Portland Center Stage. Astoria: Part One premiered last season; Astoria: Part Two is on the boards at The Armory through Feb. 18, with a few bonus performances of the first installment sprinkled through the schedule.

SPOILER ALERT: Astor fails.

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