Davita’s Harp

ArtsWatch Weekly: It’s raining cats and dogs. Road trip!

A look at the week that was in Oregon arts. A glimpse ahead at the week that's going to be.

In a lot of Oregon schools it’s spring vacation. Maybe you’re already off someplace with the offspring – a beach cabin, or the dreaded Disneyland. (Hint: Enchanted Forest, south of Salem, is a lot closer and a lot cheaper, and it’s open this week.) Maybe your kids are grown and gone, or you don’t have any, but a little early-spring zip out of town sounds like a good idea. Well, why not? Interesting stuff happens all over the place.

Out the Columbia Gorge, the Maryhill Museum of Art opened last week for the 2016 season, which will run through mid-November. I haven’t made the trek yet, but I will, partly to see the museum’s freshened-up display of international chess sets, a collection I find fascinating even though I don’t play the kingly game. There are also interesting-looking exhibitions of American Indian trade blankets (this one doesn’t open until July 16; the others are open now), classic American art pottery, several paintings from the collection that are too big to be on permanent display (size matters, especially when there’s limited space) and – this should be a kid-pleaser – animal paintings from the permanent collection.

"A Golden Retriever," Edwin Douglas, 1900, oil on canvas, Maryhill Museum of Art

“A Golden Retriever,” Edwin Douglas, 1900, oil on canvas, Maryhill Museum of Art

That includes the 1900 A Golden Retriever (above), by the Scottish painter Edwin Douglas, and to be sporting about it, you might want to take the nippers first to the Portland Art Museum to see another great big painting, Carl Kahler’s My Wife’s Lovers (you don’t have to spill the beans on the title), which is on loan through May 15 and is being promoted as “the world’s greatest painting of cats.” Hey, this is the Pacific Northwest: It’s raining cats and dogs.

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Song of childhood: Davita’s Harp

In its final production, Jewish Theatre Collaborative creates a sensitive world-premiere adaptation of Chaim Potok's novel

Almost a hundred years ago, a 14-minute song became one of the most celebrated and performed pieces in American culture. It’s a hybrid of classical, jazz, Jewish, Broadway musical, and blues. Rhapsody in Blue begins with what the outsider hears as the cosmopolitan swagger of a clarinet. It’s the tempo of the weary heading home as the city begins to rise: watching maids folding bed sheets, bakers making their dozen, florists setting out for market, the city dressing and undressing itself. On the inside, Rhapsody in Blue is many worlds coming together in a determined shaking-hands sort of way; but the solo always remains, an echo of a secular cantor. The clarinet in George Gershwin’s song is partly joy at being able to sing of sadness, but the very roots sound out an alienation, along with an appreciation of living together. The song became an anthem of urbanity, a tune recognizable, but little understood. It is perhaps the best example of what characterizes Jewish artists and Jewish art in 20th century America: a conversation with identity, tradition, new roots, community, and the individual.

Kayle Lian and Illya Torres-Garner. Photo: Gary Norman

Kayla Lian and Illya Torres-Garner. Photo: Gary Norman

In its seventh and final season the Jewish Theatre Collaborative, along with its director Sacha Reich and Milagro Theatre, where it performs, have put to stage Chaim Potok’s 1985 novel Davita’s Harp. This world-premiere adaptation, which opened Saturday, invokes the great tradition of Yiddish theater: validating the human experience, drawing out the dynamics of identity, questioning and supporting not just Jewish culture, but the broader framework of American experience. Reich and co-writer Jamie M. Rea worked closely with Adena Potok, Chaim Potok’s wife, to develop the script.

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ArtsWatch Weekly: whale of a week

A look at the week that was in Oregon arts. A glimpse ahead at the week that's going to be.

The history of art, in a way, is a history of obsession. And who is more obsessed than Captain Ahab, feverish hounder of the great white whale? Herman Melville, perhaps, creator of the novel Moby-Dick, or, The Whale, and thus creator of the monomaniacal Ahab. Or Orson Welles, the mad genius of the cinema, who attempted to latch on to Melville’s harpoon and ride it to obsessive triumph in an unlikely stage adaptation of a novel that might be both untamable and unadaptable. Or, maybe, Scott Palmer, the adventurous artistic director of Bag&Baggage Productions, who’s taken Moby Dick, Rehearsed, Welles’s obsessive adaptation of Melville’s obsessive novel, and brought it to the B&B stage. In his fascinating (and in its own way, obsessive) review of B&B’s production, ArtsWatch’s Brett Campbell quotes Palmer on the book that started it all: “Moby-Dick isn’t a novel, it is an entire imaginative world. It is massive, bulky, colossal, terrifying, majestic and ultimately unfathomable. It is the physical representation of one man’s will, one artist’s transcendent vision, an entire internal universe externalized …”

Bag&Baggage's magnificent obsession. Casey Campbell Photography

Bag&Baggage’s magnificent obsession. Casey Campbell Photography

Giant whales and such, as Brett points out, have been something of a communal obsession in Portland lately, from Portland Experimental Theatre Ensemble’s season-long serial [or, the whale] to Portland Story Theater’s The Essex, the Northwest Film Center’s Welles-fest, a reading of excerpts from the novel at Portland’s Mother Foucault’s bookshop, and the musically adventurous AnyWhen Ensemble’s Moby-Dick inspired Boldly Launched Upon the Deep.

And how does this magnificent obsession (or cascade of obsessions) work out? Campbell writes: “Neither Ahab nor Melville nor Welles nor Palmer let the challenges of their tasks daunt them. Ahab caught his prey, but it cost him his life and those of his crew. Melville’s novel was widely regarded as a crazy failure in its time, and its overabundance of non-dramatic material still repels many readers. Welles’s misguided attempt to turn so inward-gazing a novel as Moby-Dick into compelling stage drama amounted to hunting a white whale; as Palmer acknowledged in a pre-show talk, it’s perhaps a good thing that Welles devoted himself to filmmaking rather than playwriting. In nevertheless choosing to stage Welles’s whale folly (in his centennial year), Palmer again plays the white knight, this time trying to save the white whale. Does he catch the object of his obsession in this new production and redeem Welles’s hubristic vision? Like the others, it’s a foredoomed, magnificent failure that, if you can stick with it long enough, you ultimately can’t let go of.”

America is, of course, a land of magnificent attempts and magnificent failures, which makes this whole thing seem so, well, American. It’s like a magnificent stab at the great American production of the great American adaptation of the great American novel: Who needs perfection when you’ve got a series of obsessions the size of a great white whale?

 


 

Vin Shambry (left), Chantal De Groat, and Chris Harder in "We Are Proud To Presnt ..." Photo: Owen Carey

Vin Shambry (left), Chantal DeGroat, and Chris Harder in “We Are Proud To Present …” Photo: Owen Carey

America is also obsessed with race, and the great stain of its racial history, which continues to trouble and obsess us in everything from policing to housing to job opportunity to our political campaigns, where it is sometimes used like a hidden (or not so hidden) persuader of fear and loathing. ArtsWatch’s Barry Johnson delves into this not-so-magnificent American obsession in his review of Artists Rep’s new production of We Are Proud To Present a Presentation About the Hero of Namibia, Formerly Known as Southwest Africa, from the German Sudwestafrika, Between the Years 1884-1915, Jackie Sibblies Drury’s smart and searing play about race, and our continuing difficulty in talking about it honestly, often even when we have the best of intentions. “We Are Proud to Present is a scorpion of a play,” Johnson writes, “and its tail packs a serious punch made all the more deadly by the light tone of the beginning.”

 


 

Tamisha Guy and Vinson Fraley Jr. in Kyle Abraham’s ‘The Getting’. Courtesy White Bird, © Jerry and Lois Photography All rights reserved http://www.jerryandlois.com

Vinson Fraley Jr. and Tamisha Guy in Kyle Abraham’s ‘The Getting.” Courtesy White Bird, © Jerry and Lois Photography. All rights reserved. http://www.jerryandlois.com

And while we’re on the subject: In Kyle Abraham dances about race, Nim Wunnan writes for ArtsWatch about the dance troupe Abraham.In.Motion’s canny and provocative performance in the White Bird series, a trio of works rooted in hip-hop, modern, and contemporary dance. The show “confidently and gracefully engaged both historical and very immediate issues of race and the individual’s place in this culture,” Wunnan says, and adds: “We start to understand in this work that certain movements and positions are almost exclusive to black bodies in this culture. And we rightly start to feel uncomfortable in our seats, notably when the usually vibrant and fluid [Tamisha] Guy sinks to the floor with a leaden exhaustion, face down, with her hands behind her back in an unmistakable position of submission, of arrest. The one Oscar Grant was in when he was shot point blank in the back.” Grant, in case you’ve lost track amid the the seemingly endless string of “incidents” involving police and black citizens, was slain by a Bay Area Rapid Transit policeman in the early hours of New Year’s Day 2009 in Oakland.

 


 

Heath Koerschgen and Danielle Weathers in "Davita's Harp." Photo: Friderike Heuer

Heath Koerschgen and Danielle Weathers in “Davita’s Harp.” Photo: Friderike Heuer

A few things to keep in mind on this week’s calendar:

Davita’s Harp. The Jewish Theatre Collaborative has been preparing all season for this world-premiere adaptation (by Jamie M. Rea and director Sacha Reich) of Chaim Potok’s 1985 novel about a contentious family in the New York of the 1930s, as the world is churning toward disaster. Opens Saturday; through April 9 at Milagro Theatre.

Arvo Pärt and The Ensemble. Justin Graff gets us all in the mood for the notable chamber and vocal group’s weekend performances of the mesmerizing music of Pärt, “one of the world’s greatest living composers.” And in A Pärt Pilgrimage, Graff gets considerably more personal, telling the tale of his journey to Talinn to meet the master, of sharing chocolates,  and a session at the keyboard. All pilgrimages should be so rewarding. The performances: 7 p.m. Saturday at Eugene’s Central Lutheran Church; 4 p.m. Sunday at Portland State University’s Lincoln Recital Hall.

Northwest Dance Project. The Portland ensemble’s newest concert is called Louder Than Words, which might be appropriate, because it’s been raising the roof lately with performances in New York and elsewhere. A new work from the company’s talented resident choreographer, Ihsan Rustem, plus one each from artisitic director Sarah Slipper and Brazilian dancemaker/filmmaker Alex Soares. Newark Theatre, Thursday through Saturday.

 


 

 

ArtsWatch links

 

Wangechi Mutu, “Histology of Different Classes of Uterine Tumors”/Courtesy of PNCA

Wangechi Mutu, “Histology of Different Classes of Uterine Tumors”/Courtesy of PNCA

 

Wangechi Mutu and the revolt of the female form. Grace Kook-Anderson looks at 511 Gallery’s Northwest premiere exhibition of this post-colonial, feminist, New York-via-Nairobi artist. “Mutu’s women are distorted figures, hybrids of animals and natural elements, bodies that are capable of great force,” she writes.

Michelle De Young: heavy going. What happens when a Wagnerian powerhouse of a voice meets an art song in recital? Katie Taylor went to the acclaimed singer’s Friends of Chamber Music concert and found the combination of voice and material sometimes disconcerting.

Oscar nominee Ciro Guerra: an interview. Erik McClanahan talks with the Colombian-born director of the foreign-language nominee Embrace of the Serpent. Bummed that he didn’t haul home an Oscar? “We were kind of relieved we didn’t win,” Guerra said. “There was a favorite going in and it’s great not to be the favorite. It can be a lot of pressure. Even winning can be a lot of pressure. So we just made the best of it and enjoyed it.”

Toxic glory: Heathers: The Musical. Christa Morletti McIntyre takes a look at the ’80s glory that was the cult teen movie, and the new glory of its musical-theater adaptation, which is is getting a slam-bang co-production from Triangle and Staged!

Born to run (and to film): Wim Wenders, continued. Marc Mohan looks at more of the Northwest Film Center’s fascinating series by the German director. This time around: Paris, Texas; Kings of the Road; The American Friend; The State of Things.

In Mulieribus: hours well spent. Bruce Browne celebrates the “happy marriage” at Mt. Angel Abbey of the outstanding choir’s Renaissance music and exquisite projected art from a medieval book of hours.

Last chance: Jacques Rivette’s twelve-hour Out 1. The French New Wave director’s ambitious, audacious, half-a-day opus has rarely been seen in the past forty-five years, but the Northwest Film Center’s been showing it, cut into digestible segments. Marc Mohan pays his respects.

Bullshot Crummond rides again. Lakewood Theatre’s world-premiere production of the latest Crummond comedy, a sequel to a 1970s parody of the old Bullshot Drummond British adventure series, revels in an old-fashioned sort of fun, Christa Morletti McIntyre writes.

Bolai Cao: abundant talent. It was a propitious meeting at Portland Piano International, Jeff Winslow writes – the rising young pianist Bolai Cao performing a new work by the veteran Oregon composer Bryan Johanson, a piece created in homage to Domenico Scarlatti.

Hello, My Name Is Doris: Sally Field talks about her new movie. ArtsWatch’s Marc Mohan chats with the two-time Oscar winner about her latest turn, as a “socially inept, eccentrically clad” office worker who develops a crush on her younger boss. “Some people have called it a love story, but I think it’s a coming of age story,” she says. “The challenge of being a human being is will we open up to every different stage of our life?”

Johanson and Prochaska: media speak. Borrowing from Marshall McLuhan’s famous dictum “the medium is the message,” Paul Sutinen looks at new shows by veteran painter/printmakers George Johanson and Tom Prochaska and declares the medium does matter.

 

Tom Prochaska, "Hillside Nevada," 2016, acrylic on canvas, 16 x 20 inches. Photo: Dan Kvitka

Tom Prochaska, “Hillside Nevada,” 2016, acrylic on canvas, 16 x 20 inches. Photo: Dan Kvitka

 


 

About ArtsWatch Weekly

We send a letter like this every Tuesday to a select group of email subscribers, and also post it weekly on the ArtsWatch home page. In ArtsWatch Weekly, we take a look at stories we’ve covered in the previous week, give early warning of events coming up, and sometimes head off on little arts rambles we don’t include anywhere else. You can read this report here. Or, you can get it delivered weekly to your email inbox, and get a quick look at all the stories you might have missed (we have links galore) and the events you want to add to your calendar. It’s easy to sign up. Just click here, and leave us your name and e-address.

 


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