dyslexic artists

Live theater’s back in town

ArtsWatch Weekly: In a pandemic era first, Triangle opens a show indoors. Plus: Art in the Pearl, Venice & elsewhere, virtually and "real."

“WE HAVE TO MOVE FORWARD,” Don Horn, who founded Portland’s Triangle Productions more than 30 years ago, said on the phone. “I would rather have the house used than vacant. I think spaces die if they’re not used.”

Somebody had to be first. And in Portland theater, when Triangle opens a 10-performance run of Rick Cleveland’s solo play My Buddy Bill next Thursday, Sept. 10, it’ll be the first time since Covid-19 restrictions shut down theater spaces almost half a year ago that anyone in the greater metro area’s put on a show inside an actual theater space, with a paying audience in the seats. (At least a couple of other companies in Oregon have done live shows, too: Medford’s Collaborative Theatre Projects has been doing indoor radio plays with paying audiences, and Ashland’s Oregon Cabaret Theatre has been doing The Odd Couple.)

Grocery stores, hardwares, and big box stores are open. Restaurants are open, for sidewalk and some indoor seating. Zoos and gardens and aquariums are open. Beaches and hiking trails and camping sites are open, at least many of them, and you can book rooms at motels and vacation getaways. A little bit of outdoor theater and concertizing’s happened. Museums and art galleries have reopened, with restrictions. But live theater, dance, and music have lagged behind, mostly because of strict limits on audience size and spacing inside performance halls, the cost of running shows for the resulting relatively tiny audiences, and the tougher logistics of making tight theater spaces safe enough to use.

Buddy and buddy in the Oval Office. Photo: Barbara Kinney/White House/1997

Triangle’s auditorium, inside The Sanctuary at Sandy Plaza on close-in Northeast Sandy Boulevard, ordinarily seats 154 people. Because of a state restriction of 25 people in such a space at a time, the audience for My Buddy Bill will be limited to 23, leaving room for one actor (Joe Healy, playing Rick, the playwright) and one tech person. The bigger the cast and crew, the smaller the allowable audience. In the meantime, Horn and crew are busily getting everything ready so the space can meet multiple safety requirements. “I’ll be spending Friday cleaning everything out of the lobby so we can shampoo,” he said. 

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Seeing with a ‘backwards brain’

Painter Michael Orwick, whose work will be included in an October show in Astoria, says his dyslexia helped him become an artist

Reading his bio, the first bit of information you learn about artist Michael Orwick is that he nearly died at birth (he’s not entirely sure, but he thinks the umbilical cord was wound around his neck) and that while his mother thought he was perfect, his physician father “knew better.” It’s something of an inside joke, but as it turns out, also true – at least in some eyes. But a learning disorder others might see as a deficit Orwick soon discovered could, in fact, be quite the attribute — one he says he “wouldn’t trade for a minute.”

Next month, the Beaverton painter will lead his usual plein air workshop in Cannon Beach, albeit with a very limited number of participants, thanks to the you-know-what. In October, he and his 16-year-old daughter, Elena, will participate in the Sins of the Father show at The Secret Gallery in Astoria, which will feature artists and their fathers. We talked with Orwick about his life as an artist and the imperfection that helped shape him. His comments have been edited for clarity.

Artist Elena Orwick, 16, and her father Michael Orwick will have their work included in the October "Sins of the Father" show at The Secret Gallery in Astoria.
Michael Orwick and his 16-year-old daughter, Elena, will have their work included in the October “Sins of the Father” show at The Secret Gallery in Astoria.

On your webpage, you mention that your parents realized early on that you were dyslexic and saw things differently. How did that affect you?

Orwick: I could tell early on I was meant to understand things that I wasn’t understanding. Things weren’t supposed to be as hard as that. But I was able to put disparate things together to make something really creative. I just had a different way of seeing things.

In a thank you letter you sent to the “people that shaped me,” you wrote: “You should understand, growing up dyslexic, school was hard. Any subject with letters, or numbers, or dates or facts — they seemed harder for me than most kids. Although, if the assignment was visual, or creative — AHHHHH, it was like the clouds parting and angels singing! I felt like saying, “Step back citizens, I have this, everything is under control.”

Did being dyslexic make it hard on you as kid?

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