Eleanor Roosevelt

DramaWatch Weekly: Left Hook

Rich Rubin's Portland boxing tale, part of Vanport Mosaic, takes a jab at the city's woozy racial history. Plus the week's openings and closings.

“Let me tell you somethin’, boy. You never know what’s comin’ … and the sooner you learn that, the better off you be!”


A few years ago, when playwright Rich Rubin approached Damaris Webb about directing some of his work, she chose the play Cottonwood in the Flood because it told a piece of history unfamiliar to her, the fascinating story of the 1948 Vanport flood. Left Hook, another Rubin play that Webb is directing, in a production that opens Thursday night at the Interstate Firehouse Cultural Center, gets closer to a history she knows. Extending the story of the repeated displacement faced by Portland’s black community, Left Hook is set in the 1970s, as urban renewal roils the Albina neighborhood that had absorbed the black Vanport diaspora a quarter century earlier.

Damaris Webb directs Rich Rubin’s play “Left Hook,” running May 24-June 10, as part of Vanport Mosaic. The cast includes Anthony Armstrong, Kenneth Dembo, Jasper Howard, Shareen Jacobs, Tonea Lolin, and James Savannah. Photo: Shawte Sims

Webb, who has chronicled her bi-racial background in a solo show called The Box Marked Black, grew up in the Irvington neighborhood and none of her family was forced to relocate for the major construction projects of the era – Memorial Coliseum, the I-5 freeway, and an abortive expansion plan for Emanuel Hospital. But she recalls that during the development of Left Hook she was shown a photo of the Black Panthers Portland headquarters when it was in the midst of being shut down by city officials. She recognized someone in the photo: her father, who worked for the Portland Development Commission.


‘Every Minute Counts’: a lost lens on America, rediscovered

An Oregon Jewish Museum exhibit uncovers the vibrant history-in-the-making images of photographer Katherine Joseph's 1930s and '40s

“EVERY MINUTE COUNTS,” the banner in the photograph shouts in big block capital letters, and the four women garment workers below, needles in hand and stacks of cloth surrounding them, make it clear they take the admonition seriously. Isolated and absorbed, yet also somehow bound into this activity together, they exude a serious and determined camaraderie. It’s 1942, and they’re on the home front, working in New York’s garment district, burrowed deeply in the rhythm of the duties of their small corner of the war effort.

This bold and striking image lends its title to the most recent exhibition at the Oregon Jewish Museum and Center for Holocaust Education. Every Minute Counts: Photographs by Katherine Joseph, which continues through September 25, is also the final exhibition at the museum’s space on Northwest Kearney Street before it shuts its doors for several months to prepare for reopening in late spring or early summer 2017 at the old Museum of Contemporary Craft space on Northwest Davis Street, by the North Park Blocks. The new space will provide more than double the square footage, to about 15,000.

 "Every Minute Counts," garment workers on the home front, new York, photo by Katherine Joseph, 1942; © Richard Hertzberg and Suzanne Hertzberg; photograph courtesy of the Archives Center, National Museum of American History, Smithsonian Institution

“Every Minute Counts,” garment workers on the home front, New York, photo by Katherine Joseph, 1942; © Richard Hertzberg and Suzanne Hertzberg; photograph courtesy of the Archives Center, National Museum of American History, Smithsonian Institution.

If you’ve never heard of Katherine Joseph, don’t feel bad: in spite of the wit and presence and proximity to history of so much of her work, not a lot of people have. Her photography in the 1930s and 1940s slides her neatly into a category of humanistic documentarists that also includes the likes of Dorothea Lange, whose images of Americans in the midst of the Great Depression became iconic, and Margaret Bourke-White, one of the most imaginative and socially revealing photographers for the old Life magazine during its glory years. But Joseph’s career was shorter – less than a decade – and as the war ended, so did it: Joseph hung up her camera, settled down, and raised a family. Even her children didn’t know until relatively recent years of her photographic fling with history.