Portland Playhouse opens a rock musical by Stew, a musical “9 to 5,” Carol Triffle’s absurdist comedy scales a peak, Shaking the Tree’s grim fairy tale, “Extraordinary People” at Fertile Ground.
How to decide what to see? There’s more than one way to approach the overwhelming bounty of Oregon’s annual celebration of new stage works.
Greater Portland’s festival of new performance returns after a long dry spell to showcase and generate new sprouts of Oregon-grown theater.
The Oregon Shakespeare Festival shifts into its ’24 season with “Macbeth” and three other shows. Plus: Openings, last chances, a Steep & Thorny party, a pre-peek at Fertile Ground.
Portland’s annual festival of new works, which reinvented itself during the pandemic, will take a “strategic hiatus” in 2023 to reinvent again.
Portland’s 13th annual festival of new works Jan. 27-Feb. 6 features 37 online projects, from dance to theater to puppetry and more.
Looking back on a year of disruptions, passions, politics, cultural shifts, bright ideas, and fresh starts in Oregon arts.
Maeve Z O’Connor talks about her stuck-in-a-storm play “Omission,” opening at the Keizer Cultural Center.
All you need is love: Oregon’s February dance calendar reflects on the many ways humans love.
DanceWatch Monthly is hoping that Marquee TV will fill the void in performing arts on your devices, whatever they may be.
A look back at the ups and downs and curious side trips of the year in Oregon culture.
One of the many problems with the classical music establishment’s (finally) waning historical museum mentality is that if its artistic leaders aren’t careful, they can wind up reproducing yesterday’s regressive social attitudes on today’s stages. Long before classical music had its own
When we say “hit parade,” that’s what we mean. In the first of a series of stories looking back on the highlights of 2018, these 25 tales were ArtsWatch’s most popular of the year, by the numbers: the most read, or the
It’s hard enough to produce believable character relationships in a full length musical, what with the characters breaking into song and dance in the midst of their encounters. Yet even in under 15 minutes each, most of the six short works in
By MARIA CHOBAN Waiting for the End of the World, Dear Lord! I sincerely hope you’re coming ‘Cause you really started something! — Elvis Costello In grade school, a passel of us would walk to Mrs. Fey’s house every Tuesday after school
Give to our GROW FUND.
