Jason Glick

Speed-dating at Fertile Ground

As the new-works festival gets ready for its tenth annual run, a horde of writers and performers check out the media (and vice versa)

And lo, on the third day of the New Year, a great clamor fell upon the multitude, and the dread Pealing of the Four Minutes rang out, and the people scurried from line to line, taking their spots in the sun, pitching their pitches, eager to be heard. And a mighty clatter and confusion arose, accompanied by press releases and business cards, and then the next wave burst, and the pieces shuffled yet again. And the creator of it all smiled, and said, “That’s good!”

It’s true. On January 3, in the upstairs lobby of Artists Repertory Theatre, producers, performers, directors, and writers of shows in Portland’s 10th annual Fertile Ground festival of new works met with members of the press, pressing them, as it were, with quick-hit details on their shows and why the media members should really, truly see and publicize them. Once again Fertile Ground director Nicole Lane was stage-managing this frenzy of what she calls “media speed-dating,” cracking the whip – or, more accurately, blowing a harmonica – to keep things moving swiftly along. What sometimes seemed like bedlam actually had a drill-sergeant efficiency: Line up in front of a press member sitting at a table. Take your turn. Make your pitch. You get four minutes. The mouth harp shrieks. You move on to another line, and someone takes your place.

The Fertile Ground speed-dating crowd. ArtsWatch’s contingent is tucked discreetly toward the back, hidden behind more dashing daters. Photo courtesy Fertile Ground

This year, ArtsWatch’s contingency in the hot seats consisted of me and Marty Hughley, our theater editor and chief theater columnist. We made a deal beforehand. Marty would get the lay of the land, find out what’s out there, use his brief talks to help strategize our coverage, including which full productions to review. I would do my best to simply report the evening as it occurred from my table. And Bobby Bermea, who wasn’t at date night (sensible man), would tackle the festival from the inside, talking about the stages of some of the shows, and talking with artists about the process of creation. 

Continues…

Chapel Theatre’s “Anatomy” lessons

Kat Ramsburg's "Anatomy of a Hug" grapples with the challenge of connection in a fraught mother-daughter relationship.

Living with roommates can be tough. Sharing space, overlapping schedules, compromising privacy — it all can be tricky. And if you wind up stuck with someone that, for whatever reason, you’re not inclined to like, the situation can get ugly.

Even so, it’s a bit of a shock when Amelia, giving a cursory tour of her apartment to an older woman named Sonia, snaps at her that they shouldn’t “share any personal information.”

But then, you surely could add “mother and daughter” to the list of emotionally loaded living situations.

Chapel Theatre Collective’s “Anatomy of a Hug” deals with the difficulty of getting close when you’ve become a wooden character in your own life story.

And what else might make things especially tense? Let’s see…how about if mom’s been in prison for killing dad? And the daughter is convinced that she was also a target of the crime? And mom’s out now through a compassionate-release program because she has terminal cancer?

That’s the potent set-up for Anatomy of a Hug, a well-crafted drama by Los Angeles playwright Kat Ramsburg, on stage now as the debut production from the Chapel Theatre Collective. It’s a smart, emotionally perceptive piece of writing, with the acidity of its premise balanced by just enough romantic sweetness.

Continues…