Kailey Rhodes

Sense & Sensibility, deftly matched

Suddenly the Dashwood sisters are all over Oregon. Clackamas Rep is on the boards with its version of Jane Austen's lively and enduring tale.

The problem, as so often in the novels of Jane Austen, is entailment, that peculiar institution among the British of willing estates only to the male heirs of the line, leaving the women bereft, or at least forced to move to modest cottages in the countryside. The problem, further, is how to deal with such reduced circumstances (and indeed, with the vagaries of life): by leading with the head, or the heart, or some creative combination of the two. The anticipation, of both head and heart, is to achieve a state of marital happiness that, in a troubled and troublesome world, will also suffice in the economic realm. Money might not buy happiness, but it does provide stability, and stability is that soil in which true romance and contentment of the soul can grow and prosper.

Sam Levi as Edward Ferrars, Kailey Rhodes as Elinor Dashwood in Clackamas Rep’s “Sense and Sensibility.” Photo: Sam Ortega

So welcome to the Dashwood sisters, central figures in Miss Austen’s 1813 novel Sense and Sensibility (which was published at first anonymously, under the moniker “By a Lady”). When we meet them, in Clackamas Repertory Theatre’s new production of Kate Hamill’s episodic stage adaptation, their father has just died, leaving his estate to John, his weakling son from his first marriage, who is led about by the nose by his shrewish and selfish wife Fanny, who persuades John that his father’s deathbed instruction to him that he provide for his half-sisters and their mother doesn’t really mean what it seems. And so the sisters – sensible Elinor and romantic Marianne, primarily, but also younger Margaret and their mother, who quietly copes – find themselves tossed out of their manorial home and onto the mercies of Mrs. Dashwood’s distant relative Sir John Middleton, who proves himself an amiable and generous fellow and helps them settle in to a pleasant but modest cottage, where the girls’ prospects, nevertheless, are severely reduced: to put it bluntly, no fortune, no fortunate match.

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Profiles & Conversations 2017

From poets to painters to dancers to actors to musicians, 21 tales from ArtsWatch on the people who make the art and why they do it

Art is a whole lot of things, but at its core it’s about people, and how they see life, and how they make a life, and how they get along or struggle with the mysteries of existence. That includes, of course, the artists themselves, whose stories and skills are central to the premise. In 2017 ArtsWatch’s writers have sat down with a lot of artists – painters, actors, dancers and choreographers, poets, music-makers – and listened as they spun out their tales.

We’ve been able to tell their stories because of support from you and people like you. Oregon ArtsWatch is a nonprofit cultural journalism organization, and your gifts help pay for the stories we produce. It’s easy to become a member and make a donation. Just click on the “donate today” button below:

Here are 21 stories from 2017 about Oregon artists and artists who’ve come here to do their work:

 


 

Erik Skinner. Photo: Michael Shay

Eric Skinner’s happy landing

Jan. 18: “On the afternoon that Snowpocalypse struck Portland, Eric Skinner walked into the lobby at BodyVox Dance Center after a morning in the studio and settled easily onto one of the long couches in the corner. As always he looked trim and taut: small but strong and tough, with a body fat index down somewhere around absolute zero. If anyone looks like a dancer, Skinner does. Even in repose he seems all about movement: you get the sense he might spring up suddenly like a Jumping Jack on those long lean muscles and bounce somewhere, anywhere, just for the sake of bouncing.” In January, after 30 years on Portland stages, Skinner was getting ready to retire from BodyVox – but not from dance, he told Bob Hicks.

 


 

Les Watanabe in ‘Sojourn’ by Donald McKayle, Inner City Repertory Company. Photographed by Martha Swope in New York. 1972. Photo courtesy of Les Watanabe

Les Watanabe on Alvin Ailey, Lar Lubovich, Donald McKayle and his life in dance

Jan. 20: In a wide-ranging Q&A interview, Jamuna Chiarini hears a lot of modern-dance history from Watanabe, who was in the thick of it and now teaches at Western Oregon University:

“During Alvin Ailey’s CBS rehearsals, Lar Lubovitch was teaching in the next studio. I ran into him at the drinking fountain. While living in L.A., I had read articles about him in Dance Magazine. So while he was stooped over drinking, I exclaimed, ‘Lar Lubovitch! I’ve read all about you!’

“At that point he stood up facing me wiping his mouth and looking incredulous like, ‘Who is this guy?’ I then asked, ‘Do you ever have auditions? I would love to dance with you.’

“’Are you dancing now?’ he asked.

“’Yes, with Alvin Ailey next door, but it is only for five weeks.’

“’Where do you take class?’ Lar asked. ‘At Maggie Black’s,’ I answered. ‘Good. Let’s meet at her first class. Then you can rush back to rehearsal. See you next week.’”

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ArtsWatch’s hit parade 2017

Readers' choice: From a musical fracas to rising stars to a book paradise, a look back on our most read and shared stories of the year

Here at ArtsWatch, it’s flashback time. It’s been a wild year, and the 15 stories that rose to the top level of our most-read list in 2017 aren’t the half of it, by a long shot: In this calendar year alone we’ve published more than 500 stories.

Those stories exist because of support from you and people like you. Oregon ArtsWatch is a nonprofit cultural journalism organization, and your gifts help pay for the stories we produce. It’s easy to become a member and make a donation.

Here, back for another look, is an all-star squad of stories that clicked big with our readers in the past 12 months:

 


 

Matthew Halls conducted Brahms’s ‘A German Requiem’ at the 2016 Oregon Bach Festival. Photo: Josh Green.

The Shrinking Oregon Bach Festival

In June Tom Manoff, for many years the classical music critic for National Public Radio’s All Things Considered, looked at the severe drop in attendance and cutbacks in programming at the premiere Eugene music festival. He summarized: “Thinking ahead, I ask: If this year’s schedule portends the future, can OBF retain its world-class level? My answer is no.” His essay, which got more hits than any other ArtsWatch story in 2017, got under a lot of people’s skin. But it was prescient, leading to …

Bach Fest: The $90,000 solution. This followup that had the year’s second-highest number of clicks: Bob Hicks’s look at the mess behind the surprise firing of Matthew Halls as the festival’s artistic leader and the University of Oregon’s secretive response to all questions about it.

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