Martha Bakes

Martha Bakes in Black & White

Fertile Ground 2021: Playwright Don Wilson Glenn and director Damaris Webb take a historical spin through the first First Lady's kitchen

You’d be hard-pressed in 2021 to find a more dynamic force in Portland theater than Damaris Webb. In the past few years she’s acted, directed, collaborated, written and produced at a dizzying pace, sometimes doing all five things at once on a given work of art. Webb and Laura Lo Forti are the twin engines that propel Vanport Mosaic, a multifaceted art nonprofit that specializes in “memory activism,” preserving and holding space for voices and stories from the greater Portland area that have been marginalized if not outright suppressed. 

If that weren’t enough, a couple of years ago, Webb played the mother of a legend in Oregon Children’s Theatre’s …And In This Corner: Cassius Clay. She conceived and then created, with a host of other Black artists, Soul’d: the Economics of Our Black Bodies, Vanport Mosaic’s powerful exploration of how the exploitation of Black bodies has been integral to the American economy since its inception. Webb directed the Confrontation Theatre/Portland Playhouse co-production of Dominique Morriseau’s searing Pipeline, a heart-wrenching piece about the prison-industrial complex. When it’s noted how much of her work is built around social justice, Webb says frankly, “Well, I’m Black and I’m a woman. What else am I gonna talk about?” 


ONLINE FESTIVAL: FERTILE GROUND 2021


That clarity of purpose is front and center in Vanport Mosaic’s new offering for this year’s Fertile Ground festival of new works, Martha Bakes, a brand-new piece (naturally) written by Webb’s long-time collaborator Don Wilson Glenn, directed by Webb, and starring Webb’s high school classmate, Portland stage veteran Adrienne Flagg, as none other than Martha Custis Washington. It premieres at 4:30 p.m. Sunday, Jan. 2\31, on the festival’s Facebook and YouTube channels, where it will remain available to view for free through Feb. 15. 

(Glenn has another piece in this year’s Fertile Ground Festival, Troy, USA, which he co-wrote with Dmae Roberts, and which is being produced by Bag&Baggage as part of that company’s Problem Play Project. It premieres at 9 p.m. Sunday, Jan. 31, at Fertile Ground.)

Playwright Don Wilson Glenn, author of “Martha Bakes” and co-author with Dmae Roberts of “Troy, USA,” both premiering online Sunday, Jan. 31, at Fertile Ground.

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Fertile Ground 2021: Digital seedlings sprout

The annual PDX festival of new works, which ordinarily sprawls across spaces large and small throughout the metro area, has become a garden of virtual theater

As the pandemic raged through Portland last year, Nicole Lane wondered what to do about Fertile Ground. For 11 years, the festival had been a sweeping showcase for new works (it’s best known for theater, but has also incorporated dance and film). Yet with a tradition of cramming crowds into venues across the city, it was ill-suited to a post-COVID 19 world.

That’s why Lane, who has been festival director since 2010, began to envision a virtual version of Fertile Ground. “I don’t know what bee was in my bonnet, but I saw it,” she says. “I saw the possibilities.”


ONLINE FESTIVAL: FERTILE GROUND 2021


On January 28, those possibilities will become realities. By offering a zany mix of free, prerecorded performances through February 7 (the festival features everything from an interactive baking show to a spinoff of A Christmas Carol titled Fezziwig’s Fortune) Fertile Ground 2021 seeks to sustain the festival’s rambunctious spirit—and shake up its status quo with a lineup with works from BIPOC and LBGTQ visionaries.

Myhraliza Aala’s audacious tale of the horrors of the dating game, “Oh My Dating Hell,” premieres at 9 p.m. Thursday, Jan. 28, Fertile Ground’s opening night. It’s produced by Aala Is Possible.

Fertile Ground has long been renowned for its restless rhythm. It typically spans an epic range of stories (the Fertile Ground plays that I’ve written about include a multigenerational airport drama and a screwball comedy about an alligator-ravaged hotel) and beckons audiences into performance spaces both expected (Artists Rep) and eccentric (Mother Foucault’s Bookshop). 

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