The Flick

ArtsWatch year in theater 2017

From "Astoria" to "The Humans" with a whole lot in between, a month-by-month stroll with ArtsWatch through the year in Oregon theater

From Portland Center Stage’s Astoria: Part I (Part II is streaming around the bend in January, along with an encore run for Part I) to Artists Rep’s The Humans and a slew of holiday shows, it’s been a busy, busy year in Oregon theater.

In Ashland, the Oregon Shakespeare Festival rolled out another season blending contemporary and classic with a wide-angle world view. And the fine actor G. Valmont Thomas, after spending a season playing Falstaff in all three plays in which the great character appears, died in December from bone cancer, at age 58.

In Hillsboro, Bag&Baggage, which had been temporarily homeless, opened a spiffy new home in a renovated downtown former bank building.

In Portland, the sprawling Fertile Ground festival introduced dozens of new works (and, like Astoria, is gearing up for a fresh new run in January). Chris Coleman, Center Stage’s artistic director for 17 years, announced he would be leaving at the end of this season to take over the theater at the Denver Center for the Performing Arts. TCG, the influential Theatre Communications Group, held its annual conference in Portland. And theater companies large and small produced more plays than The Count could count in a dozen seasons of Sesame Street.

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Let’s see, now, where were we? Big inauguration, American carnage, big threats, bellicose speech. Bigger protest, millions of women, pink hats, sea to shining sea. Twitter wars unabated. Health care on the skids. War on reporters. Alternative facts.

And, oh, yes, tucked away there in the corner: a vow to kill the National Endowment for the Arts. And kill the National Endowment for the Humanities. And “privatize” the Corporation for Public Broadcasting, which has mostly been privatized already, anyway. Cost-cutting. Getting tough on the budget. Victory for the taxpayers. (NEA 2016 budget: $148 million. NEH 2016 budget: $148 million. Percentage of total federal budget, each: 0.003. CPB 2016 funding via federal government: $445 million. Percentage of total federal budget, all three agencies: less than 0.02. Federal budget 2015 for military marching bands, $437 million. Taxpayer expense to build or renovate National Football League stadiums, past 20 years, mostly through local and regional taxes: more than $7 billion.)

A fiscal conservative or libertarian can make an honest argument for eliminating the NEA and NEH on grounds that they’re simply not an appropriate use of taxpayer funding; culture should be funded privately. Here at ArtsWatch we don’t agree with that analysis. We believe there are many valid reasons for government financial aid to culture, and that the payoffs to taxpayers are many, from economic – in healthy cities, the arts are job and money multipliers – to educational and much more. Historically, consider the continuing dividends of the WPA and other cultural projects underwritten by the federal government during the Great Depression of the 1930s: In Oregon, for instance, Timberline Lodge.

But there’s much more to this move than a courteous philosophical/economic disagreement. The move to defund the NEA has a long and embattled history, dating at least to the so-called “culture wars” of the 1980s and ’90s, when a resurgent right-wing political movement convinced that artists were mostly a pack of degenerate liberals discovered that attacking the arts was a splendid red-meat issue for its base. They didn’t succeed in killing off the national endowments, but they did weaken them. The new administration seems to think it can finally finish them off. That would weaken state agencies such as the Oregon Arts Commission, which gets funding from the NEA, and in turn weaken arts organizations across the state, which get money from the OAC and, often more importantly, a stamp of approval that helps them raise private donations. Killing the endowments would be a rash move that would save hardly anything in the national budget and cause deep mischief to the nation’s well-being. It strikes us as petty and vindictive and, frankly, foolish.

It’s also a reach that might fail. Republicans like culture, too, and understand its value, and often support it generously. Traditionally, that has included Republican politicians. Will they fall in line with the new administration, or will they quietly scuttle its gambit? Keep your eye on this thing. We will, too.

 


 

Duffy Epstein and Dana Green in the premiere of the D.B. Cooper play “db.” Photo: Owen Carey

THE FERTILE GROUND FESTIVAL, Portland’s sprawling celebration of new works in theater, dance, solo performance, circus arts, musical theater, comedy, and other things that ordinarily happen on a stage, continues through January 29. ArtsWatch writers have been out and about, writing their impressions. You can catch up with some of them below:

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‘The Flick’ whirs to life

At Third Rail, Annie Baker's long and entertaining drama set in a shabby movie house ripples in the moments of bright light

Avery is something of a cinema savant. Not only is he thoroughly conversant with mainstream movies, always remembering when they were released and which stars shared the screen, but he’s absorbed Truffaut, Bergman and the like. At just 20 years old, he’s watched “the entire Criterion Collection” — nearly 900 mostly arcane art-house titles on DVD. And he’s memorized great chunks of Pulp Fiction, which he argues is the last truly great American film.

Sam, his co-worker, just calls him a snob. Sam’s tastes are — depending on how you see such things — a bit more populist or a bit less discerning. He clearly loves movies too, and relishes talking about them with Avery; he just doesn’t load them with the kind of existential weight and true-believer value judgments that Avery does.

Jonathan Thompson as Avery and Rebecca Ridenour as Rose: flicker and fade. Photo: Owen Carey

And then there’s Rose. She has her favorites, but movies in general just don’t mean much to her anymore, not since she’s been in her current job. Rose and Avery and Sam work at The Flick, a run-down old single-screen movie house.

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