The Undertaking

MusicWatch Monthly: Fabulous February

Composers, composers, composers! ...and a jazz festival

Classical weekend

This weekend, you can take your pick of classical music concerts: choral, chamber, or orchestral (or all three, if you have the stamina). On the 7th and 8th, Portland Lesbian Choir celebrates the ratification of the 19th Amendment (guaranteeing women’s right to vote) with their “Born to Celebrate” concert at Central Lutheran Church in Northeast Portland. The most exciting thing about this concert: a premiere of a new 19th Amendment-themed work commissioned by PLC from Portland composer Joan Szymko, whose music has been a highlight of recent Resonance Ensemble and Oregon Repertory Singers concerts.

Also on the 7th and 8th, at local theater company Bag & Baggage’s cozy Hillsboro venue The Vault, Northwest Piano Trio performs Shostakovich’s second piano trio as the live score for playwright Emily Gregory’s intimate end-of-life play The Undertaking. In this unique collaboration with B&B and director Jessica Wallenfels’ Many Hats Productions, the trio will be onstage with the actors. On the 8th at Portland State University, PSU violin-piano duo Tomas Cotik and Chuck Dillard will perform Mozart, Schubert, and Piazzolla–three of the four composers Cotik specializes in (the other, of course, is Bach). And if you already have tickets to Portland Opera’s An American Quartet, don’t forget that it opens this weekend–and if you don’t have tickets yet, you’d better hurry!

Also this weekend, the Oregon Symphony relegates two more living composers to the Fanfare Zone. Their “Pictures at an Exhibition” program (concerts Friday in Salem and Saturday-Monday in Portland) manages to make room for twelve minutes of Missy Mazzoli and thirteen minutes of Gabriella Smith between the half-hour blocks of decomposers Mussorgsky and Paganini. I get that we’re supposed to be grateful to OSO for playing anything at all by living composers and women composers, and we really are grateful that they commissioned a new work from Smith: living composers need to eat! But we’ll never tire of complaining about the Fanfare Zone, and we won’t stop until the ratios are reversed and decomposers have to compete for their token opening spot on concerts dominated by Zwilich concerti and Tower tone poems.

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Inside Fertile Ground: Six Tales

Bobby Bermea talks with the creators of "The Undertaking," "Sirens of Coos Bay," "The Tarot Show," "The Bad Hour," "Friends with Guns" and "Hazardous Beauty"

For the past ten years, Fertile Ground has been the most dynamic event of the Portland theater season. For eleven days the city is engulfed in theater that is by turns thrilling, preposterous, fantastic, raw, hilarious, scary, brutal, inconsistent, challenging, and courageous – sometimes all at once. For these eleven days, good or bad, professional or not, polished almost never, audiences encounter theater at its most honest, vital and perhaps even important — or dangerous.

There is the opportunity, at Fertile Ground, to see something magical. There is also a chance to see something that is totally raw and unfinished, or even just bad. And then there are the myriad stages in between. It’s new work. Anything can happen. What Fertile Ground provides is the opportunity to be present at the exact moment that the spell is being cast.


FERTILE GROUND FESTIVAL 2019


Few moments in life bridge the gap between the magical and the mundane like the act of creation. Inspiration, where it comes from and why, is a mystery that borders on the supernatural. But getting from inspiration to actualization demands discipline and hard work. Sometimes hard work is encapsulated in the nuts and bolts, the rolling-your-sleeves-up and getting-your-hands-dirty. Other times, hard work can mean recognizing what’s holding you back – and then overcoming it.

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