Tom Walton

4X4 review: quality quartet

PDX Playwrights' Fertile Ground showcase presents diverse selection of short takes

An agitated, hooded man angrily approaches a Transportation Security Administration agent at an airport security station, demanding to know what they’re doing to his son. Violence seems likely to erupt any moment.

That was the arresting opener of Contraband, the opening play in Fertile Ground‘s 4X4: a Collection of One Acts. Produced by PDX Playwrights, the local reading group whose many contributions to the annual showcase of new works amounted to a festival within a festival, the four short one-acts performed at Portland’s Hipbone Studios demonstrated the group’s eclectic variety of theatrical approaches. This creative generator (whose meetings I attend) makes a fine pairing with Fertile Ground’s annual performing arts incubator.

Tom Wiitherspoon and Jonathan Wexler (or is it the other way around?) in ‘Steve and Steve,’ at PDX Playwrights 4×4: A Collection of One Acts. Photo: Charlie Latourette.

As Contraband’s tense encounter continued, a TSA supervisor joined in, until the low-level agent was able to find enough common ground to get the dad conversing instead of confronting. As Karen Polinsky’s play progressed, with the guard mediating between the father and the higher level TSA bureaucrat, we learn that the dad’s obnoxiousness really arises from fear — not just about the incident that landed his son in lockup, but about the boy’s differentness, and more.

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‘The Call’: waiting, fretting, hoping

Profile Theatre opens its season of plays by onetime Portlander Tanya Barfield with a drama about adoption and Africa and the uncertainties of life

When the call finally arrives, it’s not as if Annie’s jumping up and down for joy. She’s been waiting and waiting, and stressing, and having double-triple-quadruple thoughts, and … well, as the Gershwin boys put it, let’s call the whole thing off.

Or not. That’s the problem. Life is full of maybes, and at some point you’ve got to have a solid yes or no. But how do you get there?

The Call, the first play in Profile Theatre’s new Tanya Barfield season, opened Saturday night at the Artists Rep complex, and suggests a season of playful, contemporary, issue-oriented, and curiosity-driven theater to come. It’s part domestic drama, part cultural-conflict theater, part situation comedy, part mystery thriller, and always smart and engaging. And it introduces Portland audiences to one of the city’s own: Barfield grew up here before moving to New York, and went through school at the Metropolitan Learning Center, and has been a Pulitzer nominee, but has never before had one of her plays produced here. Suddenly, an entire season is about to rectify that oversight.

Howard and Soden: the talk before The Call. Photo: David Kinder

Howard and Soden: the talk before The Call. Photo: David Kinder

In The Call, Annie is a woman of a certain age, an artist who’s more or less put off her career because it conflicts with her job at a museum, and who has also put off having a child until, it seems, it’s biologically too late. So she and her husband, Peter, have decided to adopt, and they have a line on a baby about to be born in Arizona, but the young mother seems likely to keep the kid, and so Annie, almost on impulse, decides they should adopt from Africa: so much poverty and sickness, so many orphans, so many needy kids.

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