Venus and Adonis

OOPS. HERE IT IS A WEEK into December, and you’ve still got that shopping stuff to do. You sort of thought this would be the year you bought local – you know, support the place you live in sort of thing – but it’s all a bit confusing, and you’re really not sure where to start.

Hannah Wells 8 x 8-inch artwork in “The Big 500.”

So let us introduce you to The Big 500, an all-local, all-art, low-cost and accessible event produced by “people’s artists” Chris Haberman and Jason Brown and sprawling across the Ford Gallery in the Ford Building, 2505 Southeast 11th Avenue. Now in its ninth year, The Big 500 is actually more than that – 500+ Portland area artists, each creating 8 x 8 inch pieces on wood panels, each piece for sale for $40. More than 5,000 works will be on hand, and besides putting some cash in local artists’ pockets, the event raises money for the Oregon Food Bank, which can put it to extremely good use.

The sale kicks off at 2 p.m. Saturday and continues through December 23. It’s a pretty wild scene, with all sorts of stuff at all sorts of levels of accomplishment, and it’s more than a bit of a crap shoot: you might walk in and find ten pieces you absolutely must have for the people on your list, or you might strike out. Either way, the sheer volume of objects is pretty amazing. And what you spend here stays here. You’re welcome.

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Hunter captured by the game

In Shakespeare's "Venus and Adonis" at CoHo, Shaking the Tree takes a green look at the thrill of the hunt

It’s the 400th anniversary of the Bard’s death, and in his time, poetry was considered a noble trade. Shakespeare made his mark there first, and most of us know by memory a few of those famous lines: “Shall I compare thee to a summer’s day?” In Shakespeare’s century, theater was in large part for the raucous and bawdy, pint-lifting hoi polloi: the commoners. It’s been rumored of late in the papers that the Bard, himself, tried to secure a noble crest for his family, perhaps to hush the naysayers who believed he was little but an upstart with an impressive vocabulary. But, the chalk-complexioned ginger Queen Elizabeth put most of those rumors to rest, and here we are today celebrating his insights on the human condition. It can be argued that despite the success of his politically themed theater, his strongest suit was a deep understanding of the heart.

While we may have plowed his sonnets in our younger years for our own romantic endeavors, it is usually the case that today Shakespeare’s poetry probably isn’t in our stack of books. Shaking the Tree, as part of CoHo’s SummerFest series of short-run shows (this one opened Thursday and closes Sunday)  regrows an appreciation of his other, and perhaps, more personal work by way of a staged version of his brilliant poem Venus and Adonis.

Ridenour and Kerrigan, playing games. Photo: Gary Norman

Ridenour and Kerrigan, playing games. Photo: Gary Norman

Rebecca Ridenour’s goddess, Venus, shimmers in a golden gown, barefoot and with braided hair. She comes in with a case of vanity and the feral, celestial aura of a hunter. What she’s hunting, she’s not sure of, but in most cases it would take a male form. Ridenour is a suppressed volcanic wait of hormones. Here begins the triangle of insight by Ridenour, director Samantha Van Der Merwe, and Matthew Kerrigan as Adonis. All three play with Shakespeare’s mock view of how a petulant female chases a closed-hearted male, but both Venus and Adonis surface in the end as losers in a complicated game.

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