REVIEW: "Twelfth Night" at Cannon Beach Coaster Theater Playhouse

Cannon Beach's Coaster Theater Playhouse. Photos by Greg Zschomler.

As I told you all in an earlier post, we were moving out of SW Washington. We have. Thus we won't be reviewing the SW WA theater any longer. We are still looking for someone to take over. Meanwhile...

Here on the Oregon Coast in the little town of Cannon Beach there is a theater. 

This past week we dropped in to catch their production of Shakespeare's "Twelfth Night." And they did a fine job.

If you are ever down on the coast in the Cannon Beach/Seaside are you may want to catch a production at the cozy Coaster Theater Playhouse. The company is a non-equity, volunteer, semi-professional theater. What once was a roller skating rink has been transformed into a beautiful and functional playhouse most any company in Vancouver would be envious of. It's slightly larger than Clark College's Decker Theater.

The production values and acting were very good. The lighting for "Twelfth Night" was a tad uneven in places, but the set and costumes were marvelous. The cast played well to the entire theater and could be heard well. There was some strong veteran talent in the show and some newbies, too, that did just fine. Very nicely done!

"Twelfth Night" closes October 25. Their next production, Disney's "Beauty and the Beast," opens November 14 and runs through December 27. Showtimes are generally 7:30 p.m., Thursdays through Sundays (but there are exceptions--some shows run Wednesdays, some have only a few Sundays, and B&B has only one Thursday in its run).

Stop by if you're down out the coast or make a special trip. Next season's seven productions can be seen here.

Bag & Baggage Production of Shakespeare's "Love's Labour's Lost" Magnifique!

Shakespeare in the Park...

No one knows how, when, or where it began. Could be, perhaps, it began with the Bard himself before he gained any semblance of notoriety. Perhaps he was just a lad, playing sketches before his friends on the lawn?

However it began, it has certainly proved a popular and cheap way to stage the royalty-free works. I first experienced the joy of outdoor Elizabethan Theatre some years ago with a production of “The Taming of the Shrew” in Vancouver’s Esther Short Park. And the tradition continues with this production of “Love’s Labour’s Lost” presented by Bag & Baggage in Hillsboro, Ore.

The plaza setting for the Bag & Baggage Production of Shakespeare's "Loves Labour's Lost."

It’s not frequently that you’ll be able to catch the obscure “Love’s Labour’s Lost,” as it is lesser known and somewhat unpopular “lost” Shakespearean work. So, catch this one while you can and enjoy a lovely "open air" evening with a great, professional cast.

Costume test and couples pairing for B&B's "Love's Labour's Lost"

The adaptation, by Scott Palmer, based primarily on an earlier adaptation is quite truncated from the original three plus hour play and clocks in at less than two hours.

The plot is loose, convoluted and not extremely important--think early situation comedy--but here it is in a nutshell:

King Ferdinand and his friends devote themselves to three years of uninterrupted "study" and NO women will be allowed within a mile of their court to interfere with their academic pursuits—that is, until the Princess of France arrives with her entrancingly distracting entourage of gorgeous ladies-in-waiting! They tease the boys then--with disguise, deception, mayhem, and romantic mischief--drop them like hot potatoes. No, this Shakespearean comedy doesn't end with weddings.

The Princess (center) and her ladies: Jessi Walters (L), Cassie Greer,
and Arianne  Jacques (R).

The sassy dialogue--inlaid with satirical, double-meaning gems and plenty of sexual barbs and sexist banter--is intriguing and was well ahead of it's time. While not a great classic, and certainly an experimental, early work of the Bard, it none-the-less foreshadows themes that will play out (better) in his other, later works. The director, Scott Palmer, has set the production with a uniquely Italian-Frederico-Fellini feel, inspired by Fellini’s masterwork La Dolce Vita.

The show is billed as "a light-hearted romantic romp, outdoors in the glorious surroundings of the Tom Hughes Civic Center Plaza—with stunning Italian-couture costumes by Melissa Heller and starring some of B&B’s most recognizable outdoor performers—riding in on Vespas! Perduta di lavoro la dolce vita di amore!"

L to R: Andrew Beck (the King) with Chip Sherman and  Luke Armstrong. 

The cast includes Andrew Beck as Ferdinand, Chip Sherman as Berowne, Luke Armstrong as Longaville, Cassie Greer as the Princess of France, Arianne Jacques as Rosaline, Jessi Walters as Maria, Dallas Myers as Boyet, Adam Syron as Moth, Gary Strong as Armado, and Rachel Rosenfeld as Jaquenetta. All played strongly.

The direction, by Palmer is, as usual, quite well done. Striking, really--especially in the blocking. The "runway" stage, with audience members on both sides, worked well, primarily because Palmer knew how to make it interesting. However, one must give the players quite a bit of credit as well; these are some of the Portland Metro Area's finest.

Front facing: Gary Strong throws it all in as Armondo.

The parts were played broadly, especially by the men, and the, sometimes slapstick, performances were melodramatic. The women, in general, played their roles "safer" and straighter. Among the women, only  Rosenfeld pushed with the same exaggerated characterization as the men.

Especially strong and delightful performances were given by Myers, Syron and Strong; all have great comedic skill. Having seen Syron and Strong in previous--and quite different--roles, I was particularly impressed. Strong, especially, excelled--throwing himself fully into his role. He was absolutely brilliant in this part!

Adam Syron (kneeling) as the servant, Moth.

The setting and scenery was nonexistent, since the production was "open air" rather than in their theater. It worked; nothing more was needed. The lighting, also sparse, also did the trick. The plaza's acoustics were great and there's not a bad seat in--well, out of the house. Best seats, I believe, will be on the first landing of the plaza's stairs.

The Princess and her ladies and the King and his men, dressed for the ball.

The costumes, by Melissa Heller, looked good, as far as I know. I'm no expert on the 1960's Italian thing. I did find the lack of distinction between the royalty, aristocracy and peasantry disturbing. (On a related side note, this lack of separation between the classes went beyond dress and was also present in manners--too familiar or casual.) Rosenfeld's costume also did not fit well with her characterization. Noting that one small caveat I recommend the production.

The show's remaining performances are July 26, 31, August 1, 2, 7, 8, and 9; 7:30 p.m. at  The Tom Hughes Civic Center Plaza, 150 E Main Street, Hillsboro, Ore. Tickets: $18, may seem a tad steep for a royalty-free, low tech budget, open air production, but B&B does pay their resident actors.

Photo by Ruth Zschomler.

Pre-show we ate at Orenco Station Grill, 6195 SE Cornell Rd. (Hillsboro). The service and setting were delightful and the food was superb, as was the music (live smooth jazz). I had the Cajun Shrimp Salad with seven delicious shrimp, mixed greens, sliced pears, Swiss and mozzarella cheeses, topped with bleu cheese dressing. My wife had a Chinese Chicken slaw-type salad that featured a sweet, gingery dressing and crunchy "chow mein" noodles. Both portions were good and fairly priced. For dessert we had a perfectly crafted slice of key lime pie (and we ought to know, we sampled a few when we were in Florida).

By Gregory E. Zschomler
Photos, except as noted, provided.

For another perspective by Dennis sparks, click here.

Shakespeare in the Park: Love's Labour's Lost

The lost  Shakespeare classic as presented by The Venitian.

We'll be reviewing this show on it's opening weekend; Sat., July 26 to be exact (though it opens the Thur. preceding). Our review will appear here on Sun. July 27.

Note that the shows are in the park in Hillsboro, Oregon at the location below.

King Ferdinand and his three friends have devoted themselves to three years of uninterrupted study…and NO women will be allowed within a mile of their court to interfere with their academic pursuits—that is, until the Princess of France arrives with her entrancingly distracting entourage of gorgeous ladies-in-waiting!

Disguise, deception, mayhem, and romantic mischief abound as the heart proves stronger than the mind!

Love’s Labour’s Lost is an original adaptation of Shakespeare’s romantic classic by Scott Palmer, with a uniquely Italian-Frederico-Fellini feel, inspired by Fellini’s masterwork La Dolce Vita.

A light-hearted romantic romp, outdoors in the glorious surroundings of the Tom Hughes Civic Center Plaza—with stunning Italian-couture costumes by Melissa Heller and starring some of B&B’s most recognizable outdoor performers—riding in on Vespas!

Perduta di lavoro la dolce vita di amore!

Runs: July 24, 25, 26, 31, August 1, 2, 7, 8, and 9 – 2014
Time: 7:30 p.m.
Performance Location: The Tom Hughes Civic Center Plaza, 150 E Main Street, Hillsboro 97123
Tickets: $18

For more information, photos and a video trailer click here.

OSF REVIEW: "The Comedy of Errors" (3) Cat's Meow

It is my great privilege to review four of the eleven 2014 shows staged by the Oregon Shakespeare Festival. Of the seven currently running, I am reviewing:

• The Sign in Sidney Brustein's Window
• Cocoanuts
• The Comedy of Errors
• A Wrinkle in Time

This is our second year reviewing OSF productions. Last year we covered "A Streetcar Named Desire," "The Unfortunates" and "Two Trains Running." I do regret that I didn't start sooner. Since I was in high school drama I have had an interest in attending an OSF production. I just didn't have a real drive to see Shakespeare, I guess. My bad. I regret not coming sooner and more often. I highly recommend the wonderful experience and that YOU not put it off like I did.

You can read my additional opening comments to this series here if you would like, but here's some new information:

Also you'll find our addition of supplemental information to help you plan your own OSF visit. Each play review will also offer an OSF Trip Tips section to help you better enjoy your visit as well as brief restaurant reviews.

Comedy is Cat's Meow

Adriana (Omoze Idehenre) tries to reason with Dromio of Harlem
(Rodney Gardiner) as Gustave (Mark Murphey) and Luce (Mildred
Ruiz-Sapp) try to minimize damage. Photo: Jenny Graham.

You may not ably follow the discourse, but you don't have to. While Elizabethan English may be difficult to fully understand to an untrained ear, the humor and jest of Shakespeare's classic comedies can be readily appreciated--especially when visually translated by a great director and talented cast. That's why you will enjoy this production regardless of your background in things Shakespearean.

The story idea is simple. Two sets of twins, both separated at a young age, ironically partner with a twin from the other set, and later in life come together in the same town and, never meeting (at first) are confused for one another. Okay, it's complicated, but many errors are made and much comedy ensues.

And it is the comedy and the lavish production that reigns here. 

Chaos ensues when Antipholus and Dromio suddenly appear, sparking a
chain (ding) of comic events. Ensemble. Photo: Jenny Graham.

Director Kent Gash has done a wonderful job and has set the play in 1920's Harlem. Indeed. And what you have is some great music and a feast for the eyes.

The cast, all of equal talent and energy, dial in a supreme performance in this fast-paced and deliciously visual production. The details are amazing in this thrust/blackbox presentation as visualized in the Harlem Renaissance.

The Chain (ding) of Command

Though much of the action centers on the antics of Dromio (played by Rodney Gardiner) and Antipholus (played by Tobie Windham) who must sustain the most energy and deliver the most lines, no single actor really stood out. It was an even playing field; and that's good.

Dromio of Harlem (Rodney Gardiner) and Antipholus of Harlem (Tobie
Windham) find themselves in trouble with the law (Mark Murphey).
Photo: Jenny Graham.

The costumes, by Kara Harmon, are stunning and vibrant; the blocking maniac; and the choreography, by Byron Easley, delightfully designed and well executed; the scenic design, by Jo Winiarski, and video projections (everywhere), by Shawn Duan, are impressive and stimulating; and the lighting, by Dawn Chiang, an LD's dream (the array of instruments was mind-boggling), truly impressive. All else technical was also well done.

The production is generally suited for the entire family (though there is an emphasis on breast touching) and runs one hour and forty-five minutes without an intermission.

OSF Trip Tips

The outdoor Elizabethan stage at OSF.

It's still May right now and it's 80+ degrees outdoors. Summers in Ashland can be even warmer, but it can get downright chilly in the theaters, so pack a jacket with you and be sure a stay hydrated. Oh, and don't forget the sunscreen if you're going to be outside for a while.

Also, be sure an purchase your tickets well in advance; shows do sell out, but be sure and check with the box office for last minute cancellation availability. Check in at 9:30 a.m. when it opens for your best chance.

OSF's season runs from February to November. Some shows open as early as February and some run as late as November, but only a few run the entire season. During the summer months all the shows are running, but it can not only be crowded, but downright HOT. Great times to visit are April/May and into early June or mid September through October. Rains can, and sometimes do, cause cancellation of outdoor shows (but rain vouchers are issued).

Note it is several degrees cooler under the trees and by the water in Lithia Park. Take a mid-summer's day toe-dippin' splash for even more cooling. And there are many deciduous trees here, so the park is very colorful in the fall.

Finally, when deciding where to stay there are many choices, from a local hostel through luxury hotels and bed and breakfasts. While we stayed in a chain (ding) hotel (La Quinta) there are many grand, classic hotels in the downtown area, many of which are in some way Elizabethan themed. Even our hotel had Shakespearean costumes in the lobby and prints in the rooms. The Ashland Springs Hotel (formerly the Mark Antony) is the official OSF hotel and basically adjacent to the OSF grounds. Here are some thoughts about the property from blogger Dennis Sparks.

Shakespeare in the Original Klingon

Might be interesting to try this, if anyone has the guts.

REVIEW: A Steampunk "Romeo and Juliet" at Magenta Theater Deft and Punk

I must admit upfront that I'm not a huge Shakespeare fan. Oh, I appreciate the artistry of his work, and really do enjoy his comedies from time to time, but (let's face it) it's old stuff. The archaic language just doesn't really connect well with modern audiences.

And then there's the Bard Snobs; (like the Mac Snobs of the computer world) they think they're really something special. Sort of the elite who like to flaunt their sophistication. I'm more of a pop culture guy.

None-the-less, I do like a good production of the Master's work from time to time. I like to see what people do with it and I have seen some amazing work that, despite the language barrier, managed to connect with the audience through exceptional acting and directing.

I came in expecting this kind of translation and direction from the Magenta production of "Romeo and Juliet" directed by David Roberts, framed in (get this) a "steampunk" setting. Yes, I was intrigued.

Robbin Goss as Romeo (L) and Hannah Mock
as Juliet are watched by Eli Swihart (Tybalt).

We all know the story--it's one of the most famous tales of all time: Boy meets girl, they fall in love, their families hate each other and forbid their love, they rebel, they die. Yeah, I know, the ending is a bit rough. It's not your Disney "happily-ever-after" faerie tale. Not my kind of ending, but, hey, I HAD to see this--David Roberts was directing! (Even if Magenta no longer gives review comps. Yes, I paid for my ticket.)

What Light in Yonder Window Breaks?

You see, I've seen Roberts' direction before. He did an absolutely amazing job with "Wait Until Dark" at the Love Street Playhouse. He even handled the Bard's work well in "Much Ado About Nothing" when he performed (as Benedict) for his own Vancouver OnStage production (his wife Stephanie directing) some years ago. I think he is a very good director.

He is also responsible for the adaption--a two hour truncation of the three and a half hour play. Using the 1968 Franco Zeffirelli film as a framework, Roberts added back in what he thought was needed for exposition in the play. Nothing was really lost in the trim. And his steampunk setting was an innovative and inspired move as well.

The acting was generally good, but uneven across the board. I enjoyed all the roles. Most were played straight, a couple (one bit part and one prominent role) seemed a little too much on the lighter side. The leads--Robbin Goss (Romeo) and Hannah Mock (Juliet) were exceptionally strong, as were David Bower (Friar Laurence ) and Matt Newport (Benvolio ) who seemed the best at playing Shakespeare. Beth VanBuecken (Mercutio) was also good--a very strong performer (though, perhaps, better stylized for a musical).

Goss could have played a bit more of his emotion on his face in the intimate theater, but his physicality and voice were near perfect. Mock, trained by MPAA and OCT, gave a delightful performance; her Juliet was part feminist, part rebel teen, part innocence, part bravado--all expressed well through body language, voice and facial expression.

Romeo and Tybalt duel in one of the plays many fights.

A Rose by Any Other Name

And speaking of language, more importantly the interpretation--the translation--came off really well. Roberts "gets" Shakespeare and is able to relate the meanings to his cast and knows how to have them express the archaic terms and subtle subtexts to the audience. These were often achieved via a look or action.

The poetry was carefully delivered while not sounding overly foreign to the modern ear. Certainly a stunning achievement in and of itself.

The blocking (on the small stage and with a large cast) was also interesting and artful. The fight scenes or violence design (choreographed by David Gregory Bareford) were really good.

And speaking of choreography (there is a ballroom scene) I was particularly blown away by the work of Suzanne Vannatter. It's hard to put a label on it. Part Victorian, part Medieval, part folk to a Techno track. Suffice it to say that it worked very well. And I really liked how she isolated and highlighted Romeo and Juliet--an almost cinematographic effect.

Technically the show was a marvel. Lighting (by Reba Hoffman and Brenda McGinnis) was impressive. The costumes (by Bethie Duvall) were creative, eclectic and interesting. Especially delightful, interesting (and also eclectic) was the soundscape. The sound design (by Tim Klein) was nicely done--very creative. But, I must say, it is the music that is the star of the show. Again eclectic, but decidedly modern. Pop, techno, symphonic, etc. Yes, this brave approach really worked. It was so complex it took three "Music Curators" (Tim Klein, David Roberts and Eli Swihart) to put it together. And each number, in it's place, was ideal.

Most impressive of all was the set designed by David Roberts and implemented by Melinda Leuthold and Michele Glover. Innovative and detailed--filled with gears, gadgets, and gauges; pipes, valves, truss, and brick--the decidedly steampunk scenery, painted in metallic copper and iron, was a living piece of the action (as much an actor as any human). Very awesome!

The scene changes, laden with creative effects, were mechanical and visually interesting. Video was used creatively as well. All in all a delightful evening.

Wherefore Art Thou?

I highly recommend this production for Shakespeare aficionados and neophytes alike. It would be a great introduction to the Master's work--enjoyable and educational. I don't recommend it for those under ten years of age due to some thematic elements (violence, suicide) and the "sex scene" (played suggestively in shadow on video). If you go please tell them you saw our review.

The classic play is being presented by Magenta Theater, 606 Main St., Vancouver, Wash. Show dates and times are: April 11, 12, 17, 18, 19, 23, 24, 25 at 7:30 p.m.; April 19 and 26 at 2 p.m. Seats are $13-16. For tickets go to click here.

For another review of the play and more wonderful production photographs click here.

Review by Gregory E. Zschomler
Photographs provided.

A Steampunk "Romeo & Juliet"? Cool!

Magenta Theater presents Wm. Shakespeare's "Romeo & Juliet," directed by David Roberts, April 11, 12, 17, 18, 19, 23, 24, 25 at 7:30 p.m.; April 19 and 26 at 2 p.m.

The classic drama of two feuding families and forbidden love faithfully adapted for the rich visual Victorian world of Steampunk.

 It explores the desires of two young lovers separated by a bitter feud between their families. It delves into the petty quarrels people place upon themselves, which ends up driving those they care for most away from them, with tragic consequences. 

"A visual feast sure to excite the eyes and ears of novice and dedicated Shakespeare fans alike."

Tickets Available Now - Click Here

DOUBLE REVIEW: BGHS's "Much Ado About Nothing" Really Something

Sometimes you do Shakespeare just for fun (and because it's royalty-free). Or maybe you do it for educational purposes. Whatever the reason the Battle Ground High School Drama Club presents William Shakespeare's comedy "MUCH ADO ABOUT NOTHING" as their winter production:

The Play's the Thing

Most dramaturges consider the play one of Shakespeare's best comedies "because it combines elements of robust hilarity with more serious meditations on honor, shame, and court politics." In other words you've got satirical commentary wrapped in comedic content so that "a spoonful of sugar helps the medicine go down."

Some might consider the Bard's material archaic and hard to understand. Indeed that may be true in part until one studies the master enough to appreciate the historical context and witty words. Certainly there is hidden context which moderns may not readily appreciate, but with proper direction and educated interpretation the actors can bridge the historical gap.

For example, lets begin with the title: "nothing" sounds similar to "noting," which a few hundred years ago meant gossip, rumor, and overhearing, and is used as a play on words. And that, along within the context of the plays ado--two couples in courtship while friends meddle--gives you an indicator of what you're in for.

In fact, some of the most hilarious blocked scenes are when the lead characters are listening in on conversations they think they are not meant to hear.

Merely the Players

Benedick (Tullee Standford) and Beatrice (Sarah Russell) by the fountain.

The production, directed by Stephan "Cash" Henry, features a cast of twenty, among them: Sarah Russell as Beatrice, Tullee Stanford as Benedick, Brendan Groat as Claudio, Desiree Roy as Hero, Dalton Hidden as Leonato, Sky Ring as Dogberry, and Jake Gailey as Don John.

Many in the cast are first or second time players, but you wouldn't know it. The standouts among them were: Cody Bronkhorst as Don Pedro, Jake Gaily as Don John, Tanner Leeds as Friar Francis; and especially, Tullee Stanford as the leading man Benedick, Desiree Roy as the second leading lady Hero and Ryan McNeal in the bit part of Balthasar. The latter three seemed far more seasoned in their performances than their bios let on. Standford and Roy's (sounds like a Vegas magic show) performances were both very strong.

I must also note two especially fine performances by the more seasoned members of the cast: Sarah Russell as the strong-willed Beatrice and Sky Ring (playing cross-gender) as Dogberry. Both actresses, whom I've seen many times before, gave exceptional performances, but I must say that I feel Ring nearly stole the show.

Sky Ring gave a simply amazing comic performance. Delightfully flamboyant, physically and vocally masterful with 100% amusing energy. Part Capt. Jack Sparrow mixed with an audacious amount of Carol Burnett, Ring's performance was just too much fun. Perfectly played!

However, while all in the cast played well--especially for high-schoolers doing Shakespeare for the first time--I felt their performances, for the most part, were under-informed. Let me explain...

The World of the Stage

Hero (Desiree Roy) faints.
Photos by Stephan "Cash" Henry.

There are good Shakespearean experiences and there are bad ones. They can be dull and confusing or entertaining and eye-opening. Much depends on "translation" and character development. In order for an untrained/uninformed audience to "get it" the cast must convey the historical and contextual meaning of the words and actions. Those unfamiliar with the archaic terms, phrases and traditions of Elizabethan England--and especially the oddness of iambic pentameter--might be left scratching their heads saying "huh?".

I have seen Shakespeare well translated/interpreted with the "secondary languages" of facial expression and physical innuendo. Such an effort takes a great deal of time on the part of the director and cast. Each unfamiliar phrase or double-meaning must be explained and explored. This is great if you're doing Shakespeare for educational purposes, but can also be a bore if you're not really into it.

This production was not entirely boring nor was it completely entertaining. I felt the cast was under-informed because not all the subtext was made apparent to the audience. Certainly some time and attention was given this education by the director--that is apparent--but not enough. It could have been more clear and, therefore, more enjoyable to those who are not Bard snobs.

Which also brings to mind the style of delivery. Purists, who would set the play authentically in period only, might insist on the poetic lilt/cadence and rhythm of the textual style (iambic pentameter). It's artistic and traditional, but can be annoying and hard to follow (due to its line breaks and flow). Then there's the idea of "conversational" Shakespeare which is delivered without regard to the poetry of the text, but spoken in the thought flow of modern American English, which seemed to be, generally, how this production approached the work.

I believe one can strike a balance with the two styles. Again, this requires painstaking education and every line must be scrutinized and marked for pace, breath, and cadence--practiced and critiqued--until perfected. To a degree one does these things with every script, but it is more difficult when using a language you are not fluent in (and this is, for all intents and purposes, a different language). Americans are generally sloppy with English anyway.

Which brings me to my last critical point: Diction was generally good, but some of the players ran words together by speaking too quickly. Multiple thoughts ran together at times because proper pauses and rhythms were not observed.

Exits and Entrances

Claudio (Brendan Groat) in the Graveyard.
Keep in mind that these are pre-show photos without
final paint or stage lighting.

The blocking was generally excellent (however, the eavesdropping scenes decidedly favored the stage right audience), and set changes came quickly. The set, though simple and stylistic, was nicely done. I particularly enjoyed the color and gobo projections on the cyc. 

The lighting of most scenes was near perfection with the exception of the more intimate locales (house, street, dressing room) which used only a pool of key light with no fill or back light. The graveyard was very nicely and subtly lit utilizing (among other things) a steely blue (fantastic color) spot on Hero's grave. (Note: Death was not "allowed" in the comedy theatre of Shakespeare's time and here he is playfully thumbing his nose at the traditionalists.) 

The simple, but effective, stylized scenic design was by Sundance Wilson Henry (the director's talented wife) who also contributed with him to the lighting design. Mrs. Henry also contributed to costumes, and the director to the sound design. No one wore body mics, and all but one actor (Dalton Hidden, occasionally) could be heard well at all times.

Sky Ring as Dogberry (pictured here in partial
costume and without makeup) gave a stunning
and entertaining performance.

The costumes were all beautifully done though not elaborate. The pre-show music and slide show was cool, as always. The production moved along well under the direction of stage manager Kali Worthley.

I often give credit to those on stage and the principle designers, but I would like to mention that a large crew of back stage personnel also contributed (as is the case with every show) to this production. Though I cannot list them all by name, they too are heroes (no pun intended) of this production.

The audience did enjoy themselves and laughed from time to time (largely at physical comedy and obvious relational jokes though they missed many). This is quite a worthy stab at the Bard's work and really something of an undertaking. I admire the talent and effort, and while not perfection, the show was quite fun.

Review by Gregory E. Zschomler

Photos, by Stephan "Cash" Henry, provided.

A second review by guest blogger Dennis Sparks can be found here: http://dennissparksreviews.blogspot.com/2014/02/much-ado-about-nothingbattle-ground.html .

The show plays February 21, 22, 27, 28 and March 1, 2014 and starts at 7 p.m. sharp; doors opening at 6:30. Tickets are $10 for adults, $5 for seniors and students with an ASB card from Battle Ground High School. Advance tickets may be purchased here.

Local High School's Shake it Out with the Bard

Students at the Portland Playhouse Fall Festival of Shakespeare.

Several Vancouver area high schools to participate in the Portland Playhouse Fall Festival of Shakespeare with groups form Portland high schools at the Dolores Winningstad Theater. These include Hokinson, Ridgefield and Fort Vancouver high schools.

Ridgefield will perform "Romeo and Juliet" at 2 p.m., Saturday; Fort Vancouver will perform "A Midsummer Night's Dream at noon, Sunday; Hockinson will perform "A Comedy of Errors" at 5 p.m., Sunday. Hockinson will also offer performances at the high school 7 p.m., Nov. 7, 8 and 9.

For more information see the story in The Columbian or visit http://portlandplayhouse.org/fall-festival-of-shakespeare.

Q and A Interview with Ian Doescher, Author of Shakespeare's Star Wars

Author Ian Doescher

I’d like to introduce local author Ian Doescher, a Portland, Ore. native and Creative Director at Portland’s Pivot Group LLC. He’s a musician, too, with a degree in music from Yale as well as a Master of Divinity from Yale. His new book Shakespeare’s STAR WARS is a delightful mash-up.

Q: Ian, I spent some time this year at the Oregon Shakespeare Festival in Ashland, Ore. And saw a couple of the Bard’s plays at the Portland Shakespeare Project (which were wonderful). You’re a huge Shakespeare fan; tell us about it. Do you have a background in theater?

A: In high school (Grant High School in Portland),

I did a lot of theater, but my love of Shakespeare really came out studying the plays in English classes and then just reading his works for pleasure on my own. I spent the summer after my sophomore year in high school learning various soliloquies, and then after college I accomplished my goal to finish reading the complete works. So Shakespeare has been a passion for a long time.

Q: But you’re also a Star Wars aficionado, right? How many times have you seen the series? What gave you the idea to re-write the space-western in theatrical iambic pentameter?

A: At a guess, I would say I’ve seen the Star Wars movies fifty or sixty times each. The idea actually came out of watching the trilogy, visiting the Oregon Shakespeare Festival, and reading Pride and Prejudice and Zombies all within about a two-month period. So I had Star Wars, Shakespeare and mash-ups swirling around in my subconscious, and the idea for William Shakespeare’s Star Wars came out of that.

Q: How on earth were you able to get permission from Lucas/Disney and sell the odd idea to Quirk Books?

A: Selling the idea to Quirk came first. I looked them up online and emailed one of their editors out of the blue with the idea. He responded and said he would be happy to read something if I actually wrote some of it, which was enough for me to start writing. A few weeks later I had a draft of the first act, sent it to him and he said he wanted to do it. I recognize how lucky I am, because this isn’t the way the publishing industry normally works! Quirk then handled the communication and the contract with Lucasfilm.

Q: Congratulations, by the way, on becoming a new author. Is this something you’ve wanted to do for some time and will you do it again?

A: Thanks. I’ve loved writing for years, but I always thought I would write academic books (I have a background in academia). But now that I’ve published a mainstream book, yes, I hope I’ll do it again!

Q: Many of my readers are other authors or aspiring authors. Tell us about the writing and marketing process. Was Quirk the first publisher you approached? Did you use an agent?

A: Quirk was the first publisher I approached. After it was clear they were interested and they were contacting Lucasfilm, I had several friends urge me to find an agent. If nothing else, they said, it helps to have someone who understands the language in your corner. So through a friend who is also a writer, I found my agent (who is with Wolf Literary Services in New York).

Q: We're all jealous and we hate you (lol). Okay, so tell us about yourself. Oh, and your thing with music.

A: I majored in music in college and still love to write music and sing. I worked for a couple of different symphony orchestras in college (doing administrative work) before going to graduate school in religion. After a Master’s of Divinity and a Ph.D. in theology and ethics, I was a pastor for a while before moving to a marketing agency. I’m now the creative director of a marketing agency with a background in religion and music and a book out on Shakespeare and Star Wars. Yeah, kind of all over the place.

Q: I loved the book. I was attracted to it by the video trailer, which I got such a kick out of. I just HAD to read it, even though I had labored with the archaic language when I studied Shakespeare in college. I found your work most enjoyable (as well as the presentations by PSP); I’m a new fan of the Bard of Avon. Was it your intention to open up Shakespeare to an apprehensive audience?

A: That’s my biggest hope for the book, actually. There’s an aura of elitism around Shakespeare in our culture—when students start to study his plays, there’s a lot of fear alongside an assumption that they won’t be able to understand it. I hope William Shakespeare’s Star Wars might be a bridge that helps students approach Shakespeare. Maybe if they start with my book and are introduced to iambic pentameter and the structure and literary devices Shakespeare used—all within the safe context of Star Wars—they’ll be more likely to find Shakespeare less intimidating once they open up Romeo and Juliet or Hamlet.

Q: In seeing the trailer and reading the book, as a theater designer and director, I was instantly taken with visions of staging the play. It is, in essence, a five act play and cries out to be performed. You’ve already answered this question privately, but for the rest of my readers, can this or when will this be performed? What is your (new) hope on the matter?

 A: At this point, Lucasfilm isn’t allowing full performances. But we’re keeping a record of the requests that have come in, because we’re hoping they might change their mind after seeing how much interest there has been. I would love to see it on the stage—that wasn’t my original intention, but what fun!

Q: Will the Jedi Return or the Empire Strike Back?

A: Time will tell. I certainly hope so.

Q: The book is now widely available at Amazon and bookstores everywhere (list price $14.99). [Readers: This IS the book you are looking for.] Are you appearing at any signing events? Can fans meet you?

A: Right now most of the events are already behind me. But I’m around and I always enjoy meeting readers. I will be at the Wordstock Festival in Portland on October 5th (which is, coincidentally, Star Wars Reads Day).

Q: Anything you’d like to add?

A: Nope, thanks for having me on the blog!

Thanks, Ian, it’s been a pleasure. May the Force be with you.

Link Ian's webite

REVIEW: "The Taming of the Shrew" at ART

The following bonus review [we rarely cover Portland theater] is by Dennis Sparks (with end notes by Gregory E. Zschomler) is taken from his excellent blog http://www.dennissparksreviews.blogspot.com/. I was able to attend with Dennis and I enjoyed the production very much. It rivaled anything I saw at the Oregon Shakespeare Festival and was one of the best all around plays that I have seen, professional or otherwise. Here is what Dennis has to say:

This comedy by Shakespeare is actually part of the Portland Shakespeare Project and is performed at Artist Rep’s space at SW Alder St. and 16th Ave. It is directed by Michael Mendelson, a member of their company and Artistic Director of the group. It plays in repertory with a stage reading of "The Tamer Tamed" by John Fletcher and directed by Michael Nehring through August 4. For more information, go to their site at www.portlandshakes.org

“Thereby Hang a Tale”

This story is familiar turf in Shakespearean comedies, as it employs his much-used device of double/triple identities and guises to mask true feelings/motives of individuals. And this tale is rampant with them. It all involves two daughters, Kate (Maureen Porter) and Bianca (Foss Curtis), of Baptista (Gary Powell), a wealthy merchant. Bianca, the “pretty” one, has suitors abounding, including Lucentio (Peter Platt), Gremio (David Heath) and Hortensio (Sam Dinkowitz). But Baptista is firm that she will not be wed until the eldest, Kate the cursed, the Shrew, is mated.

So Hortensio entreats his best buddy, Petruchio (James Farmer), a brazen, bravado of manhood to woo and win the aforementioned Kate. He does so by matching his boldness and wit to hers and thereby conquers her heart. But he feels he must bend her will to his and, through some elaborate ruses, manages this as well. Meanwhile, the youngest daughter’s suitors are busy plying their skills to enticing Bianca to be their bride. And, oh yes, this is all a play within a play, which confuses things even more with assumed identities. Believe me, you have to actually see it to sort it all out.

I have seen a number of stage and film productions of this show and even been in one myself. Overall, this is the best production I’ve seen. Others have had individual scenes which I’ve like better, but the overall concept and presentation of this production is superior, as far as I’m concerned, for a couple of reasons. 

 First, the cast is uniformly first-rate, not a sour note in the acting. Second, it is presented simply, in modern dress and with minimal sets and props, so that the audience is not overwhelmed by pomp and circumstance, which could clutter an already confusing story.

And third, and most important, is it is presented in “Conversational” Shakespeare, a method in which his words are approached as if they were a foreign language, thus having to make it conversational in presentation, in order that it is understood by today’s modern audiences. This is not a history lesson. Yes, the language is poetic and rhythmic, but if you don’t know what they’re talking about, it doesn’t work. And you don’t have to change the words to succeed at this. Period.

The wooing scene between the main lovers is priceless. And Farmer has all the necessary dash and flair to make his Petruchio a standard. Porter is his equal as Kate. She matches his antics at every turn. My personal favorites, though, were Dinkowitz as Hortensio. His every gesture, whimper and hound-dog looks were in perfect harmony with one of the Bard’s clowns. Grant Turner as Tranio, Lucentio’s servant, has the look of a young Don Johnson and his comic timing and flimsy bravado are in sync with this complicated character. And Nathan Dunkin as Sly, the “audience” for this play, underplays this role beautifully. All the right touches in all the right places.

But credit must ultimately be given to the master of this madcap marvel, Mr. Mendelson, the director. He certainly understands Shakespeare and pulls ever nuance out of this script and his actors, wherever it may be hiding. And his set, designed by John Ellingson, is easily manipulated and flexible for the many settings.

The only thing that doesn’t work, in my opinion, is the final speech. Although well-delivered by Porter, the “wink-wink, nudge-nudge” (Monty Python) aside really doesn’t cut it. Women’s groups and others have justifiably been outraged with the subservient tone of the speech, bowing to the “superior” male. Unfortunately those were the times in which the Bard was writing, as women weren’t even allowed to perform on the stage, and men had to play the female roles.

But, one presentation I witnessed had both the lead characters as mild individuals, but had to put on the mantle of the outrageous because that was what was expected of them within the circumstances. So the final speech of Kate’s becomes an “enacted” piece and, thus, we know that she is just “playing the role” of the shrew, tamed. Anyway, that worked.

I recommend this show. And I’m sure the “sequel” will be equally worthwhile to watch. It does involve some adult gestures but they are pretty tame. If you do go, please tell them Dennis sent you.

END NOTES By Gregory E. Zschomler:

Rarely do I attend a play where all players were wonderful. This cast, from bit part to lead role, was perfect. If I were to  chose a standout I would pick Sam Dinkowitz who was hilarious  but, well, so was everyone else. I know these were great actors, but much credit must be given to the director for inspired blocking and fight choreography, and for the brilliant leadership in the vision. A truly delightful set, well costumed, and the lighting design was stunning. I highly recommend you see this production. (And park in the theater's lot or garage as metered parking is outrageous, especially when inflated during soccer games.) Oh, and I disagree with Dennis about the "wink."

STAR WARS as Written by Shakespeare: Video

THIS IS  A GAS! 

Rarely, do I find something so amusing that pertains to both of my blogs (books and theater). Well here's one. The trailer is great and I am going to get this book (though I'd actually like to see the play).



The book is from the same publisher that brought us "Sense and Sensibility and Sea Monsters" and "Pride and Prejudice and Zombies" (Quirk Books). [Incidentally, they turned down the opportunity to publish my "The Amish vs. The Zombies."]

You might want to read more, so here's the link to a preview of the e-book. This would be so fun to stage. I have first dibs.

Thanks to author Matt Mikalatos for finding and sharing. You should follow his blog.

FREE SHAKESPEARE in the PARK

Two sets of twins make for mistaken identities and error.

The Portland nonprofit theater company Original Practice Shakespeare will present "Comedie of Errors" from 2 to 4 p.m. in Esther Short Park on Sunday, July 7. The event is free.

The troop, actually somewhat practiced by now, travels through the area parks presenting the Bard's material each summer.

And if you've not seen much Shakespeare, "Comedie of Errors" is probably the best introduction because it actually is very funny.

You can find out more and see a video of their shows on the OPS website by clicking here.