REVIEW: Classic, Commie-hunt Commentary "The Crucible" from Bag & Baggage

Salem, Massachusetts—1692?

Bag & Baggage announces their newest production opening just after Labor Day weekend.

Rigid piety huddles on the edge of the new world’s wilderness in the Arthur Miller classic drama "The Crucible."

A small town's inhabitants believe unquestioningly in their own sanctity, but in the playwright’s edgy masterpiece, that very belief will have poisonous consequences when a vengeful teenager accuses a rival of witchcraft—and then those accusations multiply to consume the entire village.

Photo, provided, by Casey Campbell Photography with Hanna Rose Brumley,
Melory J Mirashrafi and Maddie Ogden.

The play was first produced in 1953, at a time when America was convulsed by a new epidemic of "witchhunting," "The Crucible" brilliantly explores the threshold between individual guilt and mass hysteria, personal spite and collective evil…and speaks as clearly to us today as it did during McCarthy’s Red Scare.

"The Crucible" is a play that is not only relentlessly suspenseful and vastly moving, but one that compels us all to question our hearts and consciences in ways that only the greatest theatre ever can. A not-to-be-missed, Bag&Baggage style examination of one of the greatest plays in American history.

“A drama of emotional power and impact” —New York Post

The production has a large cast and features familiar Bag & Baggage players as well as new faces. It should be interesting to see what artistic director Scott Palmer does with this allegorical commentary. When will it be set? What relevance for today will be emphasized?

Runs: September 4, 5, 6, 7, 11, 12, 13, 14, 18, 19, 20, 21, 25, 26, 27, and 28 – 2014
Preview Night: Thursday, September 4, 2014
Opening Night: Friday, September 5, 2014

At the last minute we were unable to review this show, however here is a great review by Dennis Sparks.

Event Time: Thursdays, Fridays and Saturdays at 7:30pm, Sunday matinees at 2:00pm
Event Location: The Venetian Theatre, 253 E Main Street, Hillsboro 97123
Special Events: Meet-the-cast Talk Backs on Sunday September 7, 14 and 21

Tickets:
Adults – Section 1: $30
Adults- Section 2: $26
Students/Seniors – Section 1: $24
Students/Seniors – Section 2: $20

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.

REVIEW: "Private Lives" by Bag & Baggage a Grand and Striking Production

A Double Delight at The Venetian Theater and Bistro last night

Actually, it was more than double, because there were several treats. Four of us had the special privilege to view and review the the recent production by artist and director Scott Palmer of Bag & Baggage Theatre, in Hillsboro, Ore. Their production of Noel Coward's 1930 stage play "Private Lives" was not only a treat in itself, but so was the place it played: The Historic Venetian Theater and Bistro.

The Venetian Theatre and Bistro.
Photo by Gregoy E. Zschomler.

The beautiful, refurbished and remodeled, theater itself has a very interesting history and is supposedly haunted. The space is not only beautiful, but has the most comfortable seating of any playhouse I have ever been in. [If you like haunted theater stories, check out my book, PLAYHOUSE PHANTOM, based on a true story.]

For now that's enough on the theater; I'll get to the bistro and other bonus notes at the end of this review, but for now...

On With the Show

Director Scott Palmer has masterfully brought this brilliantly written work to life. The blocking was simply of the best I have seen and any director would do well to study this production. The acting, too, was exceptional and of the quality that goes beyond what actors can provide from themselves. The keen eye and graceful hand of a good director is evident in the intensity and interaction throughout.

Adam Syron (Elyot) and Chrissy Kelly-Petttit (Amanda)

This professional production was of the quality and artistry I find at the Oregon Shakespeare Festival. In other words top notch.The resident players include Adam Syron (Elyot), Arianne Jacques (Sibyl), Chrissy Kelly-Pettit (Amanda), Gary Strong (Victor) and Theresa Park (Louise, the maid).

All were marvelous in the roles and were excellent in British diction (well, except the French maid who spoke French).

Especially strong were Jacques, Kelly-Pettit and Syron who each displayed a depth of emotion and range of characterizing mannerisms that immortalized their performances. However, the standout of them all was Syron, who's quirky and intense hysteria was a delight to behold.

Sophisticated, Sexy and Sparkling

The 1930 British comedy of manners still has relevance for today and holds a very striking message. I found the ending a bit abrupt and jarring for a "comedy" (it was more profound than funny, though had moments of humor), but I enjoyed the dialogue and situations throughout. Likely, this presentation was a bit more sexual than it was originally, and with the mild language, excessive drinking and physical abuse I'd rate the play at PG-13.

Amanda and Elyot in a moment of tenderness between
their fighting and fussing.

"Amanda and Elyot, once the toast of the town and London’s most fabulous married couple, haven’t seen each other since their explosive divorce five years ago. When they meet by chance on a hotel balcony, their passions re-ignite with explosive consequences… especially because they are both honeymooning with new spouses!

"Full of rebellious flippancy, sophisticated romance, and Coward’s hallmark rapier-like wit, this is a comedy that has stood the test of time….and then some!"

Grand Simplicity

One of two sets for the Bag & Baggage production of "Private Lives"

The production's "look" was creative and well-conceived. While simple in some regards, and a bit eclectic (as regards to period) the set, by Megan Wilkerson, managed to delight and come off on a grand scale, none-the-less.

The lighting, by LD/TD Demetri Pavlatos, was near perfect. The scenes were well lit with bastard amber and no-color blue and some were infused with a darker flame and green color for a dramatic flare. Costumes, by Melissa Heller, were also nice, but also a mix of eras.

The Bistro and Other Treats

The Venetian Bistro. Photo by Gregory E. Zschomler.

Our party enjoyed a pre-show meal in the bistro/lounge during Happy Hour (3-6 p.m. Sunday-Thursday) and thoroughly enjoyed our experience. The delicious Venetian burger--a half pound of chef-seasoned chuck with the usual accouterments on a house bun--was very tasty (and half it's usual price).

I'm not a pasta fan, but according to another in our party the fettuccine Alfredo was "quite good, actually." The artichoke-bleu cheese dip served with fresh pita triangles was "simply amazing" and the cheese-garlic-stuffed bread was "divinely awesome and very cheesy!" The presentation of each dish was nice as well.

Photo by Ruth Zschomler.

A look at the main dinner menu and a gander at the dessert case told us we wanted to come back. We all liked the old town atmosphere and our server was polite and helpful.

My wife also enjoyed the old fashioned (and genuine) drugstore soda fountain next door. Her $3 chocolate soda she said was "delectable and heavenly" and she is a connoisseur of all things ice-creamy. All in all we thoroughly enjoyed our experience which included a lovely evening's walk along Main in downtown historic Hillsboro.

My recommendation? It's worth the drive, but plan for 40-60 minutes in traffic if you leave during rush hour on a weekday. Arrive before 6 p.m. and enjoy The Venetian's Happy Hour. Get your tickets when the box office opens and wander Main Street. Drop in before 5:30 at Jacobson's Books (and buy my book), enjoy a sundae at the soda fountain and then catch an awesome show by Bag & Baggage. You won't be disappointed.

Information

The production runs now through May 30, 2014 at The Venetian Theatre, located at 253 E. Main Street, Hillsboro, Ore.; Thursdays, Fridays, and Saturdays at 7:30 p.m., Sundays at 2 p.m. Tickets: Adults: section 1 – $30, section 2 – $26. Students and Seniors: section 1 – $24, section 2 – $20.

By Gregory E. Zschomler with Ruth Zschomler
All photographs, provided except as noted.

For another perspective by Dennis Sparks click here.