OSF Review: "The Tempest" (5) by Dennis Sparks Reviews

Here's one we didn't get to:

I wasn't able to review "The Tempest,' just as Dennis wasn't able to review "The Comedy of Errors."

You can read Dennis' excellent review by clicking on the link here: http://dennissparksreviews.blogspot.com/2014/05/the-cocoanutsoregon-shakespeare.html Enjoy!

You will find links to his other reviews (for "Cocoanuts," "A Wrinkle in Time," and "The Sign in Sidney Brustein's Window" at the bottom of our reviews of the same. You'll also find reviews of other Ashland Experiences (restaurants, etc., plus a cool link to Jacksonville, I didn't include).

OSF Review: "A Wrinkle in Time" (4) Needs Some Ironing Out

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 and the other comments I've made in the other reviews I did by clicking the selections in the list above.

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.

Ironing Out a Few Wrinkles Could Improve This Work

Here the cast annoyingly reads from the book. Photo: Jenny Graham.

After a three day stay in Ashland, Ore. I am writing to you from the Java Hut in Crescent City, Calif. where I am enjoying the sunshine and a mocha. The campground where we stayed last night was supposed to have WiFi but I couldn't get signed on to it.

Anyway that's just a wrinkle that took me some time to iron out. And speaking of ironing out, that's just what this production of "A Wrinkle in Time" needed. During my three days at OSF this was the show that had people talking the most. Negatively. For the most part that's the buzz I heard. "The actors they cast are too old." "It's just not right." "We didn't like it."

But, honestly, it wasn't all that bad. My own initial reaction was also one of dislike, but the production quickly grew on me. True, it is awfully cerebral, esoteric and preachy--especially for a "children's" play. I see a lot of productions by the Oregon Children's Theater and the Northwest Children's Theater and this wasn't light enough to be the sort of thing they present. So maybe it was meant for the older crowd, then? But those were the ones who I heard complaining most. 

Many generations have read this book. So what about the younger crowd? I sat surrounded by a group of highschoolers. I heard their murmurings, too. Their reactions were mixed as well. Hmmm.

Charles Wallace (left, Sara Bruner), Meg (Alejandra Escalante) and Calvin
(Joe Wegner) land on a far-flung planet. Photo by Jenny Graham.

Well, I'm glad I had some extra time to mull this all over, because it actually was a great production with only a few wrinkles. Mainly the heavy-handed, overly narrative script. This production is the world premiere of a new stage version (there have been others, plus a Disney movie version) of the tale based on the science fiction fantasy novel by American writer Madeleine L'Engle, first published in 1962. 

The story revolves around a young girl whose father, a government scientist, has gone missing after working on a mysterious project called a tesseract. The book won a Newbery Medal (as well as several other awards after being rejected by several dozen publishers). This new adaptation is by playwright/director Tracy Young. 

The one hour and forty minute show is staged without an intermission which is just a tad too long. The script needs cutting anyway. I would immediately cut all the reading from the book that is done by the actors. It isn't needed and was just way too invasive. Show, don't tell.

Mrs. Who (K.T. Vogt) dismisses the children
(Alejandra Escalante, Joe Wegner, Sara Bruner)
as a reader (Kate Mulligan) sits in the window.
Photo: Jenny Graham.

Second, yes, it could have benefited from some younger actors playing the kids roles. And it did have a older female playing the role of the youngest boy (which I felt was not a good move and, in this instance, was a little creepy).

Thirdly, I would like to point out that Mrs. Which is not a witch. (Did you see the spelling difference?) The three characters that enable the journey in this allegory are Mrs. Whatsit, Mrs. Who, and Mrs. Which--who together may represent the triune God (Which representing the Holy Spirit) though in the book the three are referred to as guardian angles.

Time Will Tell

But, other than those things, the production was fantastic in many regards. Something I liked about the script was the inclusion of Science Girl (played eerily by Jada Rae Perry). I'm having trouble understanding the meaning of the character and that is why I like the addition--it is food for thought. Perhaps she represents Meg in some way, perhaps she represents "everyman," or perhaps the Divine, for she is always causing action upon the other characters (as if doing voodoo).

Meg Murry (left front, Alejandra Escalante) relives the taunts of her
classmates and teachers at school (Mark Bedard, Jeremy Thompson,
Kate Mulligan) with her brother Charles Wallace (Sara Bruner).
Photo by Jenny Graham.

Also the acting overall, despite adults playing ten and fourteen-year-olds, was really good. Alejandra Escalante did a good job with the role of Meg Murray and Sara Bruner actually did really well as Charles Wallace (if Sandy Duncan can play Peter Pan than why not). The ensemble, too, was marvelous. The show's standouts were Joe Wegner as Calivin O'Keefe, Kate Hurster as Mrs. Murry (reminding me of Lea Thompson in "Back to the Future"), Dan Donohue as Mr. Murray, Judith-Marie Bergan as Mrs. Whatsit (perfect casting) and Michele Mais as Mrs. Who. 

I also liked the "twins," played wonderfully by Jeremy Thompson and Mark Bedard (yes, the same guy that plays Groucho in "Cocoanuts"!), and Daniel T. Parker's portrayal of Aunt Beast.

The stage direction by Tracy Young was done well and very differently. As a piece of experimental theater in many regards, the production used some very new cutting-edge tech and some very old (1950-60's) tech, as well as some older stage (late 1800's) effects and illusions mixed with trendy new time-based media. Plus the precision video mapping on the surface of the stunning backdrop set piece was truly magical. The mix was jaw dropping and extremely effective.

Mrs. Whatsit (left, Judith-Marie Bergan) and Mrs. Who (K.T. Vogt)
contemplate the universe. Photo by Jenny Graham.

Kudos especially to Scenic Designer Christopher Acebo, Lighting Designer Robert Wiezel (stunning), and Video Designer Shawn Sagady (oh, wow), as well as Sound Designer Paul James Prendergast and the other contributing tech crew.

All of this came together--the entire vision--contributing to a real sci-fi creep factor that effectively emulated the feel of Cold War hysteria and the threat/fear of Communism (note the use of red in the production) that was a prevalent theme in the book. The book's other themes of self-worth, coming of age, real beauty, bravery and the overcoming power of the Gospel message (of love) and the imagination are also presented well.

So, I think this production is well worth seeing. Though it might be the weirdest piece of theater you will ever see, and though it might have a wrinkle or two, it will certainly be one of the most rewarding visual experiences you'll likely see (outside a theme park, perhaps). And it's a great one for the kids, too. Maybe a bit lofty, but clean and visually interesting.

OSF Trip Tips

You'll need to see Dennis Sparks' review of this production. His take is very different than mine and he disagrees with me on some major points. Personally, I don't think he gets a few things on this one (land vs. planet, the witches reference, the wormhole idea, etc.), but he is a brilliant reviewer none-the-less.

He also reviews the Ashland Springs Hotel (formerly the Mark Antony) where he stayed. It sounds and looks like a lovely place to stay. So check that out, too.

Our own final Ashland experience was to grab a lunch bite at the popular Martolli's Hand-Tossed Pizza. It's popular because it's cheap, quick and...well, pizza. I had the Combo slice with pepperoni, Canadian bacon, olives and mushrooms with a red sauce. The wife had the Pesto Veggie with pesto, artichoke hearts, sun dried tomatoes and mushrooms with some feta cheese and olive oil.

Despite the fact that I'm not much of a Greek food fan I liked her slice better than mine. I've been on a low fat, low salt diet so my greasy pepperoni and salty pizza was a shock. A bit too much in those regards, but toothsome none-the-less. The crust was very good. And at $2.50 - $3.50 such a big slice of 'za would be hard to beat. The service was fast, so if you're running late for a play, it's an excellent choice.

At any rate, sadly, we're on our way home now (300 miles/5 hours, but well worth the trip). If we get a chance, we'll try to return this fall and see "The Two Gentlemen of Verona," "Into the Woods" and "The Great Society," all opening this summer. And there's always next year with "Much Ado About Nothing," "Guys and Dolls," "Long Day's Journey Into Night," "The Count of Monte Christo," "Pericles," "Antony and Cleopatra," and many more including the premiere of several new plays. So until we meet again, (and parting is such sweet sorrow) I bid you ado, this man's part is thus finished, for...

"All the world's a stage, And all the men and women merely players; They have their exits and their entrances; And one man in his time plays many parts..." ~Wm. Shakespeare

By Gregory E. Zschomler

All production photos, by Jenny Graham, provided.

Other photos as noted.

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.

OSF REVIEW: "Cocoanuts" (2) Absolutely NUTS!

Photos from the OSF production of "Cocoanuts" adapted by Mark Bedard.

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.

This is our second review. To read the first review (and read more of this intro) click here or scroll down. Here's a couple of new facts: OSF was established in Ashland in 1935 and has the oldest full-scale Elizabethan stage (a replica of the Globe) in the Western Hemisphere. More than 125,000 patrons attended shows each year seeing and average of three shows per visit (that's more than 400,000 seats). They've won a regional Tony Award and they employ approximately 600 theater professionals.

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

Making Their Marx

I have NEVER seen a show I enjoyed so much. EVER.

Harpo (Brent Hinkley), Chico (John Tufts) and Groucho (Mark Bedard)
make an entrance. Photo: Jenny Graham.

"Cocoanuts:" always amusing, often funny, and at times uproariously hilarious, this adaptation of the Marx Brothers comedy, with music by Irving Berlin, is an absolute hoot. This play alone is worth a trip to Ashland. This should be on Broadway with these actors. If it were it would run for years.

The adaptation, by Mark Bedard (who also plays Groucho), is brilliantly modernized with contemporary relevance while holding true to the original. He is a comic genius who effectively channels the Marx Bros. leader. And while he,  Eduardo Placer (Zeppo),  and Brent Hinkley (Harpo) were extraordinarily exceptional, all the other players were top notch as well. However, I felt that Chico, played by John Tufts, could have been better matched, but overall the roles were ideally cast. I enjoyed the entire ensemble.

It should be noted that the cast, especially Bedard, were exceptional at ad lib and improvisation. There were several times that Bedard took the show off track to do an improv shtick usually involving an audience member and ad libbed puns off the top of his head. In many regards this was a very live performance and reminiscent of how Tim Conway would surprise the cast of The Carol Burnett Show and how even though you could tell he had thrown them, they were able to pick up and carry on with their own ad lib. In this particular showing Superman (a toddler in costume) even made an impromptu appearance, and they "flew" with it!

Detective Hennessey (David Kelly, center) has much to sing about at the
wedding rehearsal dinner. That's Mrs. Potter (K.T. Vogt, far right).
 Photo: Jenny Graham.

As mentioned, Bedard was simply amazing, as was the silent Hinkley, but two amazing actors exceeded their performance. K.T. Vogt as Mrs. Potter and David Kelly as Detective Hennessey were so stellar they were out of this universe. Not only were they extremely good sports, they threw themselves into their roles. Each had great comic timing and embodied their characters bodily, vocally, and facially. I absolutely loved Vogt's performance and she sang excellently, as well.

However, it was Kelly who truly stole the show for me. What appears, at first, to be a bit role, turns into a show stopping performance. Not only does he display perfect comic timing with a rubber face to boot, he has striking vocal chops. His was a most surprising and delightful performance.

Again, the entire ensemble was great, but I did want to mention the best voice of all was Jennie Greenberry. Whoa! And her duet "Always" with Eduardo Placer in the Zeppo role of Robert Jamison was the vocal highlight of the production. Placer, I could tell, is a musical theater triple threat master.

Making a Scene

Harpo (Brent Hinkley) and Groucho (Mark Bedard) cause havoc in
the hotel rooms. Photo: Jenny Graham.

The production values were, in every aspect, exceptional. Overall, the singing, dancing and acting were extraordinary and credit is due director David Ivers for delivering a constantly moving and visually interesting show. The choreography by Jaclyn Miller  was superb and fun. Music direction by Gregg Coffin, scenic design (colorful and effective) by Richard L. Hay, costumes (very colorful as well) by Meg Neville, lighting (quite lovely and complex) by Marcus Doshi, sound, video, etc.--all stunning. The band, too, led by Darcy Danielson, was superb. Everything about the show was a delight.

It is unfortunate that I cannot find listed the person responsible for the video mapping on the set. That was a jaw-dropping surprise and so well done.

Robert Jamison (Eduardo Placer, center) and his staff (Katie Bradley,
Miles Fletcher, Erin O'Connor) review the situation. Photo: Jenny Graham.

It should be noted that the show, with original music and lyrics by Irving Berlin, does have a story line (book by George S. Kaufman) and basic musical theater themes, but it is relatively unimportant. It is the slapstick, shtick, gags and improv from an extraordinary cast--as well as the beautiful design and direction--that make this show a spell-binding spectacle.

Colorful, interesting, amusing Broadway-hit style theater, and right here in the PNW! I URGE you to get your tickets ASAP. They do sell out and in 2013 OSF had an 87% capacity crowd over their eight month season.

OSF Trip Tip

The Lithia River. Photo: Gregory E. Zschomler.

Another Ashland delight is Lithia Park directly to the northwest of the OSF grounds. It is a beautiful 93 acre green way park running along both sides of the Ashland Creek flowing out of the local hillside. Walking paths, picnic grounds, ponds, wading areas, grassy lawns, tennis courts, gazebos and all kinds of places to get away and relax are just some of the features that make this city park one of the best I have been in.

Buskers are also part of the flair of this artsy community, and they can be found playing cello, sax, didgeridoo, guitar, congas or any other variety of instrument along the parks paths. This is not as annoying as it may imply because there is plenty of space to find a quiet area if you wish--especially if you are willing to walk to the upper parts of the nature area.

There is also a variety of restaurants along the lower part of the creek where it flows out of the park and into the city along a river walk dining area not unlike the ones found in San Antonio and Oklahoma City (though on a smaller scale). Riverside dining is delightful this time of year before it gets to muggy and buggy.

The author at Louie's. Photo: Ruth Zschomler.

However, these establishments can be pricey due to their ambiance and convenience to OSF. One can easily pay $15 to $20 average (or more) for a simple meal, but it need not be so. One great place to eat  along the creek is Louie's, known for a wide variety of fairly price fare. The indoor ambiance is decidedly turn-of-the century western featuring a hardwood long bar and ceiling beams. Jazz and light funk music provides the background and the outside eating area is shaded and inspiring.

In a business where establishments come and go with regularity, Louie's has been open for twelve years. Likely because the wait staff is polite and on the ball and the main entrees [we had] were of good taste and well priced. I had a vegetarian black bean burger and Ruth had grilled salmon with a Caesar salad. Both were delicious, but the fries were nothing special (even though they offer a variety of toppings, these low quality fries cannot be saved). I should have opted for their in-house made kettle chips. Click on their link for the menu.

Though Louie's offers a delightful array of desserts I wanted to enjoyed an iced mocha  and Ruth wanted a white hot chocolate (it was 80 degrees out, but she's like that), so we strolled down a block to Mix a hipster espresso bar and bakery. Mix serves Stumptown coffee concoctions (why they don't use a local micro roast I don't know), teas, Italian sodas, wine, beer and "light" cocktails and in-house made baked goods. Ruth found their lemon bars delectable, but wasn't impressed with their steamer. I loved my mocha, though would have preferred a different bean.

By Gregory E. Zschomler

All production photos, by Jenny Graham, provided.
Other photos and video as noted.

For an additional perspective on this show, by Dennis Sparks, click here.

OSF REVIEW: "The Sign in Sidney Brustein's Window" (1)

Photos from the OSF production of "A Sign in Sidney Brustein's Window"

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.

First of all, over time, I have come to enjoy the Bard's plays (some of them) and appreciate the artistry of the writer and the directors who stage his work. Secondly, I, like many of you perhaps, was not aware that the OSF did anything but Shakespeare. Only about one third of their offerings are Elizabethan plays. About a third are new works (world premieres) and the final third are classics.

This year we were able to mix it up a bit and see a work from each category (last year we didn't see anything by good William). We are especially excited about seeing a Shakespearean comedy this time around and to see a show particularly appealing to children.

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.

I should also note that I regret not coming sooner and more often. I highly recommend the wonderful experience and that YOU not put it off like I did.

A Sign of the Times

Iris Parodus Brustein (Sofia Jean Gomez) spars with her husband,
Sidney (Ron Menzel). Photo: Jenny Graham.

Lorraine Hansberry is most famous for her play "A Raisin in the Sun" a story about a black family's experiences in the Washington Park Subdivision of Chicago's Woodlawn neighborhood. The play was revolutionary for its time (1959) in that it featured an all black cast and addressed social issues of the period. It was made into a movie (1961) and later adapted as a musical (1973).

Like "Raisin," "A Sign in Sidney Brustein's Window" (1964) deals with social issues. Ahead of its time, it encompasses themes of race, suicide, homosexuality, politics, economics and even "hipsters," focusing on various dysfunctional characters learning to cope with life.

The work seems to be more message driven than by plot. The characters are somewhat archetypes created to encapsulate certain social forms and then, therein, to breakdown expectations. The play further examines the idea of commitment.

A Window into the Show

Alton Scales (Armando McClain) is interested in the news in Iris'
(Sofia Jean Gomez) sister's letter. Photo: Jenny Graham.

Honestly, I had trouble following and enjoying the production as an entertainment piece. Much of the play, more thematic than plot driven, rambles on without a direct line of sight. It is not until the second act that you really get where the playwright is going and then the concept seems to be more to make a point than tell a story.

Also the characters and themes of the play are ones I tend to try and run away from in real life. In other words, the play reflects aspects of life (certain types of people, certain situations, etc.) that I am uncomfortable with and try to avoid. In many ways, this play looks at the underbelly of society--a society that existed in 1964 and still exists today. It examines the darker parts of human existence.

In so doing, it (uncomfortably) reminds us of our own darkness and responsibilities, but also comforts us, possibly into the false sense, that we are "at least not that bad after all." It doesn't really offer much hope either, ending on a gloomy note. I, personally, enjoy uplifting theater for entertainment and I like to exit the theater feeling good and inspired, not depressed and scolded.

None-the-less there are many good things to say about this production. The direction, by Juliette Carrillo, was excellent and the acting good overall, with only one slight weak point. Two players stood out for me Danforth Comins as Wally O'Hara and Ron Menzel as Sidney Brustein.

Comins was strong and convincing in his role. He makes a very smooth and sometimes naive politician, seemingly wanting to do good, but selling-out in compromise, in order to do what he can. He also gave a genuine performance of warmth in friendship and sincerity in delivery.

Pre-election at the Brustein house (Ron Menzel, Sofia Jean Gomez,
Danforth Comins, Armando McClain). Photo: Jenny Graham.

However, it was Menzel who gave one of the most outstanding performances I have ever seen. The fire, tension and passion of the performance and the nuances of the character, mixed with the intense energy and finely-detailed performance (voice, face, motion) of the actor made this character real and deeply felt.

The production was well-conceived with an interesting set (laden with detailed dressing) and fantastic lighting design. The costumes were serviceable, but not necessarily iconic of the times--perhaps in an effort to show the play's timeless themes (?).

Note that the play runs a long two and a half hours, plus intermission. Curtain call clocked in at 10:45! And then I had to go to bed with the play on my mind. It was not a comfortable night. However, if you like strong performances and a lot of angst in your theatrical experiences this play is definitely for you.

More photos can be seen here.
For another perspective of this play by Dennis Sparks click here.

CAUTION: I would strongly recommend that you not bring the kids to this one. The themes are difficult (race, gender, suicide, alcohol and drug abuse) and coarse language is prevalent (especially the Lord's name used in vain) including racial and sexual orientation slurs.

OSF Trip Tips

Our fare at Thai Pepper. Photo: Ruth Zschomler

It takes about five hours to get to Ashland from the Portland area and with a trip like that, and many plays beginning at 8 p.m., you'll want to plan for an overnight stay. Since you've made the investment you might as well see three plays (or more). If you launch out in the wee hours of the morning (say 7 a.m.) you can make it down at about noon. You can see a play at 1:30 p.m. and another at 8 p.m. with dinner at one of the fine local restaurants in between. The next morning you can enjoy the area (more on that to come) and see a third show at 1:30 before heading home.

We stayed at the nearby La Quinta and enjoyed our first evening's dinner at Thai Pepper on Ashland Creek that runs through the OSF part of town. The service was very good and our waiter prompt, attentive and helpful. The food was delicious and of good quality, even if a tad pricey. The ambiance was also a delight as we sat outside along the Asland Creek, enjoying the sounds of nature.

The view from our table. Photo: Ruth Zschomler.

Ruth had Red Curry Chicken with Bamboo Shoots and Spinach and I had Garlic Pork with Coriander, Cilantro and Roasted Peppers, Tomatoes and Onions. It was fabulous! Both came with steamed rice and mine was accompanied by a delightful cucumber salad.

Review by Gregory E. Zschomler
All production photos provided; dining photos by Ruth Zschomler.

Follow Us on Our Trip To Asland for the Oregon Shakespeare Festival

We're Reviewing the Following Four Shows This Week at the Oregon Shakespeare Festival. Watch for Our Reviews Thursday, Friday and Saturday.

COCOANUTS
Sun, sand and shtick

The service stinks but the gags are four-star in this Marx Brothers romp. Groucho owns a bum hotel in Florida and peddles dubious real estate to gullible Northerners seeking a place in the sun. He’s after a rich society dame, who’s after an eligible match for her daughter, who’s in love with the hotel’s head clerk. Trouble rolls in with the tide when the other Marxes arrive and mama’s eligible match turns out to be anything but. Mark Bedard (Groucho in 2012’s Animal Crackers) will adapt this jazz-age gem with songs by Irving Berlin.

THE SIGN IN SIDNEY BRUSTEIN'S WINDOW
No man is an island

It’s 1964, and Sidney Brustein is in his element: a Jewish intellectual in the heart of Greenwich Village, a hotbed of artists, activists and social upheaval. But nothing has brought him happiness—not his bohemian friends, his wife Iris, his failed folkie nightclub, or even his own lofty ideals. Then, when a turbulent political campaign sparks him into action and Iris begins yearning for a different life, he’s forced to decide what’s really worth fighting for. 

This 50th-anniversary production of a neglected classic by Lorraine Hansberry ("A Raisin in the Sun") explores the rocky landscape of love, choices and consequences with poignancy and biting humor.

THE COMEDY OF ERRORS
Double double trouble

Antipholus and his servant, Dromio, go looking for family they lost years ago. Traveling from the rural South, they journey to the big city and find themselves in the heart of the Harlem Renaissance. And surprise! Suddenly there are two identical Antipholi and two identical Dromios, which has everybody in town (including significant others) seeing double. To make matters worse, another family member is about to be executed for breaking local law. Laughs fly as the clock ticks in Shakespeare’s farce about the craziest family reunion ever.

A WRINKLE IN TIME
Across the universe

Meg Murry is the quintessential square peg: a middle-school math whiz with glasses and a short temper. But when she and her strangely gifted little brother set off to find their missing father, they’re catapulted across time and space to a world where being different isn’t just an annoyance—it can cost you your life. Even with the help of curious otherworldly beings, Meg will have to conjure every power she can find, and then some, to put her family back together.

OSF presents a new adaptation of this mind-expanding science fiction story  by Madeleine L'Engle that’s still a favorite with the young and young at heart. The book won a Newbery Medal, Sequoyah Book Award, and Lewis Carroll Shelf Award, and was runner-up for the Hans Christian Andersen Award.

PLUS WE"LL BE REVIEWING THE ASHLAND EXPERIENCE. WHERE TO EAT, HOW TO ENJOY YOUR STAY AND MORE!

Reviews will be by Gregory E. Zschomler with Ruth Zschomler.

Additional reviews by Dennis Sparks will be linked (some of the same shows and some different).

UPCOMING REVIEWS: Oregon Shakespeare Festival in Ashland, Oregon

JUST ONE WEEK! We'll be reviewing four shows presented at the Oregon Shakespeare Festival near the end of May.

On May 21 we'll be seeing THE SIGN IN SIDNEY BRUSTEIN'S WINDOW from the playwright who wrote A Raisin in the Sun.

On May 22 we'll be seeing the stage adaption of the Marx Bros. musical COCOANUTS with music by Irving Berlin. We'll also be seeing the Bard's THE COMEDY OF ERRORS that day.

On May 23 we'll be seeing the stage adaption of Madeleine L'Engle's A WRINKLE IN TIME.

WATCH FOR OUR REVIEWS MEMORIAL DAY WEEKEND!

Outside Opportunities: Oregon Shakespeare Festival

The Oregon Shakespeare Festival has paid professional development opportunities beginning in October for the following individuals:

• Director
• Lighting Designer
• Scenic Designer
• Directors

This is a four month Fellowship. Candidates must have directed a minimum of three (3) Equity productions. Complimentary housing, round trip airfare, and a $6,000 stipend are awarded to recipients.

Designers

This is a four month Fellowship (Oct ’13 to Feb ’14). Candidates must have designed at least three (3) non-academic productions and/or live events. Equivalent work in film, television and/or other relevant industry may also be considered. Candidates must be able to commit full time to the position. Complimentary housing, round trip airfare, and a $5,000 stipend are awarded to recipients.

 
There are no age requirements and/or academic requirements for any of the above opportunities.

Please share widely, and feel free to contact Sharifa Johka, FAIR Experience Manager at OSF, with further questions.

Sharifa Johka, FAIR Experience Manager
Oregon Shakespeare Festival

15 S. Pioneer St., Ashland, Oregon 97520

p: 541.482.2111 ext. 203 f: 541.482.0446

e: sharifaj@osfashland.org

www.osfashland.org/about/FAIR

If you would like to recommend anyone for these positions, please send Sharifa their name and contact information. Or you can simply forward this email to any prospective candidates and have them contact Sharifa directly.
More information about the Oregon Shakespeare Festival and the FAIR program can be found on the website: www.osfashland.org/FAIR.

REVIEW: OSF's "The Unfortunates"

You know how I generally like musicals. And happy theater. And musicals are usually happy, right? Well, not this time. Here's an unhappy musical and I didn't really like it on that level.

Continuing and completing my review of three Oregon Shakespeare Festival plays I take a look at the world premiere of  the musical"The Unfortunates."

Armless and big fisted.

The Message:

"A musical pilgrimage through uniquely American genres [jazz, blues, gospel] delivers five prisoners to salvation — or at least keeps the terror at bay. Facing an uncertain end, they bring to life the story of Big Joe, a tough bartender who risks everything to save the armless courtesan Rae from a deadly plague. Combining the heat of a gospel revival with the sweet sorrow of the blues [and hip hop], 'The Unfortunates' convinces us that any great challenge can be faced with dignity, grace, and compassion. [Even if all's not well and doesn't end well.]

It is difficult material, sad and brooding for the most part (much like Les Miserables), though it ends with a lively tune (Lord, Raise Me Up) that indicates the hope of the hereafter.

The Music:

A dance number on the set of "The Unfortunates."

I love the blues, I love gospel, but not so much when it comes to hip hop and this is an amalgamation of the three--a synthesis opera of sorts. Generally that did worked for me.

The music was a mix of recorded pieces and live music from a small ensemble (Casey Hurt on bandleader and guitar, Jesse Baldwin on keys, accordion and guitar, Mike Fitch on drums and Joseph Porto on bass). They were quite good.

The writers, Jon Beavers, Casey Hurt, Ian Merrigan, Ramiz Monsef were all in the show. Obviously genius musicians and writers, not all were as good at performing the material. I speak primarily of Ian Merrigan who wasn't particularly strong in his lead role(s)--not strong enough anyway. Especially compared to the other members of the talented cast which included Kjerstine Rose Anderson, Rodney Gardiner, Cristofer Jean, Barret O'Brien, Christina Acosta Robinson, Ken Robinson, Jon Beavers and Chavez Ravine as well.

Ramiz Monsef, right, as the doctor.

In top form, however, was Ramiz Monsef, a superb actor. Monsef was splendid in his roles as the heavies (especially as the doctor) and Ken Robinson was tops as the religious-irreligious Preach.

The Making:

The production values were exceptional. The sound (Corinne Carrillo) and lighting (Jiyoun Chang) design, the sets (Sibyl Wickersheimer) and costumes (Katherine O'Neill) all glorious. Technically the show was a marvel with an overall Cirque du Soleil feel in a serious funk. Color changers, fog, moving lights and gobos, lifts, chases and much more added to a simply striking look. The choreography, by Tiffany Rachelle Stewart, was also stunning.

Ian Merrigan the foreground as King Jesse.

As indicated, the show was a downer and often bawdy--I wouldn't recommend it for children due to the dark material, some blasphemous religiosity and sexuality. Having said that, the show was entertaining for its quality music and production.

Very advant garde and, if you like that sort of thing, you ought to see it. The direction, by Shana Cooper, was well done.

The musical's running time clocks in at about 90 minutes (which was long enough) and it is showing now through November 2. More information and tickets are available here.

By Gregory E. Zschomler

A link to a review by Dennis Sparks here.
All photographs and video provided.

REVIEW: OSF's "Two Trains Running"

"It’s 1969, and change is in the air. But for the owner of a threadbare diner in a dying Pittsburgh neighborhood, the civil rights movement may just be an impractical dream. Torn between whether to gamble on an urban-renewal buyout or sell his building to a predatory businessman, he finds himself caught between idealism and brutal reality.

August Wilson’s searing portrait of African-American life in the ’60s tells a complex story of the inner lives of ordinary people at an explosive turning point in American history."

Here I continue my review of shows at the Oregon Shakespeare Festival. Yesterday I saw "A Streetcar Named Desire," tomorrow I'll see "The Unfortunates," but, for now, here's my review of "Two Trains Running."

"Two Trains Running" is Right on Track

This is an exceptional production in every way. It constantly held my interest even though the run time is roughly three hours. Didn't seem like it. However, I did feel some of the pacing could have been picked up. The waitress (Bakesta King as Risa) slowly shuffles through her blocking--it was intentional and has some humor to it, but seems unnecessary; and with her pace picked up a good fifteen minutes could have been cut from the show. That is my only dis; and  I'm sure some would disagree, though others feel me.

Tyrone Wilson (Hambone), Bakesta King (Risa) and Terry Bellamy (Memphis) in
the Oregon Shakespeare Festival's "Two Trains Running." All photos provided.

I loved this show! The writing, by Wilson, is excellent and every line is meaningful. Every word seems ideal though sometimes the character of Memphis launches into a monologue that tells rather than shows. But the beauty of the play is in the dialogue and so much can be gleaned from this gem. Very rarely is this show crass and swear words are used sparingly, but the 'n' word is used freely and frequently. At times the show is sad, touching, and funny, but always eye-opening. Very satisfying.

The Cast:

King, Josiah Pillips (Holloway), Wilson and Kevin Kenerly (Sterling).

Terry Bellamy as Memphis, Kenajuan Bentley as Wolf, Bakesta King as Risa, Josiah Phillips as Holloway, Kevin Kenerly as Sterling, Jerome Preston Bates as West and Tyrone Wilson as Hambone.

All performed admirably--each bringing a unique character to life, under the direction of Lou Bellamy. A couple bordered on caricature, but never quite stereotypical.

Bentley brings a great deal of smooth to his role--the way he moves his body, his facial expression--but that smooth did not come through vocally. I loved the performance, but felt a tad more jive was in order. Bates stood out in his depiction of West--a fast talking, wheelin' dealin' undertaker. Of course, I couldn't help but fall in love with the bum Hambone, which of course is the point.

Risa (King) and Sterling (Kenerly) have their moment.

Wilson played him with panache. And while King seems bland and emo-tionless in act one, she brings the heart to act two. Don't mistake the act one perform-ance for a 'dial in'; it's part of the defensive persona. All were interesting to watch even when they weren't the center of attention--they never left character.

Of course, August Wilson's alpha male in this show is Memphis and Terry Bellamy ably carries the the show in the role. Perhaps his second act drunk performance is the best I have ever seen. Bellamy handles the emotional roller-coaster and stresses of the character with great aplomb.

The Creation:

Working man Memphis faces off with beggar man Hambone.

The set, as you can see from the photos and video, is marvelous. But the photos don't do it justice, you can't see the whole thing nor appreciate its dimension and depth. The attention to detail is exceptional. The sound design, as well, was a delight and a model to follow. The lighting design was perfect, dramatic and beautifully executed.

I highly recommend you see this! You need to see this. "Two Trains Running" has been running at OSF for a while and is winding down it's run and YOU are running out of time to see it. You have only until July 7. See the schedule and get ticket information here. It is worth the drive.

I want my ham! Doesn't everyone?

For more fascinating views of the set and behind the scenes videos click here.

By Gregory E. Zschomler

All photographs and video provided.
Read a review by Dennis Sparks here.