Artists Repertory Theatre May/June 2015 by Artslandia

Amy Herzog Alana Byington

directed by

APR 28 - MAY 24 P DX P R E M I E R E

ARTISTS

REPERTORY

T H E AT R E

AT T H E P E R FO R M A N C E

David Ives Pierre Corneille Dámaso Rodriguez

adapted from the comedy by

directed by

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MAY 26 - JUN 21 NW PREMIERE

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A MESSAGE FROM THE ARTISTIC DIRECTOR by Dámaso Rodriguez Welcome to Artists Rep as we wrap up our 2014/15 season! Our stages in May and June demonstrate the breadth of theatre styles and experiences we strive to present each and every year. On the Morrison Stage, you’ll experience Amy Herzog’s 4000 Miles, one of the most acclaimed and widely produced new plays in recent years. Herzog’s subtle, funny and heartfelt writing is set in a present-day Greenwich Village apartment and utilizes a series of intimate, naturalistic scenes between 91-year-old Vera and her 21-year-old grandson to reveal how age and perception play into a rich relationship. I love this play for its rare ability to speak so authentically to two seemingly different generations.

Meanwhile on the Alder Stage, David Ives’ The Liar, what our playwright calls a “translaptation” of Pierre Corneille’s 1643 farce, loudly bursts to life with a cast of eight actors speaking only in iambic pentameter and rhyming couplets while wearing brightly colored period costumes on an abstract set representing locations across 17th Century Paris. The Liar ends our season on a fast-paced note of pure FUN, which is the sole mission of our extraordinary cast and design team. I hope you’ll see both of these wonderful plays. With each show we produce, no matter how wildly different the style, content or purpose, you’ll find the unifying element is always our team of highly trained, talented and acclaimed artists who work with passion and precision to bring you memorable, moving, provocative, intimate theatre. On behalf of all of us at Artists Rep, thank you for joining us this season. I look forward to welcoming you to our theatre again after the summer months. Until then,

Here to see The Liar? Turn to page 8.

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THE WAY HE WRITES, IT’S…IT ALMOST READS AS A LITTLE HOKEY, NOW, BECAUSE IT’S SO — BUT I THINK IT MUST HAVE BEEN COOL, TO BE SO, UM. UNCYNICAL. –Leo describing his grandfather’s writing in 4000 Miles THIS WORLD’S A SCRIM, CLITON, A FICTION, A RICHLY TAPESTRIED, INCHTHICK DESCRIPTION STRETCHED OVER SOME MYSTERIOUS COSMIC HOLE. YOU SAY THAT YOU’RE A SERVANT. HOW DO I KNOW? WHO’S SHE, OR HE? WHO IS THE WHOLE BACK ROW? –Dorante begins to teach the art of lying in The Liar

”

BY AMY HERZOG DÁMASO RODRIGUEZ, Artistic Director SARAH HORTON, Managing Director

The 2014/15 Artists Repertory Theatre season is presented by:

CAST Leo Joseph-Connell.............................................................. Joshua J. Weinstein^* Vera Joseph......................................................................... Vana O’Brien*^ Bec...................................................................................... Carolyn Marie Monroe+ Amanda............................................................................... Danielle Ma+

SEASON MEDIA SPONSORS

CREATIVE TEAM Director............................................................................... Alana Byington Scenic Designer.................................................................... Kristeen Willis Crosser^ Costume Designer............................................................... Russel Terwelp Lighting Designer................................................................. Carl Faber** Composer/Sound Designer................................................... Rodolfo Ortega^ Props Designer..................................................................... Natalie Rae Heikkinen Production Stage Manager................................................... Michelle Jazuk* Assistant Director................................................................. Rebecca James Ridenour Production Assistant............................................................ Emma Wykes Ruhlig Assistant Scenic Designer..................................................... Sarah Kindler Assistant Costume Designer................................................. Sara Ludeman Board Op............................................................................. Jason Coffey

SEASON SPONSORS

SETTING: September of a recent year. A rent-controlled apartment in Greenwich Village. THERE WILL BE NO INTERMISSION 4000 Miles was originally produced by Lincoln Center Theater in 2011, New York City. 4000 Miles is presented by special arrangement with Samuel French, Inc. The video and/or audio recording of this performance by any means is strictly prohibited.

ARTISTS REP’S MISSION is to engage diverse audiences in fresh, thought-provoking and intimate theatre. We are committed to world-class acting, directing, design and stagecraft that support new playwriting and aspire to embody great literature, moving audiences to truly feel — to experience — storytelling in a way that only the best live theatre can. * Member of Actors’ Equity Association, the union of Professional Actors and Stage Managers in the United States. Actors’ Equity Association, founded in 1913, represents more than 49,000 actors and stage managers in the U.S. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. Equity seeks to foster the art of live theatre as an essential component of our society. www.actorsequity.org

^ Artists Rep Resident Artist **The scenic, costume, lighting, projection and sound designers of this production are represented by United Scenic Artists, Local USA 829 of the IATSE. + Equity Membership Candidate

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SHOW SPONSORS KRIS OLSON DAVE POLLOCK

DIRECTOR’S NOTES by Alana Byington “I look at most people your age, at your cousins, and I don’t know what they’re for. I don’t know how they’re going to feel when they get to be my age. When they look back and see how they spent their time. I look back and I feel proud.” –Vera Joseph in After the Revolution by Amy Herzog

color. But, wonderful and helpful as it is to mine these treasures, ultimately we are compelled—required—to return to the words on the page, and the life those words create when we say them out loud in a room together. There comes a point when that journey is the only one that matters.

I’ve had journeys on my mind. All kinds—real, imagined, metaphorical— One thing I know about journeys; they physical journeys, journeys to seek rarely go as planned, and the surprises truth, to seek love, to seek meaning, to are frequently the most memorable and challenge oneself (body and spirit). Not meaningful. My personal journey, as I so surprising, really. This play’s title, prepared to begin rehearsals, had its 4000 Miles, implies share of surprises; among a physical journey, them was discovering 4000 “JOURNEYS END IN Miles isn’t really so much but the mind quickly ripples with other LOVERS MEETING” about journeys, but rather possibilities. Good –Feste (the Clown) in Twelfth is intensely interested titles of good plays are Night by William Shakespeare in journey’s end. As you like that. approach a journey’s end, what happens if you haven’t Every time we work on a play we grapple found what you were looking for? What with journeys; where do we start and happens if the ground starts shifting where do we end? What have we learned, beneath your feet? What if the things and how have we changed? We examine, you’ve always relied upon become discuss and explore the journey each unpredictable? What if your greatest character makes through the play. We desire in the face of all that is to stop imagine the journey that brought each moving? character to their first appearance on stage. Sometimes we have resources Luckily, in life (and theatre), more beyond imagination. For example, Vana often than not, new life arises out of O’Brien has also played Vera, nine years the ashes. It’s rarely the change you younger, in Amy Herzog’s After the expected. You find a treasure just as Revolution, a play that explores part you stopped looking. You find comfort of the real and fictional history of the in an unexpected corner. You start off Joseph family. anew on an unexplored path. Maybe we can’t expect, “journeys end in lovers Every journey has discoveries. What a meeting,” but perhaps we can expect joy to discover interviews with Leepee the unexpected. Especially when the Joseph, the woman upon whom the unexpected leaves us feeling profound character of Vera Joseph is based. These gratitude for the surprises that led interviews provide us with historical us there. context, physical detail and emotional

PLAYWRIGHT BIO AMY HERZOG

Amy graduated with an MFA in playwriting from Yale School of Drama. Only a few years after her graduation, Herzog’s career as a playwright took off. Her plays include After The Revolution (Williamstown Theater Festival, Playwrights Horizons, Lilly Award), 4000 Miles (Lincoln Center, Obie Award for Best New American Play, Pulitzer Prize Finalist), The Great God Plan (Playwrights Horizons) and Belleville (Yale Rep, New York Theatre Workshop, Susan Smith Blackburn Prize Finalist, Drama Desk Nomination). Herzog is also the recipient of the Whiting Writers Award, the Benjamin H. Danks Award from the American Academy of Arts and Letters, the Helen Merrill, the Joan and Joseph Cullman Award for Extraordinary Creativity, and the New York Times Outstanding Playwright Award.

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DIRECTOR BIO Alana Byington came to Portland in 1979 to become a member of The New Rose Theatre, founded by friends she knew from her undergraduate years at the University of Minnesota. Some favorite shows from that era include Hay Fever, Design for Living, Hedda Gabler, Crimes of the Heart, Talley’s Folly, She Stoops to Conquer, A Moon for the Misbegotten and Long Day’s Journey into Night. She soon began to work at other theatres in town and her history with Artists Rep goes back (almost) to its very beginning. She directed The Mound Builders, the theatre’s second show, followed by Angels Fall, and Toys in the Attic in the next two seasons. Alana then attended graduate school at Ohio University, where she earned an MFA in Directing; spending her summers at The Monomoy Theatre on Cape Cod. Upon returning to Portland she directed Ten November and A Lie of the Mind for Storefront Theatre. She became the Associate Artistic Director of The Oregon Stage Company, where she directed The Heidi Chronicles, Cat on a Hot Tin Roof, The Misanthrope and Smoke on the Mountain (where she met her husband, Grant Byington). She returned to Artists Rep several times over the years, as an actor and director, most recently directing Enchanted April and String of Pearls. Other recent credits include several shows at Northwest Classical Theatre Company, among them Bloody Poetry, Arms and the Man and Hamlet. She is delighted to once again be joining the Artists Rep family for this extraordinary play.

GETTING TO KNOW Playwright AMY HERZOG

Art imitates life:

Q: Tell us a bit about the connection between 4000 Miles and

One Mayday in 1929, a young Leepee Joseph, then Amy Taft, passed out leaflets demanding hot lunches at her school. She was arrested shortly after. She was 12. This demonstration would begin a long life of political activism, including an appearance at the Occupy Wall Leepee Joseph at the Occupy Wall Street protest. Street protests in “I was having such fun,” she said. “Everybody her mid-90s. “The was taking pictures of me.” only way change ever takes place is if you believe in something, and you work for it,” Leepee told The New York Times.

After the Revolution? Why did you decide to write a second play that featured the same character? A: After the Revolution and 4000 Miles are both about the

semi-fictional Joseph clan, and Vera, the step-matriarch, is the only character who appears in both plays. 4000 Miles takes place several years later, when Vera is older and more isolated and the memory of her late husband, Joe, is more remote. Nearly all of her contemporaries have died, so she no longer has many people around with whom she shares a common language.

Todd Heisler/The New York Times

4000 Miles is a smaller, more minor key play than After the Revolution, about Vera’s relationship with a grandson who briefly becomes her roommate. I don’t remember deciding to write another Vera play, but it was while I was in Williamstown working on the first workshop of Amy Herzog with her grandmother Leepee Joseph at Ms. Joseph’s After the Revolution that I learned that my cousin’s apartment. best friend had suddenly died. This cousin is close to 10 years younger than me, and I had always absolutely adored him. It hit me very hard that he suffered such a terrible loss at such a young age, and an age that is such hell anyway as you’re trying to piece together who you are and what your future might look like. So this play began to take shape in my mind, and I guess the idea of grief and loss exerted some kind of gravitational pull on Vera, who ended up there too. Q: Is there a “Vera” in your own life? A: I have a grandmother who will turn 95 this

fall. She lives on her own in a three-bedroom apartment in Greenwich Village, and this morning she left me the following voicemail regarding a screenplay I’m working on (sounding slightly put out that I didn’t pick up):

The rich, quirky personality of Leepee Joseph is the chief inspiration for her granddaughter Amy Herzog’s plays After the Revolution and 4000 Miles, and Ms. Joseph’s own likeness is closely represented in the character of Vera Joseph. Vera appears in both plays and anecdotes in the script are sometimes quoted word-for-word from the real-life matriarch.

In 1995, the Venona papers were released by United States Army Signal Intelligence Service; a long document revealing over 170 names of Americans who sold secrets to the Soviet Union during World War II. Among them was Julius J. Joseph – Leepee’s husband and Amy Herzog’s grandfather. Herzog’s After the Revolution explores this secret and its effect on the not-so-fictional Joseph family. In the play, Emma Joseph proudly carries her family’s Marxist torch up until she discovers her grandfather, a writer and political activist, committed espionage during FUN FACT the Second World War. Her heroic image of him is shattered while the rest of her family Vana O’Brien also played remains in approval of his deeds. “I thought Leepee Joseph in Amy what my husband had done was perfectly Herzog’s After The legitimate,” Leepee said. Revolution at Portland

“What are you doing on this cold, cold day? Playhouse last Spring. Anyway, I finished reading an article on These tough political subjects, however, are American movies, and directors, etc., that I think something 4000 Miles is less concerned with, might interest you; whether it will influence touching more deeply on the relationship what you’re writing I don’t know, but I think it gets you a between a grandmother and grandchild with ideological feeling of the whole American Cinema. It’s in The Nation, and differences, but with plenty of love and respect for I have The Nation, of course, so if you’re interested in reading one another. it, call me, come by and pick it up. My usual ‘I love you’ scene. Big hug. Bye.” Leepee Joseph passed away at the age of 96 on April 2, 2013. So yes. I have a Vera in my own life who is still kicking ass, taking names, and finding sneaky ways to get me to read The Nation. [Leepee Joseph, Amy’s grandmother, died in 2013 after this interview was conducted.] 2011 interview with Ms. Herzog by Scotty Arnold for LCT3/Lincoln Center Theater. Reprinted with permission.

That same evening, Amy Herzog attended a performance of 4000 Miles at Studio Theatre in Washington DC, saying, “This whole thing was about her.” Taylor Jean Grady is a Production Intern at Artists Rep and a student at Portland Actors Conservatory.

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Jim Kiernan

The Joseph-Herzog clan By Taylor Jean Grady

BIOS JOSHUA J. WEINSTEIN Leo Joseph-Connell Josh is thrilled to be back at Artists Rep after his performance in Tribes earlier this season. Other Artists Rep credits include Foxfinder and Red Herring. Other Portland credits include The Tempest (Portland Shakespeare Project), Masque of the Red Death (Shaking the Tree), A Christmas Carol (Portland Playhouse) and Body Awareness (CoHo Productions, Drammy Award). Josh is a Resident Artist at Artists Rep. Many thanks to all who make this happen. And Brandy. Always.

VANA O’BRIEN Vera Joseph Vana has been involved with Artists Rep since 1981 when she and a small group of fellow theatre artists started the new company in the Portland YWCA. Since that time, she has worked on several different Portland stages and seen Artists Rep grow to its current size and well-respected status. Favorite Artists Rep roles include Sister Mary Ignatius Explains it All For You, Long Day’s Journey into Night, Top Girls, Mound Builders, Country Girl, Park Your Car in Harvard Yard, Artificial Jungle, The Laramie Project, A Perfect Ganesh, Superior Donuts and The Big Meal. In other Portland theatres, some memorable roles for Vana are in Greek, Faith Healer, The Lion the Witch and the Wardrobe, The Seagull, Noises Off, and particularly the play she and her daughter, Eleanor, performed together at CoHo Theatre, Collected Stories. Vana joined Artists Rep’s Southeast Asia Arts America tours in 1991 and 1994 performing in Driving Miss Daisy, The World of Carl Sandburg, Three Tall Women and scenes from American comedies. Vana is a Resident Artist at Artists Rep.

CAROLYN MARIE MONROE Bec Carolyn is delighted to play at Artists Rep and to return to her hometown of Portland where she has previously worked with Portland Center Stage, Northwest Children’s

Theater, Tygres Heart Shakespeare and appeared on NBC’s Grimm. In Seattle, favorite roles include Juliet in Romeo and Juliet and Ophelia in Hamlet (Seattle Shakespeare), Eliza Doolittle in Pygmalion (Sound Theatre), Jackie in Mauritius and Rachel in End Days (Seattle Public), Katherine in Henry V (Wooden O) and Evie in The American Pilot (Theatre Schmeater). She has also worked with Seattle Shakespeare’s education department, teaching and touring Shakespeare all over Washington State. Carolyn is grateful to be a part of this wonderful artistic team and to dive into this remarkable new play.

DANIELLE MA Amanda Danielle is so excited to make her Artists Rep debut and experience Portland for the first time! She began her career about 4,000 miles away in New York, spending her first professional years performing in theatres across NYC. She recently decided to move out West to develop her career in L.A. and she’s so happy and grateful to return to the stage for this play. Her favorite credits include A Midsummer Night’s Dream (Shakespeare’s Globe Theatre, London), P for the People (HERE Arts Center, NYC) and The Violin Maker (Jewel Box Theater, NYC). Danielle received a BFA in Acting from Rutgers University: Mason Gross School of the Arts and graduated magna cum laude. She was classically trained in London by world-renowned director Tim Carroll (director of Twelfth Night & Richard III on Broadway starring Mark Rylance). She professionally trained in New York with legendary acting teacher Wynn Handman, who had been Meisner’s very own teaching assistant. She would like to thank everyone dear to her heart for giving her the strength and support to be able to pursue this career, put herself out there, and perform!

KRISTEEN WILLIS CROSSER Scenic Designer Kristeen is thrilled to be designing for Artists Rep again this season. She has done some of her favorite work here including set and lighting for Foxfinder, and lighting

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for Tribes, The Playboy of the Western World, The Quality of Life, Red Herring, And So It Goes…, The Cherry Orchard and Eurydice. Recently, she designed lighting for The Invisible Hand, both for Artists Rep’s production and for Seattle’s ACT Theatre version. She has designed for several area theatres including Northwest Children’s Theatre’s Willy Wonka and Pinocchio, Third Rail Repertory Theatre’s Midsummer and The Aliens, Profile Theatre’s Buried Child and Thief River, CoHo Productions’ Frankie and Johnny in the Clair de Lune and The Outgoing Tide and Miracle Theatre’s Mariela in the Desert and How the Garcia Girls Lost Their Accents. She was privileged to win the 2014 Drammy for “Outstanding Scenic Design” for Gidion’s Knot and the 2014 “Outstanding Lighting Design” for A Bright New Boise. She was also recently nominated for an LA Ovation Award for her lighting design of Foxfinder in Pasadena last season. She thanks her husband, Mike, for all of his love and support. Kristeen is an Artists Rep Resident Artist.

RUSSEL TERWELP Costume Designer Russel is delighted to be designing costumes for another Artists Rep production. This marks his fifth show as a costume designer for Artists Rep after Exiles, Mistakes Were Made, Circle Mirror Transformation and The Hillsboro Story. Other favorite local productions he has designed include Mary Stuart and Love’s Labour’s Lost at Northwest Classical Theatre; Tartuffe, The Woman on the Scarlet Beast, and Gender Tree at Post 5 Theatre; ‘Tis Pity She’s a Whore and The Cherry Orchard with Compass Repertory Theatre; and A Christmas Story, Heroes and Stones in his Pockets with Public House Theatre. Having literally grown up in an upholstery shop, he has been working with textiles since he was old enough to ask for an allowance and considers himself very fortunate to have been able to use his passion for fabrics and skills in sewing and upholstery to help produce dozens of shows over the past five years working in Artists Rep’s costume department.

BIOS CARL FABER Lighting Designer Recent credits include The Price (Artists Rep), Dead Man’s Cell Phone and Eyes for Consuela (Profile Theatre), Mary Poppins (NWCT), Trouble in Mind (Arena Stage), Wilderness (Uferstudios, Berlin), The Experiment (Boston Institute of Contemporary Art), Brother Brother (Theater Freiburg, EU/US Tour), AMC Television Network Upfront (2013 & 2014, NYC). Carl is a Founding Member, Resident Lighting Designer, and Director of New Technology for the NYC-based installation theatre company Woodshed Collective, where he designed 2011’s five-floor, 53-room immersive hit, The Tenant. He has toured extensively with indie rock acts Bon Iver and The National, and was the Lighting Supervisor at the Williamstown Theatre Festival from 2008-2009 (Artistic Director, Nicholas Martin). Carl assisted Tony Award-winning designer Brian MacDevitt on the Broadway and Touring productions of The Book of Mormon, and has numerous Broadway assisting/associate credits, including Bloody Bloody Andrew Jackson, August: Osage County and Dividing the Estate. He attended The Catlin Gabel School here in Portland and holds a BA in Drama from Vassar College where he was a recipient of the Kazan Prize for excellence. He’s a proud member of the United Scenic Artists Local USA-829. Carl will design lighting for Profile Theatre’s Orlando in November. www.carlfaber.com.

RODOLFO ORTEGA Composer/Sound Designer Rodolfo received his Bachelor’s Degree in Music from the University of Arizona and his Master of Music degree from Manhattan School of Music, where he studied piano and composition. He has composed music and designed sound for Artists Rep for 15 seasons including recent productions of Intimate Apparel, Exiles, The Playboy of the Western World, The Quality of Life, The MonsterBuilder, XMAS UNPLUGGED, The Big Meal, Mistakes Were Made and Ithaka. For Profile Theatre, his credits include designing the music for A Lesson Before Dying, Lips Together Teeth Apart and Master Harold and the Boys.

Additionally, he has composed several musicals for Northwest Children’s Theatre including Hansel and Gretel, Snow White, Pinocchio, El Zorrito and Peter Pan. He has also composed many of the productions at Santa Cruz Shakespeare where he was the Associate Artist in Composition, including their productions of Othello, Julius Caesar, Man in the Iron Mask and Henry the Fourth Part One, Part Two and Henry V. Additionally, he has composed the music for Denver Center Theatre Company’s productions of Three Musketeers and Romeo and Juliet. For the Oregon Shakespeare Festival, he composed the music for Tenth Muse. Rodolfo was awarded the Drammy Award in Sound Design and Composition for a season of outstanding work in 2000/01. He also received a Drammy Award for his compositions for Tuck Everlasting for Oregon Children’s Theatre in 2001/02 and again in 2004 for Lorca in a Green Dress. Rodolfo is a Resident Artist at Artists Rep.

NATALIE RAE HEIKKINEN Props Designer Natalie, a Portland native, is a versatile theatre artist with recent credits such as Assistant Director for Hamlet at Post5 Theatre, Props Designer for the Staged! production of Parade and Camp Manager for Staged! Teen Summer Stock. Her work at Artists Rep includes Props Designer for The Price, Tribes, Blithe Spirit, Intimate Apparel, Exiles, The Monster-Builder, The Motherfucker With the Hat, The Quality of Life and The Playboy of the Western World. She would like to thank Stephen and her family for their never-ending support.

also proud to recognize her time with Cincinnati Playhouse in the Park, where she was the Assistant Stage Manager for several shows including Metamorphoses, One, My Fair Lady, Sing Hallelujah! and Always Patsy Cline. She is lovingly appreciative of the continued support from her family, and fiancé Gregg.

EMMA WYKES RUHLIG Production Assistant Emma is back again with Artists Rep after last working on The Motherfucker With the Hat. She is happy to be here and working on 4000 Miles; thanks are due to the whole team. As well as working in Portland, most recently as ASM for the sold-out premiere of The Snowstorm at CoHo with Many Hats, and as Costume Designer for Milagro Theatre’s educational touring show, Ms. Ruhlig worked as Stage Manager for West Bay Opera and Production Assistant on Sweeney Todd with TheatreWorks Silicon Valley, both in the Bay Area. Since graduating from Portland State University in 2013 she has also been back on stage with Sandy Actor’s Theatre and worked as an electrician for Portland Center Stage and here at Artists Rep.

MICHELLE JAZUK Production Stage Manager As a stage manager in Portland theatre for the past decade, it has been Michelle’s pleasure to collaborate with several companies. She has worked with Oregon Ballet Theatre, Portland Center Stage, Broadway Rose Theatre, Theatre Vertigo, Staged!, and also, Third Rail Repertory (A Bright New Boise, A Noble Failure, Penelope). However, her usual home is here with Artists Rep where some of her favorite projects include The Big Meal, Ten Chimneys, God of Carnage, The Lieutenant of Inishmore, All My Sons, House, Garden, Orson’s Shadow and Theatre District. She is

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“Darlings, it’s fabulous!”

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BY DAVID IVES ADAPTED FROM THE COMEDY BY PIERRE CORNEILLE DÁMASO RODRIGUEZ, Artistic Director SARAH HORTON, Managing Director

The 2014/15 Artists Repertory Theatre season is presented by:

CAST Dorante............................................................................... Chris Murray* Geronte............................................................................... Allen Nause*^ Cliton.................................................................................. John San Nicolas*^ Clarice................................................................................. Amy Newman*^ Lucrece................................................................................ Chantal DeGroat* Alcippe................................................................................ Gilberto Martin del Campo+^ Philiste................................................................................. Vin Shambry*^ Isabelle/Sabine..................................................................... Val Landrum*^

SEASON MEDIA SPONSORS

CREATIVE TEAM Director............................................................................... Dámaso Rodriguez** Scenic Designer.................................................................... Susan Gratch Costume Designer............................................................... Bobby Brewer Wallin Lighting Designer................................................................. Brent J. Sullivan Composer/Sound Designer................................................... Rodolfo Ortega^ Props Designer..................................................................... Natalie Rae Heikkinen Fight Director....................................................................... Jonathan Cole Production Stage Manager................................................... Carol Ann Wohlmut* Assistant Director................................................................. Linda Alper*^ Production Assistant............................................................ Jessica Evans Irvine Board Op............................................................................. Dave Petersen

SEASON SPONSORS

SETTING: Paris, 1643 There will be one 15-minute intermission. World Premiere produced by Shakespeare Theatre Company, Washington, DC Michael Kahn, Artistic Director | Chris Jennings, Managing Director | April 12, 2010 The Liar is presented by special arrangement with Dramatists Play Service, Inc. New York. The video and/or audio recording of this performance by any means is strictly prohibited.

^ Artists Rep Resident Artist ** Member Stage Directors and Choreographers Society +Equity Membership Candidate

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SHOW SPONSORS BOB & JANET CONKLIN

FROM THE PLAYWRIGHT DAVID IVES A NOTE ABOUT THE VERSE

PIERRE CORNEILLE

This play is written in verse, and the verse is rhymed in iambic pentameter.

Don’t let that scare you. Iambic pentameter means (if you didn’t know it already) that every line is made up of 10 syllables with the accent on every second syllable. To put it crudely, the rhythm is: “Bum-BUM, bum-BUM, bum-BUM, bum-BUM, bum-BUM.” Sometimes that rhythm is slightly varied. Sometimes an unaccented eleventh syllable hangs off the end of a line, a so-called “weak rhyme.” I have to admit that I cheated here and there, and that a few of the lines in this adaptation are not-quite-perfect iambic pentameter. So be it. The point is not verse. The point is not to speak the line in jogtrot rhythm. The point is expression. The point is character. The point is naturalness. Not to mention the biggest point: fun. Besides — Shakespeare took his liberties with pentameter, and if that’s not permission I don’t know what is. Reprinted from David Ives’ introduction to The Liar.

BEHIND THE TRANSLAPTATION: When my agent called and asked if I’d be interested in translating Corneille’s The Liar for the Shakespeare Theatre Company of Washington, I had never heard of the play. Nor had he. As it turned out, I needn’t have been ashamed of my ignorance in the case of The Liar. I doubt there were 500 people in this republic of 300 million who knew the piece or even the title. In any case: “Send the script along,” I told my agent. “I’ll take a look at it.” He sent, I looked, and several hours later, with the help of a fat French dictionary, I found myself astonished. Exhilarated. Giddy. For, lying on the desk before me, was one of the world’s great comedies. I felt as if some lost Shakespeare festival comedy on the order of Twelfth Night or Much Ado About Nothing had been found. This particular Shakespeare comedy was unfortunately locked away in French (the French have a way of doing things like that), but I could remedy that. The prospect of Englishing this play made me feel like Ronald Colman distantly sighting Shangri-La. Everything about it spoke to me. The rippling language. The rich simplicity of the premise. The gorgeousness of the set pieces. The seeming insouciance of the treatment alongside the classical rigor of the plotting. The way the play’s wide

THE PLAYWRIGHTS

understanding and humanity was nicely seasoned with several large pinches of social satire. All that being said, I have to add that my Liar is not exactly Corneille’s Liar. My version of the play is what I call a translaptation, i.e., a translation with a heavy dose of adaptation. For what I have realized in translating plays is that, in an odd way, the language of a play is of secondary concern. In translating a play, I contend, one must think as a playwright, not as a translator. One must ask: what is the play underneath the words, what is going on beneath speeches rather than on their surface, who are these characters and what drives them, and finally, what is this play actually all about? What was on Corneille’s chest and how can I use what’s on mine to create something with dramatic and comedic integrity? It seems to me that that’s the only way a translated play can ever have what every good play has to have: a voice. In other words, you have to write the play Corneille would have written today, in English. I ran with it. The truth, the whole truth and nothing but the truth, as refracted in a theatrical fun-house mirror. Welcome to The Liar. –Originally written for Shakespeare Theatre Company of Washington. Reprinted with permission.

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(1606–1684) Pierre was a French tragedian, and one of the three great 17th Century French dramatists, along with Molière and Racine. As a young man, he earned the valuable patronage of Cardinal Richelieu, who was trying to promote classical tragedy along formal lines, but later quarreled with him, especially over his bestknown play Le Cid about a medieval Spanish warrior, which was denounced by the newly formed Académie française for breaching the unities. He continued to write well-received tragedies for nearly 40 years.

DAVID IVES first came to wide notice in the theatre with his one-act plays, of which he has written over three dozen both for theatre and the radio. The greater part of them are collected in the anthologies All In The Timing (originally an evening of six one-acts that won the Outer Critics Circle Playwriting Award), Time Flies, and The Other Woman and Other Short Plays. He has been included in the Best Short Plays series seven times to date. His full-length plays include Venus In Fur, The Liar (Charles MacArthur Award for Outstanding New Play), The Heir Apparent (adapted from J-F. Regnard’s comedy), New Jerusalem: The Interrogation of Baruch de Spinoza (Hull-Warriner Award), The School for Lies (adapted from Molière’s The Misanthrope), Is He Dead? (adapted from Mark Twain), Irving Berlin’s White Christmas, Ancient History, Don Juan in Chicago, The Land of Cockaigne and Polish Joke. He has translated Feydeau’s A Flea In Her Ear (winner of a Joseph Jefferson Award) as well as Yasmina Reza’s A Spanish Play, wrote the libretto of an opera (The Secret Garden, with music by Greg Pliska, which premiered at the Pennsylvania Opera Theatre in 1991), and has adapted 32 shows for New York’s celebrated Encores! series of American musicals in concert. He is also the author of three young-adult novels: Monsieur Eek, Scrib and Voss. A former Guggenheim Fellow in playwriting and a graduate of Yale School of Drama, he lives in New York City. He is on the Council of the Dramatists Guild of America.

GETTING TO KNOW our RESIDENT ARTISTS ACTORS JOHN SAN NICOLAS & GILBERTO MARTIN DEL CAMPO

AR: What is your alternate fantasy

ARTISTS REP: How did you first get

AR: Has anything changed about your

involved with Artists Rep? JOHN SAN NICOLAS: I auditioned numerous times after I moved to Portland in 2005. I was frequently called back but never cast. The show I auditioned for and landed was Jack Goes Boating in 2011.

process as you work with other Resident Artists? JSN: Seeing everyone always so busy at creating their own projects has inspired me to do the same. GMC: I am more aware of the professionalism and preparation these artists have and it reminds me not to take my involvement lightly. I love performing, and I take it very seriously, but I am also aware that life in general shouldn’t be taken that seriously.

AR: If you were a vegetable, what

GILBERTO MARTIN DEL CAMPO:

While I was still studying at Portland Actors Conservatory, Artists Rep did a production of Take Me Out and needed a bilingual actor. I was invited to audition and got the part. Very flattering to do that while still at school. AR: Why do you value being part of

Artists Rep’s Resident Artists Company? JSN: I’ve avoided joining a theatre company in my career. When Dámaso asked me to join Artists Rep’s he made it clear that my obligations to the company would be based on whatever contributions I was prepared to make, and I would be encouraged to continue pursuing work with any other companies I wished. And while no promise of work is made to the RAs, officially, I have worked as an actor here three times in my first season as an RA, as opposed to twice in the previous nine seasons combined. GMC: From the obvious job security to having a role or two per season, to things like being part of a community that is not only actors but designers and all the other collaborators involved in getting a production on its feet.

AR: What was your first theatrical role? JSN: In 4th grade I played the Mayor

in the school holiday play. In 7th grade I had my first big role, the lead in Alan Ayckbourn’s Ernie’s Incredible Hallucinations. GMC: A play I wrote when I was 10 years old, I played a villain with a baseball glove as my mask. AR: What was your least glamorous role? JSN: In The Ghosts of Celilo, I came on

stage for about 30 seconds, beat up a kid, and then came on again in silhouette for the last few seconds of the play. GMC: I’m not sure I can call it less glamorous but it certainly was very hard … that was Hal Carter in Inge’s Picnic and it was just a big role.

career? If you hadn’t become an actor what would you have done? JSN: Pro football player. Wide receiver. After an illustrious college career at San Diego State (my hometown team), I would purposely perform poorly at the scouting combine, then arrange a secret, private workout with the San Diego Chargers in which I showed only them that I was actually as good as advertised. That way they could choose other players in the early rounds and still be able to draft me in a lower round, making the team better. GMC: I work backwards so I’m sure it’s something that I’ll end up doing at one point or another. So far I’ve been a painter, musician, art dealer, cook/baker, and right now I’m a court interpreter. vegetable would you be? JSN: If I’m a vegetable, please pull the plug. And plant my body with a tree. GMC: A pomegranate. AR: How do you prepare yourself the

day of a show (preshow routines, good luck charms, etc)? JSN: It changes for every show, but it usually involves warming up my voice by singing/rapping in the dialect I’m using for the show. I also usually check in with my body, making sure I give special attention to areas that are sore or become stressed during the show. I also like to peek out at the audience whenever it can be done inconspicuously! GMC: I sit and breathe, stretch, warm up my body and voice. AR: What is your favorite type of show to

work on? JSN: Comedies. Because it’s easier to connect with an audience when they’re giving you vocal feedback. GMC: I like shows that generate controversy, and make audiences and cast members question their view of the world and their morality/principles. AR: What is your dream role, regardless

of gender/age/race/species? JSN: Gollum GMC: Che Guevara

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BIOS CHRIS MURRAY Dorante Chris is pumped and thrilled to be working on his sixth show at Artists Rep, after playing Christy Mahon in The Playboy of the Western World last season. Previous credits at Artists Rep include XMAS UNPLUGGED, (I Am Still) The Duchess of Malfi, Mr. Marmalade and Take Me Out. An actor and producer, Chris has made Portland his artistic home for many years. Previous credits include The Humana Festival, Portlandia and Grimm, Sidekicks Season 2, The Revenants (The Reformers), A Bright New Boise, The Aliens, Penelope and A Skull in Connemara (Third Rail Rep), Bloody Bloody Andrew Jackson (Portland Playhouse), Falstaff and Romeo and Juliet (Oregon Symphony), Sometimes a Great Notion, Futura and the JAW Festival (Portland Center Stage), Animals and Plants, Hamlet and The Receptionist (CoHo Productions), and several shows at Profile Theatre including Six Degrees of Separation and The Sisters Rosensweig. It is an honor and a privilege to create art in the greatest city in the world.

ALLEN NAUSE Geronte Allen served as Artists Rep’s Artistic Director from 1988 until 2013 and has directed many of its most popular productions including Killer Joe, Bug, Circle Mirror Transformation, Superior Donuts, The Crucible, Seafarer, The Clean House and Three Days Of Rain. Allen also directed Ayad Akhtar’s The Invisible Hand earlier this season. He directed Our Town with Mahesh Dattani in Bangalore, India and led two international tours to Africa and the Near and Middle East, representing American regional theatre for U.S.I.A. Arts America. In 2000, Nause traveled to Vietnam and co-directed a bilingual, bicultural production of A Midsummer Night’s Dream and a Vietnamese production of A Glass Menagerie as part of the Vietnam/America Theatre Exchange. In May 2007, he directed All My Sons with the Palestinian National Theatre in Jerusalem. In 2010, Nause directed The Odd Couple in Islamabad, Pakistan. As an actor, he has performed in numerous plays at Artists Rep

including Frankie and Johnny in the Claire de Lune, Breaking The Code, Art, The Drawer Boy, Death Of A Salesman, Blackbird, Vanya, No Man’s Land and most recently The Big Meal, The Playboy of the Western World and Blithe Spirit. He has appeared at many other Northwest theatres including Imago Theatre, Portland Center Stage, Oregon Shakespeare Festival, Seattle Repertory Theatre, The Empty Space, A.C.T. Seattle and Intiman Theatre. Allen is a Resident Artist at Artists Rep.

JOHN SAN NICOLAS Cliton John is proud to be a Resident Artist at Artists Rep, having previously performed here in The Invisible Hand, Exiles, The Motherfucker With the Hat and Jack Goes Boating. Other recent credits include Three Sisters with Portland Experimental Theatre Ensemble, Invasion! with Badass Theatre, Twist Your Dickens and Shakespeare’s Amazing Cymbeline at Portland Center Stage, Richard III with Northwest Classical, A Noble Failure and The Pain and the Itch with Third Rail Rep, Bloody Bloody Andrew Jackson and Bingo With the Indians at Portland Playhouse, and Reasons To Be Pretty with CoHo/ Lucky Apple Productions. He has also participated numerous times in Anonymous Theatre and has appeared on the television shows Leverage and Portlandia. He is producing, starring in and making his directorial debut with Play, a world premiere play by D.C. Copeland, opening July 24 at Shaking the Tree Theatre. John is a proud member of Actors Equity Association.

AMY NEWMAN Clarice Amy is grateful to be back at Artists Rep where she was last seen as Sylvia in Tribes. Other Artists Rep productions include The Playboy of the Western World, Red Herring, All My Sons, Design for Living, Ah, Wilderness!, The Cherry Orchard, and the Portland premiere of Sherlock Holmes and the Case of the Christmas Carol. At Portland Center Stage she played Nurse Flinn in One Flew Over the Cuckoo’s Nest and various roles in three JAW festivals. She recently

THE LIAR Artists Repertory Theatre P 1 1

worked with Third Rail Rep on backto-back productions of Noises Off and Gidion’s Knot (2014 Drammy Award, Best Actress) and then Middletown at the beginning of this season. She has also worked locally with defunkt theatre, Oregon Children’s Theatre, Profile Theatre, Liminal and Theatre Vertigo (2010 Drammy Award, Best Supporting Actress in God’s Ear). Amy trained at The Acting Studio of Philadelphia with George DiCenzo and has a BA in Theatre from Temple University. Amy is an Artists Rep Resident Artist and a proud member of Actors’ Equity Association.

CHANTAL DEGROAT Lucrece Chantal is over the moon to make her Artists Rep debut with The Liar! She is a Portland-based actress represented by Arthouse Talent and Literary. Chantal trained with Shakespeare and Company (Lenox, MA) and Emerson College (Boston, MA), where she studied closely under Kristin Linklater. Credits at local companies include Portland Center Stage, Third Rail Repertory, Portland Playhouse, Profile Theatre, Badass Theatre, Clackamas Repertory Theatre, Jewish Theatre Collaborative and Chehalem Players Repertory. Chantal gives endless gratitude to the local companies she performs and teaches with – The August Wilson Red Door Project, PlayWrite, Inc., Portland Center Stage’s All is Fair in Love and Shakespeare (Shakespeare outreach program), and abroad at Exeter University in England. Proud to be newly AEA, Chantal is thankful for the love and support from family and friends who championed her! www.chantaldegroat.com

GILBERTO MARTIN DEL CAMPO Alcippe Gilberto is an Artists Rep Resident Artist and a graduate of Portland Actors Conservatory. He has been involved in the Portland theatre community for the past five years appearing in various productions with companies such as Miracle Theatre, Northwest Classical Theatre Company, Artists Rep, as a guest artist at Portland Actors Conservatory, and

BIOS lately in salon productions for Cerimon House where he adapted, directed and co-produced Lee, Adam & Sam based on John Steinbeck’s East of Eden. He also co-wrote and directed the play That Was The River, This Is the Sea with Claire Willett, which was produced as a stage reading in the 2010 Fertile Ground Festival. He participated in the successful inaugural production of Badass Theatre Co.’s Invasion and has worked in film and television on projects such as Not Dead Yet, Management, Duende: The Suit of Lights, Leverage and just finished shooting a web series called The Record Keeper for Bigpuddlefilms. com. Gilberto is honored and privileged to be part of this creative process with this talented group of people. He also works as a court-certified interpreter and has a Bachelor’s degree in culinary arts.

VIN SHAMBRY Philiste Vin is honored to be back on stage at Artists Rep, where he is a Resident Artist. His previous Artists Rep productions include Intimate Apparel, (I Am Still) The Duchess of Malfi and Superior Donuts, for which he won a 2011 Portland Drammy Award for lead actor. Other Portland credits include the role of executioner in Salome (Portland Opera), four August Wilson shows: Jitney, King Hedley II, Gem of the Ocean and Ma Rainey’s Black Bottom (Portland Playhouse), as well as One Flew Over the Cuckoo’s Nest (Portland Center Stage), two productions with Oregon Children’s Theatre, and Songs for a New World (Staged! and Miracle Theatre) for which he also won a 2011 Portland Drammy Award for lead musical actor. Broadway credits include Tom Collins in Rent and John in Miss Saigon. He has toured nationally with Rent, Miss Saigon, Honk and Big River. In 2007, Vin was awarded the Audelco Award for Best Actor in a Play for Black Man Rising. Vin has a BFA in musical theatre from the American Musical and Dramatic Academy in NYC. Vin also moonlights as a live storyteller at The Moth, Back Fence PDX and Entertainment for People, and is working on a collection of short stories about his childhood. In his day jobs, Vin directs and choreographs youth performances in local schools. www.vinshambry.com

VAL LANDRUM Isabelle/Sabine Val is a terrible liar in real life. She is telling the truth when she says that she is so incredibly grateful to be telling this story with these amazing artists. Some of her other Artists Rep credits include Blithe Spirit, The Motherfucker With the Hat, The Big Meal, Red Herring, Circle Mirror Transformation, The Cherry Orchard, A Streetcar Named Desire and Killer Joe. She is originally from Chicago where she received most of her training at Steppenwolf Theatre Company, but has made Portland her home for the last 13 years. Val has worked at several regional theatres across the country and has been fortunate to have worked locally with Portland Center Stage, Third Rail, Portland Playhouse, CoHo, Profile Theatre and Oregon Children’s Theatre. You may have seen her in some TV shows or movies where she normally plays a detective who is not to be lied to. Val is proud to be a member of the Resident Artists Company here at Artists Rep. She teaches locally for Oregon Children’s Theatre, Portland Center Stage and is on staff at Portland Actors Conservatory. When she is not earning her living as a professional liar on stage or in front of a camera, she enjoys hanging out on the floating home she shares with her husband, Chris, and their awesome cats, Finley Ewan McHaggis and Bugger the Dumpster Kitty.

DAMÁSO RODRIGUEZ Director Dámaso is in his second year as Artistic Director of Artists Rep. He is a CoFounder of the Los Angeles-based Furious Theatre Company, where he served as Co-Artistic Director from 2001–2012. From 2007–2010 he served as Associate Artistic Director of the Pasadena Playhouse. His directing credits include work at Artists Rep, the Pasadena Playhouse, Intiman Theatre, South Coast Repertory, Laguna Playhouse, A Noise Within, The Theatre @ Boston Court, Naked Angels and Furious Theatre. Dámaso is a recipient of the Los Angeles Drama Critics Circle Award, the Back Stage Garland Award, the NAACP Theatre Award, and the Pasadena Arts Council’s Gold Crown Award, and his productions have been nominated for multiple LA

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Weekly Theatre Awards and LA Stage Alliance Ovation Awards. In 2012, he was honored by the Stage Directors and Choreographers Foundation as a Finalist for the Zelda Fichandler Award. He is a member of the Stage Directors and Choreographers Society (SDC). Artists Rep directing credits include the Portland premiere of Tribes by Nina Raine, the Northwest premiere of Exiles by Carlos Lacámara, J.M. Synge’s The Playboy of the Western World, the U.S. premiere of Dawn King’s Foxfinder, the West Coast premieres of Dan LeFranc’s The Big Meal and Jeffrey Hatcher’s Ten Chimneys. Credits with other theatres include Ruth & Augustus Goetz’ The Heiress (starring Richard Chamberlain), Lillian Hellman’s The Little Foxes (starring Kelly McGillis) and Austin Pendleton’s Orson’s Shadow (starring Sharon Lawrence) at the Pasadena Playhouse; the reading of Steven Drukman’s The Prince of Atlantis for the Pacific Playwrights Festival at South Coast Repertory, Clifford Odets’ Paradise Lost at Intiman Theatre, Noel Coward’s Blithe Spirit, Tennessee Williams’ The Eccentricities of a Nightingale, Eugene O’Neill’s Desire Under the Elms, Bernard Shaw’s The Doctor’s Dilemma at A Noise Within. Furious Theatre credits include the Los Angeles premieres of Craig Wright’s Grace, Peter Sinn Nachtrieb’s Boom and Hunter Gatherers, Bruce Norris’ The Pain and the Itch, Yussef El Guindi’s Back of the Throat, Richard Bean’s The God Botherers, Neil LaBute’s The Shape of Things, and the world premieres of Alex Jones’ Canned Peaches in Syrup and Matt Pelfrey’s An Impending Rupture of the Belly and No Good Deed, among others. damasorodriguez.com.

SUSAN GRATCH Scenic Designer After designing last season’s The Big Meal, it is a delight to return to Artists Rep and work again with Dámaso Rodriguez on this brilliant adaptation of Corneille’s The Liar. Susan’s awardwinning designs are familiar to Los Angeles area audiences where she has had the privilege and inspiration to collaborate with directors who discover insightful ways to reimagine classics and create bold presentations of new work. Recent designs have included scenery for The Stinky Cheeseman (South Coast Repertory’s Theater for Young

BIOS Audiences) and Macbeth and Dámaso Rodriguez’ production of The Doctor’s Dilemma, both at A Noise Within in Pasadena; puppet design (Ovation Honors Award) for The Children and scenery for God Save Gertrude (Ovation Nomination for Scenic Design, Smaller Theater) at The Theatre @ Boston Court; and scenery for Breadcrumbs and scenery and puppets for The Winter’s Tale for Theater 150 in Ojai. Other projects: The Theatre @ Boston Court (Othello, Bleed Rail, Winchester House, Mother Courage, Cold Tender), A Noise Within (Ghosts, Arms and the Man), The Colony Studio Theatre (The Thousandth Night, Indoor/Outdoor, The Man Who Came To Dinner, Putting It Together, Heartbreak House, Could I Have This Dance?), The Geffen Playhouse (War Music), 24th Street Theatre (Kate Crackernuts), International City Theatre (Visiting Mr. Green, Amy’s View, The Servant to Two Masters, Swinging on a Star), Los Angeles Theater Center (War Music, Ian McKellen’s A Knight Out in Los Angeles) and Bottom’s Dream Theatre Company (premieres of Eric Ehn’s Fire Flow, Choke Cherry, Ruth Margraff ’s Elektra Fugues and Mac Wellman’s The Lesser Magoo). Susan’s non-theatrical projects include Spirit of Liberty Awards presented by People for the American Way; Achievement Awards presented by the Fulfillment Fund; and pageant puppet design development and execution for the 1996 Atlanta Centennial Olympics Closing Ceremonies and the 2002 Salt Lake Winter Olympic Opening and Closing Ceremonies. Susan is Professor of Theatre and head of design at Occidental College.

BOBBY BREWER WALLIN Costume Designer Bobby Brewer-Wallin is an Associate Professor of Theatre at Willamette University and designs costumes for theatre, dance, television and film. With an MFA in costume design from CalArts he joined the Theatre Department faculty at Willamette University in 2000. In addition to designing costumes for all main stage productions, he teaches courses in costume design, costume history, the thesis course for theatre majors with an emphasis in solo performance, and a first year seminar titled Walking, Knowing, Making: a peripatetic exploration of place. Recent

productions include The Snowstorm at CoHo Theatre, The Beauty Queen of Leenane at Third Rail, Richard III and King Lear at Arkansas Shakespeare Theatre, and The Motherfucker With the Hat, Ithaka, and (I Am Still) The Duchess of Malfi at Artists Repertory Theatre. In the fall of 2014, Bobby took a one semester sabbatical to work in collaboration with Struan Leslie and Lisa-Gaye Dixon on a new work called My Case is Altered: tales of a roaring girl that explores the Latin prefix ‘trans’ sourcing texts from Aeschylus, Middleton & Dekker, Marlowe and Shakespeare, as well as the way ‘trans’ informs our current perception of gender identity, race and body image. My Case is Altered: tales of a roaring girl will premiere at Willamette University October 2015. bobbybrewerwallin.com

BRENT J. SULLIVAN Lighting Designer Brent is excited to be a part of such a wonderful design and production team. The Liar is Brent’s fourth design at Artists Rep, other lighting designs include last seasons, The Big Meal, and this season’s, Intimate Apparel. Most recently, Brent was the Projection Designer for the production of Tribes. An Oregon native, Brent holds an MFA from Boston University, during his time in New England he was the production supervisor for the Harvard Dance Center, an independent lighting designer for regional dance and theatre companies, as well as an instructor at local area universities. Brent has previously designed productions with Liz Lerman, Jill Johnson, Christopher Roman and worked on projects with the Alvin Ailey Dance Group, The Boston Pops and the Huntington Theatre Company.

RODOLFO ORTEGA

Ithaka. For Profile Theatre, his credits include designing the music for A Lesson Before Dying, Lips Together Teeth Apart and Master Harold and the Boys. Additionally, he has composed several musicals for Northwest Children’s Theatre including Hansel and Gretel, Snow White, Pinocchio, El Zorrito and Peter Pan. He has also composed many of the productions at Santa Cruz Shakespeare where he was the Associate Artist in Composition, including their productions of Othello, Julius Caesar, Man in the Iron Mask and Henry the Fourth Part One, Part Two and Henry V. Additionally, he has composed the music for Denver Center Theatre Company’s productions of Three Musketeers and Romeo and Juliet. For the Oregon Shakespeare Festival, he composed the music for Tenth Muse. Rodolfo was awarded the Drammy Award in Sound Design and Composition for a season of outstanding work in 2000/01. He also received a Drammy Award for his compositions for Tuck Everlasting for Oregon Children’s Theatre in 2001/02 and again in 2004 for Lorca in a Green Dress. Rodolfo is a Resident Artist at Artists Rep.

NATALIE RAE HEIKKINEN Props Designer Natalie, a Portland native, is a versatile theatre artist with recent credits such as Assistant Director for Hamlet at Post5 Theatre, Props Designer for the Staged! production of Parade and Camp Manager for Staged! Teen Summer Stock. Her work at Artists Rep includes Props Designer for Tribes, Blithe Spirit, Intimate Apparel, Exiles, The MonsterBuilder, The Motherfucker With the Hat, The Quality of Life and The Playboy of the Western World. She would like to thank Stephen and her family for their never-ending support.

Composer/Sound Designer

JONATHAN COLE

Rodolfo received his Bachelor’s Degree in Music from the University of Arizona and his Master of Music degree from Manhattan School of Music, where he studied piano and composition. He has composed music and designed sound for Artists Rep for 15 seasons including recent productions of Intimate Apparel, Exiles, The Playboy of the Western World, The Quality of Life, The MonsterBuilder, XMAS UNPLUGGED, The Big Meal, Mistakes Were Made and

Jonathan has worked throughout the country as a director, actor and fight director, and is a tenured faculty member of the Theatre Department at Willamette University. He is one of only two Society of American Fight Directors Certified Teachers of stage combat in Oregon, and co-owns Revenge Arts, one of the largest stage combat companies in the United States. His choreography is most often seen on Artists Rep’s

THE LIAR Artists Repertory Theatre P 1 3

Fight Director

BIOS stage, where he recently choreographed fights for Exiles, The Playboy of the Western World, The Monster-Builder and Foxfinder. On Third Rail’s stage, he recently choreographed Belleville, The Beauty Queen of Leenane, Middletown and The Mystery of Irma Vep. Jonathan’s choreography has also been seen at Portland Shakespeare Project and Profile Theatre

CAROL ANN WOHLMUT Production Stage Manager Carol Ann is proud to be working her 16th season at Artists Rep. Her Artists Rep stage management credits include Blithe Spirit, The Playboy of the Western World, Mistakes Were Made, Ithaka, Red Herring, God of Carnage, The Cherry Orchard, Ah, Wilderness!, Othello, Design for Living, Three Sisters, Blackbird, Mars on Life: The Holiday Edition, Mars on Life – LIVE!, Rabbit Hole, Blackbird, Mr. Marmalade, Assassins, Enchanted April, The Seagull, Art, The Shape of Things, Two Sisters and a Piano, Copenhagen, Top Dog/

Underdog and The Weir. Carol Ann has worked in Portland theatre for 25 years with such companies as Portland Center Stage, Civic Theatre, Musical Theater Company, Portland Repertory Theatre, Tygres Heart Shakespeare Co., New Rose Theatre, Columbia Theatre, Carousel Company, Stark Raving Theatre, triangle productions!, Miracle Theatre, Firehouse Theatre, Northwest Children’s Theatre, Vanity Productions and others. She has traveled with Raymond J. Barry to New York and the 2000 Dublin Fringe Festival with his original works Back When/Back Then and Then I Did This, And Then I Did That. She also guest lectures on the craft of Stage Management.

LINDA ALPER Assistant Director

Shakespeare Project, Off Broadway, Mark Taper Forum, The Intiman, Seattle Rep, Baltimore Center Stage and other theatres, including 23 seasons with the Oregon Shakespeare Festival. Linda has also co-written adaptations and translations produced by OSF, ACT in San Francisco, Denver Theatre Center; Santa Cruz, Colorado and other Shakespeare festivals, as well as The Acting Company. She is currently working on a new adaptation commissioned by OSF. Linda has been chosen for critics’ awards for performance, a Fulbright Travel Grant, Fulbright Specialist Roster, National Science Grant for visiting artist to Taiwan and the Oregon Arts Commission Individual Artist Fellowship. A graduate of The Juilliard School, she is a Fulbright Senior Scholar.

A Resident Artist at Artists Rep, Linda has appeared in The Price, Tribes, The Quality of Life, Ten Chimneys, Superior Donuts and The Cherry Orchard. She has also played leading roles at Portland Center Stage, Portland

STAFF Artistic Director: Dámaso Rodriguez Managing Director: Sarah Horton

ARTISTIC

Artistic Producer: Shawn Lee Artistic Associate: Michael Mendelson Visiting Artistic Associate: Jerry Tischleder Resident Artists: Linda Alper, Ayanna Berkshire, Owen Carey, Kristeen Willis Crosser, Chris Harder, JoAnn Johnson, Kevin Jones, Val Landrum, Sarah Lucht, Susannah Mars, Gilberto Martin Del Campo, Mary McDonald-Lewis, Michael Mendelson, Allen Nause, Amy Newman, Vana O’Brien, Rodolfo Ortega, Sharath Patel, Gregory Pulver, John San Nicolas, Vin Shambry, Andrea Stolowitz, Joshua Weinstein, Megan Wilkerson

ADMINISTRATIVE

Director of Finance & Administration: Jim Neuner Finance & Administrative Assistant: Vonessa Martin

DEVELOPMENT

Development Director: Sarah Taylor Community Relations Specialist: Rebecca Nguyen

MARKETING & AUDIENCE SERVICES

Marketing & PR Director: Nicole Lane Marketing & PR Manager: Jessica Gleason Audience Services Manager: Karen Rathje Box Office Systems Manager: Jon Younkin Box Office Associates: Christina DeYoung, Jessie Duncan, Jessica Hillenbrand House Managers: Jessie Duncan, Karl Hanover, Valerie Liptak, Karen Rathje, Larke Schuldberg Concessions: Jessie Duncan, Karl Hanover, Tim Thompson, Jennifer Zubernick Graphic Designer: Jenn Huckins, Meat, Inc. Resident Photographer: Owen Carey Video Designer: Shawn Lee

PRODUCTION

Technical Director: Brent J. Sullivan Associate Technical Director: Rudy Schuepbach Resident Production Stage Managers: Michelle Jazuk, Carol Ann Wohlmut Scene Shop Manager: Nathan Crone

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Scene Shop Associate: Eddie Rivera Master Electrician: Ruth Nardecchia Props Master: Natalie Rae Heikkinen Scenic Painter: Sarah Kindler Costume Shop Manager: Russel Terwelp Production Intern: Taylor Jean Grady

BOARD OF DIRECTORS Cody Hoesly, Chair* Marcia Darm, MD, Vice Chair* Susanne Kuhn, Treasurer* Michele Bowler-Failing, Secretary* Kris Olson, Past Chair* Samuel Ashby Mike Barr* Denise Frisbee Patricia Garner Gary Hammond Blake Johnson Barbara Sepenuk David Vernier Elisa Wickstrom * Member of the Executive Committee PLEASE CHECK LOBBY SIGNAGE FOR PRODUCTION-SPECIFIC CREDITS.

We built the set, sewed the costumes, adjusted the lights, called the cues, and rehearsed, and rehearsed, and rehearsed. YOU GAVE TO MAKE IT HAPPEN.

TAKE A BOW. This list celebrates Artists Rep donors of $100 or more who gave between January 15, 2014 and March 25, 2015. Join this cast of characters with a gift today. Call Sarah Taylor at 503-972-3017 or visit www.artistsrep.org.

PRODUCERS ($25,000+) The Collins Foundation Fred W. Fields Fund of the Oregon Community Foundation Ronni Lacroute/WillaKenzie Estate Lynn & Jack Loacker Maybelle Clark Macdonald Fund Meyer Memorial Trust James F. and Marion L. Miller Foundation The Oregon Community Foundation The Oregonian The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County and the Arts Education & Access Fund The Shubert Foundation Darci & Charlie Swindells David & Christine Vernier

PATRONS ($10,000-$24,999) Anonymous (1) Robert & Mercedes Eichholz Foundation KINK 101.9 FM The Kinsman Foundation The Mark Spencer Hotel David Pollock Rafati’s Catering Harold & Arlene Schnitzer CARE Foundation Marcy & Richard Schwartz John & Jan Swanson Work for Art, including contributions from more than 75 companies and 2,000 employees

STAGEMAKERS ($5,000-$9,999) Anonymous Karl & Linda Boekelheide Barbara Bolles Robert & Janet Conklin Marcia Darm MD & Bruce Berning Hotel deLuxe Arthur & Virginia Kayser Hugh & Mair Lewis Charitable Fund Maletis Beverage Kristine Olson Fund of the Oregon Community Foundation Oregon Arts Commission Rose E. Tucker Charitable Trust Standard Insurance Company Bill & Cornie Stevens Rosalie & Ed Tank US Bancorp Foundation OCF Joseph E. Weston Public Foundation

SUSTAINERS ($2,500-$4,999) Anonymous Samuel & Cyreena Ashby Julia & Robert S. Ball Mike Barr Molly Butler & Robin Manning Ginger Carroll, In Memory of J. Michael Carroll Betty & Richard Duvall Sue & Kimball Ferris Denise & Robert Frisbee Patricia & Bennett Garner Gary Hammond & Gregg Gleasner Cody Hoesly & Kirsten Collins Mark Horn & Mark Wilkinson Blake Johnson & Mara Krinke Susanne Kuhn Dolores & Fernando Leon Bill & Beth Lyons Carter & Jennifer MacNichol Mentor Graphics Foundation Bob & Linda Palandech Janet & Larry Richards Greg Rodgers Charlotte Rubin Arlene Schnitzer Norm & Barbara Sepenuk Theatre Communications Group Elisa & Scott Wickstrom

BACKSTAGE PASS ($1,000-$2,499) Anonymous (2) Kay & Roy Abramowitz Carole Alexander Ruth Alexander F. Gordon Allen & Janice M. Stewart Phyllis Arnoff Bruce Blank & Janice Casey The Boeing Company Marlene Burns & Jon Dickinson Cable Hill Partners Denise Carty & Roger Brown Family Fund of the Oregon Community Foundation The Collier Smith Charitable Fund Barbara & Tom Cooney Marc Franklin Carol Fredlund & John Betonte Dan Gibbs & Lois Seed Tom Gifford & Pat Fisher David Goldman & Merliee Karr Curtis Hanson Kregg & Andrea Hanson Richard L. Hay The Seattle Foundation in Memory of Frederick W. “Fritz” Hayes, Jr. Diane Hermann Dr. Kathleen P. Holahan Sarah & Alan Horton IBM Matching Grants

Kristen & Michael Kern Romy Klopper Bruce & Cathy Kuehnl Leslie R. Labbe Kirsten & Christopher Leonard Lawrence Levy & Pamela Lindholm-Levy Jim & Eva MacLowry Mr. & Mrs. Leonard Magazine Robert Matheson & Kimberly Porter Laurie & Gilbert Meigs Morley Foundation Deanne & Wilfried MuellerCrispin Ken & Jane Myers Allen & Frances Nause Nathan Family Charitable Fund of the Oregon Community Foundation Robert & Melinda Newell Ted Olson & Linda Nelson Duane & Corinne Paulson Joan Peacock, In Loving Memory of Ben Buckley Patricia Perkins Olliemay Phillips Portland Trail Blazers Lorraine Prince Richard & Wendy Rahm Julia Rea & James Diamond Bonnie & Peter Reagan Robert Reed Vern Rifer Mary & Mark Roberts Richard & Mary Rosenberg Charlies & Miriam Rosenthal Dr. & Mrs. William Sack Marian & Elihu Schott Family Fund of the Oregon Community Foundation Roy Schreiber & Carole Heath Alice & Bill Sibley James G. & Michele L. Stemler Marilyn & Gene Stubbs Susan Studd & Bob McLaurin Traci Syms & Daniel Meyers George Thompson Marcia Truman & Allen Tooke Gina Warren Elaine & Ben Whiteley

SUPERSTARS ($500-$999) Anonymous Kip Acheson & Elizabeth Carr Kirby & Amelia Allen Linda Alper Bob Amundson & Sully Taylor Robyn & David Aoyagi Frances Aversa Patsy Crayton Berner Earle & Kathleen Bevins Lesley Bombardier Gail & Mike Brand Nita Brueggeman Charles & Barbara Carpenter Cecile Carpenter D. Challinor Michael & Lynne Chartier Nancy & Larry Church Cleveland H. Dodge Foundation Jamian Cobbett & Jacqueline Sella Cobbett Cogan Family Fund of the Oregon Jewish Community Foundation Jim & Vicki Currie Edward Demko Don & De Doorlag Cheri Emahiser Peg & John Espie Bill Failing & Michele Bowler-Failing Kyle & Charles Fuchs

Elizabeth Gewecke Richard & Alyda Gilkey Yvonne & Leonard Gionet Susan & Dean Gisvold Nancy & Andrew Glass Lynn Marchand Goldstein Melissa Good John Grant Priscilla Grice Mary Gurney Paul Harmon Ben & Anna Helton Pam Henderson & Allen Wasserman Diane Herrmann Kirk Hirschfeld Richard Hollway & Nancy Kurkinen Mike & Judy Holman Nancy & Marlin Icenogle Jessie Jonas Joan Jones Keeton Corporation Edward & Elaine Kemp Kristen & Michael Kern Carol Kimball PJ Kleffner Nick & Patty Knapp Peter Koehler, Jr. & Noel Hanlon Carlos & Carol Lacámara Bill & Shelley Larkins Francis Lee & Kaoru Ogihara Lee Household Dorothy Lemelson Mack-Caufield Fund of Equity Foundation Gus & Liann Martin Laurie & Jay Maxwell Dan McKenzie Andy C. McNiece & Nancy L. Haigwood Cynthia Mohuiddin & Robert Keller Dolores & Michael Moore Michael Morgan & Nancy Babka Kenneth & Katherine Moss Barry & Jane Newman Alfred & Eileen Ono Senator Bob Packwood Nancy Palmer A. Donald & Kay Parr Patricia Perkins Hugh Porter & Jill Soltero Portland Timbers John Ragno Dámaso Rodriguez & Sara Hennessy Dianne Sawyer & Pete Petersen Carol Schnitzer Lewis Fund of the Oregon Community Foundation Wayne D. Schweinfest Ursula Scriven Peter Shinbach John Shipley Elizabeth Siegel Steve Smith ‘Superconductor’ Nick & Sandra Snell Fund of The Oregon Community Foundation Teresa St. Martin Darsee Staley & Dave Linder John A. & Deborah Stephens Greg & Martha Struxness Donald & Roslyn Sutherland Sarah & Robert Taylor Terwelp Upholstery Paul Thompson & Portia Sipes Union Pacific Corporation Carol Wallace Karen Whitaker Carole Whiteside Pam Whyte & Ron Saylor Andrew Wilson & RonnieGail Emden Marcia Witteman Jo & Steve Zimmerman

Artists Repertory Theatre P 1 5

FAMILY ($250-$499) Anonymous Meg & Chuck Allen Ted & Fran Ames Bob Amundson & Sully Taylor Rachael & Scott Anderson Elizabeth & Stephen Arch Frank Aversa Bag & Baggage Cheryl Balkenhol Ann Balzell & Joe Marrone In memory of Deforest Arn Piper Phil & MaryAnn Barnekoff Pete & Norma Barnhisel Joanne & John Bauer Patsy Crayton Berner Leslie & Richard Bertellotti John & Dace Berzins Rex & David Bills Jessica Bobillot Alice & Glen Boyd Gail & Mike Brand Thomas A. Burns Ellen Cantwell Cecile Carpenter Richard & Nancy Chapman Valri & Vince Chiappetta Walter & Kathryn Crandall Phyllis Crary Debbie Cross & Paul Wrigley Kristeen Crosser Robert Daasch & Linda Schaefer Nancy Decherd Jewel Derin Linda Dinan Steven Dotterrer Greg & Janice Druian Eastside Distilling Carmen Egido & Abel Weinrib The Ellermeiers Leslye Epstein & Herman Taylor George & Donna Evans Paul Fellner James Ferner Donna Flanders & Carl Collins in honor of Cody Hoesly Larry & Marilyn Flick Chris Fredericks Patricia Frobes & Richard Smith Don & Judy Fuller Richard & Alyda Gilkey Melissa Good Roswell & Marilynn Gordon Paul & Theresa Graham Penny & Alan Greenwood Priscilla M. Grice John Gustavsson & Stuart Weitz Curtis Hanson Cindy Harrell Susanne Hashim & Tom Manley Tom & Sandra Hill Leslie Homer Kevin Hoover Eric & Keena Hormel Mr. & Mrs. William E. Horn Intel Involved Matching Grant Program Joni & Bill Isaacson Chris Jacomino Colleen & Jeff Johnson Joan Jones Beth & Chris Karlin Carol & Jeff Kilmer Sally & Lucien Klein Jody Klevit Anneliese Knapp Leslie Kolisch Deborah Kullby Gary Kruger Jack Larned Joy & Roger Leo Peter & Janice Linsky Michaela Lipsey

Joyce & Stan Loeb Dorothy Lyman Sheila Mahan Lois & Joe Malango Earlean Marsh Linda & Ken Mantel Earlean Marsh Ms. Nancy Matthews Dan Metziga & Senka Lenn Robert & Jessica McVay Judy & Steven Miller Paul Miller Don & Connie Morgan Morel Ink David & Anne Munro Damien Munsinger Evelyn & Tom Murphy Verne & Aki Naito Barry & Jane Newman Robert C. Nightingale David & Anne Noall North Country Productions, Alan & Sharon Jones Terry O’Brien Stephanie Oliver Oregon Shakespeare Festival Janice Orloff in Memory of Mon Orloff Lesley Otto Jerry & Elisabeth Ouellette Pairings Portland Wine Shop Michael Parsons Ron Pausig Sue Pickgrobe & Mike Hoffman Bernie & Pamela Pliska Roy Pulvers & Deborah Mandell Richard & Wendy Rahm Ed Reeves & Bill Fish Marjorie Reeves Scott & Kay Reichlin Renaissance Foundation Helen Richardson & Don Hayner Marilynn Rytting Erika Schuster & Clay Biberdorf Mary Ann Seth-Wish & John Wish Judy Snider Joan Snyder & Phil Vanderweele Merri Souther-Wyatt H. Joe Story William R. Swindells in honor of Charlie Swindells John and Sandra Swinmurn Diane Taylor Steve & Linda Tubbs Barbara Van Fleet Sue & Jim Walcutt Judi & J. Wandres Scott Warrender Ethel Wheatley Anthony Wilcox Alan Winders Helen Youngelson-Neal Susan Youngstrom Alan & Janet Zell Kurt & Heather Zimmer

FRIENDS ($100-249) Anonymous (7) John Ahlen & Don Main Gretchen & Dr. Seth Alley Mr. Thomas Robert Anderson Ruby Apsler Ernest Argetsinger AJ Arriola & Alice Jacobson Herman Asarnow & Susan Baillet Nancy Ashton Astoria Coffeehouse & Bistro Gvido Augusts Jan Aust & Jan McMurphey Susan Bach & Douglas Egan

Susan & Grover Bagby Holly Bailey Dale Bajema & Diana Coleman Steve & Florence Balog Ann Balzell & Joe Marrone, In Memory of Deforest Arn Piper Linda Barnes & Robert Vanderwerf George Bateman Mary Beach Patricia and John C. Beckman William Bennington Donald Berg & Carole Cooke Pamela Berg Ayanna Berkshire Catherine Blosser Joe Blount Corey & Ione Booth Betty & Fred Brace Teresa & James Bradshaw Broadway Rose Theatre Nancy Brown Jim Brunke Carolyn Buan Sharon & Duane Buckmaster A. Sonia Buist, M.D. Carol Burns Thomas A. Burns Cacao Mrs. Robert Cameron Don Caniparoli & Sarah Rosenberg Cannery Pier Hotel Priscilla Carlson Kathleen Carmichael Michael Carter & Teresa Ferrer Jean Carufo & Barbara Engelter Tom & Anne Caruso Mary Anne Cassin & Ken Meyer Lou & John Chapman Clackamas Repertory Theatre Molly Cochran & Sam Ellingson Bradley Coffey Elaine & Arnold Cogan Ilaine Cohen Rick Collins Russ & Candice Chapman Leslie and Alan Comnes Jeffrey G. Condit Abigail & Michael Corbet Gerald Corn Priscilla & Nick Cowell James Cox John Crabbe & Jeri Jenowsky Linda Crane Joel Datloff & Linda Wiener Sarah Daugherty Elaine Davis Richard Day Barbara Dechet Wolfgang Dempke & Alise Rubin Elaine & Bill Deutschman John Ahlen & Don Main Jeanne & Lauren Donaldson Sterling Dorman Diana Dorney Randi Douglas Raymond Duchek Ben Earle for the Emmett Chase and Peter Evans Theatre Education & Outreach Fund K. Eaton Alison Ebbott & Bill Hasan Elizabeth & John Ehrsam Elephants Delicatessen Laury Ellis Ron & Ann Emmerson Kathie England Davis Evans Ellen Fader Mary Fehrs Sharon Fekety Fund of The Oregon Community Fund Nancy Ferguson Vladimir Fiks Gregg & Linda Fildes

Myron D. Filene Sherry Fishman Greg & Carol Flakus Jeremy & Julie Fleischer Chris Fletcher & Pamela Abernethy Float On Kathleen Flynn David & Dorothea Fradkin Heidi Franklin Dwain & Judith Fullerton Kay Gage Karen Garber & John Desmarais Harmony George-Jaursch Anne Gilbert Mary Jo Gillespie Tim Gillette Andy Ginsburg & Danielle L. Erb Linda Gipe Jeanne Goldberg Marc Goldberg Phil Goldsmith & Susan Newman in Honor of Carol Ann Wohlmut Barbara & Marvin GordonLickey George Goodstein Gwendolyn Graff David & Terry Griffiths Sally Gustafson James Hager & Michelle Maida Hager Bernadette Hahn Barbara Hall Bill & Marty Hall John Hall Gail & Irvin Handelman Thomas Hansen Dr. Wesley & Virginia Harper Midge Harris Meredith Hartley Thomas Hellie & Julie Olds Jerry Henderson Joe & Rita Henery Henry’s 12th Street Tavern Charles & Margaret Hickman Tom & Sandra Hill Stephen Hillis Surah Hirsch & Aurelio Duran in honor of Alana Byington Lynnette & Don Houghton Eric & Keena Hormel Kristine & Steve Hudson Carol Hull Robert & Cecelia Huntington Andrea & Ruben Iniguez in memory of Roger “Michael” Van Joni & Bill Isaacson Constance Jackson & Xavier Le Héricy Katharine Jansen Phyllis Johnson Sharon & Earl L. Johnson Judy Kafoury Marcia KakiuchiRon & Ruth Katon Sheri Katz Catherine Keith Douglas Kelso Karen Kemper Andy Kendig Nancy Kennaway Janice Kettler Heather Kientz Doris & Eric Kimmel Larry King & Daniel Hutchison Frederick Kirchhoff Anneliese Knapp Carol Kochenderfer Leslie Kolisch Judy Kovaric Norman Krasne & Sarah Duvall Gary Kruger

Joan Kruse Louise Kurzet Ted Labbe & Kelly Rogers Elyse & Ron Laster Robert and Susan Leeb Lee Leighton Reed Lewis Joseph & Elizabeth Lilly Bobbi & Ralph London Mary E. Hay Long Leslie Louderback Jane Luddecke Dr. Christine Mackert Midge & Jim Main Linda L. Mann John & Renee Manson Michael & Deborah Marble Ellen Margolis Joann Marks Susannah Mars & Gary Johnson Don & Susan Masson Bruce & Joyce Maxwell Lynn Mayer Robert McAdams Connie McConnell Martha McCourt Walter McDonald Anne McLaughlin The Meadow Ruth Medak Mariellen Meisel Michael Mendelson & Tim Thompson Libby Merwin Jeanette & Bill Meyer William Meyer Edie Millar Connie Millhollen Michael & Denise Millhollen in memory of Bertha Millhollen Kate & Jack Mills Matthew Miner Susan & Greg Miner Monique’s Boutique Robert Moyer Stephanie Mulligan & Laura Widener Laurel Murphy & Ed Phillips

David Nanson John Niemitz Northwest Children’s Theatre Wayne Nussbaum Bob Olds OMSI Oregon Symphony Elsa Ostergaard Palace Cakes Papa Haydn East Nancy Park Kathy Parker Mark & Roena Parker Judy Parker & Albert Passadore Beth Parmenter & Alan Miller Sheila Pastore Katherine Patricelli PDX Jazz Gordon & Sondra Pearlman Mark & Judy Peterman Marilyn & Gaynor Petrequin Pierre & Linda Pham Kevin Phaup Donna Philbrick Sue Pickgrobe & Mike Hoffman Por Que No Tacqueria Roger Porter Terrance & Barbara Porter Portland Center Stage Portland Opera Portland’s Culinary Workshop Wayne Potter & Pam Brown Dee Poujade Alan Purdy Ana Quinn David Rabin & Ingrid Story Jay & Barbara Ramaker Sarah Ramowski Jay Raskin Harry & Susan Rectenwald Dick & Linda Reedy Dave & Marili Reilly Betty & Jacob Reiss Dave Ripley In memory of Gary D. Robinson

P 16 Artists Repertory Theatre

Charles & Judith Rooks Barbara Rose Jean Tyler & Bruce Rothman Laurens & Judith Ruben Richard & Joan Rubin Rick & Halle Sadle Joanne & James Ruyle Darrell Salk & Tricia Knoll Sammye J. Sanborn In Memory of Joe Jablonski Barry & Grace Sanders John T. Sarr William & Meredith Savery Magda & Peter Schay Sheldon & Jean Schiager Linda Schmidt Luan Schooler Barbara & Juergen Schuetze Jean Scott & Myrth Ogilvie Peter & Jeanette Scott Joyce Semradek David & Frances Sessions Mary Ann Seth-Wish & John Wish Anita Shafer Gil Sharp & Anne Saxby Mary Shaw Freda Sherburne Karen Sheridan Laurel Simmons Jon & Ann Sinclair Skamania Lodge Sloan Boutique Smith Teamaker Emily Smith Neil Soiffer & Carolyn Smith Martin Sommer & Jessica Spies Martha Spence Karen Springer Barbara Stalions Marcia D. Starr Fran Storrs Milan & Jean Stoyanov Larry Strausbaugh Scott Stuart & Brenda Meltebeke Julia Surtshin & Richard Sessions Patrick & Christee Sweeney

David & Rosemarie Sweet Ruthe Taber Gary Taliaferro Roberta Taussig Bahram & Susan Tavakolian In Memory of Christopher M. Taylor Leslie Taylor & Douglas Beers Tektronix Matching Gifts Third Rail Repertory Theatre Margaret Thompson Marilee Thompson Tracy Thornton Don & Sue Trotter Lyle Tucker Jan Turner Uptown Hardware Inc. US Bancorp Matching Gift Program Jane Vanboskirk & Tim Sercombe David & Julie Verburg Veritable Quandary Restaurant Karen Vineyard Sandy Visse Pamela Vohnson & David Streight Voicebox Karaoke Christine Voigt Marilyn Walkey & Mike McClain Judi & J. Wandres Janet F. Warrington Robert & Ann Watt Jill & Michael Weier Walt & Kim Weyler Widmer Brothers Larry Williams Susan Woods Kathleen Worley Maureen Wright & Lane Brown Cynthia Yee Yoga Shala Mary Beth Yosses

AT THE PERFORMANCE MAY | JUNE 2015

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Welcome to Artslandia at the Performance – a city playbill and performing arts magazine. Enjoy the show.

AT TH E P E R FO R M A N C E 20

In This Issue 20 Q+A: GRIMM GUESTS Sasha Roiz and Silas Weir Mitchell bring their famous TV faces to the PCS stage to rediscover live theatre and connect with Portland, which they admit has started to feel like home.

26 CHOOSE A MUSIC FEST

This summer, the hills (and plains, and waterfront) are alive with the sound of music. But which way will you turn? Follow our handy chart to choose the fest that’s best for you.

32 GOOD DEEDS: THE VALENTINE FUND

After a bad bicycle fall, Louanne Moldovan was at risk of paralysis and in need of surgery. Fortunately, the Portland Area Theatre Alliance was there to help.

35 36

28 30

36 LEARNING CURVE

JamBallah Festival founder Elise Morris walks us through the major styles of belly dance, introduces us to Portland's movers and shakers, and debunks some misunderstandings.

IN EVERY ISSUE 44 GET YOUR GUS ON!

Quintessential Portland Filmmaker Gus Van Sant has plenty of wild stories to share, from the time he recruited a lost Yellow Pages salesman to act in a movie, to the time he hallucinated Nirvana music while listening to chainsaws in the woods. Artslandia got these choice cuts and more from Mario Falsetto, author of Conversations with Gus Van Sant and course lecturer at Northwest Film Center’s The Essential Gus Van Sant series.

12 15 16 28 35 46 48 53 58

Calendar From the Editor-at-Large Ambassador Column Find Your Art From The Desk Of Tag, You’re It. Did You Know? Dramatic Dishes Past Performances

www.artslandia.com

Artslandia at the Performance may | june

AT TH E P E R FO R M A N C E

WHAT’S THE BEST THING ABOUT SUMMER IN PORTLAND? PUBLISHER Misty Tompoles

Baseball, art and iced tea.

Late evening sunsets.

EDITOR-AT-LARGE Barry Johnson

ASSOCIATE EDITOR A.L. Adams

PDX Pop Now!

COPY EDITOR Kristen Seidman Evening walks

DESIGN along the river. Zelda Burk Lisa Johnston-Smith Sunglasses.

ADVERTISING ACCOUNT EXECUTIVE Steven Sturgeon ADVERTISING AND COMMUNITY DEVELOPMENT Shawn Brunner MEDIA DIRECTOR The best thing about summer A patio table Chris Porras in Portland is that it’s year-round!

and an IPA!

Drinking outside.

CONTRIBUTING WRITERS Graham Bell Marty Hughley Going to the Barry Johnson river and Claire Willett

discovering Party Island.

ILLUSTRATOR Carolyn Main PHOTOGRAPHERS Raina Stinson Amy Graves

SUBSCRIBE ONLINE WWW.ARTSLANDIA.COM

Artslandia at the Performance may | june

BE IN THE NOW. BE IN THE KNOW. MUSIC DANCE THEATRE

MONDAY

TUESDAY

MAY WEDNESDAY

THURSDAY

FRIDAY

STORM LARGE Presented by the Oregon Symphony. May 1.

SATURDAY

SUNDAY

Photo by Russell J. Young.

DYNAMIC DUOS Portland Columbia Symphony Orchestra. May 1 & 2.

THE LION Portland Center Stage. Through June 14.

SPRING CONCERT Portland Youth Philharmonic. ANI & NIA SULKHANISHVILI Portland Piano International.

SHOW BOAT Portland Opera. May 1, 3, 5, 7 & 9. STATIC Third Rail Rep. Through May 24. X-POSED CHOREOGRAPHER SHOWCASE Polaris Dance Theatre. May 1–3 & 8–10.

Photo courtesy of the Oregon Symphony.

COMEDY OF ERRORS Post5 Theatre. May 29–June 27.

7 OUR COUNTRY’S GOOD Bag&Baggage Productions. Through May 31.

THE PHANTOM OF THE OPERA US Bank Broadway in Portland. Through May 23. MR. BURNS, A POST-ELECTRIC PLAY Portland Playhouse. Through June 7. 20

MEMORIAL DAY

THE LIAR Artists Repertory Theatre. Through June 21.

COSMOSIS WITH AMPHION QUARTET BodyVox. Through June 6.

Artwork by Lee Moyer.

RAMONA QUIMBY Oregon Children’s Theatre. Through May 31.

SONGS OF SPRING Paciﬁc Youth Choir. May 10 & 31.

SAX AND THE SYMPHONY Oregon Symphony. Through May 11.

STOREFRONT ACTORS’ REVUE: THE BABES ARE BACK! Triangle Productions. Through May 30.

MAME Lakewood Theatre. May 1–June 14.

FROM DARKNESS TO LIGHT Cappella Romana. May 16 & 17.

THREE DAYS OF RAIN Portland Center Stage. Through June 21.

SHOWCASE CONCERT Portland Symphonic Girlchoir.

BEETHOVEN’S PIANO CONCERTO NO. 1 Oregon Symphony. May 17 & 18.

PIANO QUINTETS WITH THE FLORESTAN TRIO 45th Parallel.

29 COMEDY OF ERRORS Post5 Theatre. Through June 27.

Illustration by Matt Phelan.

RAMONA QUIMBY Oregon Children’s Theatre. May 9–31. 12

Artslandia at the Performance may | june

JUNE MONDAY 1

TUESDAY

WEDNESDAY

THURSDAY

ANTONY & CLEOPATRA Oregon Shakespeare Festival. Through October 9.

HEAD OVER HEELS Oregon Shakespeare Festival. Through October 10.

THE COUNT OF MONTE CRISTO Oregon Shakespeare Festival. Through October 11.

GET PHAMEOUS! Phame Community Open House.

FRIDAY 5

THE RAKE’S PROGRESS Portland Opera. June 11, 12 & 14.

SATURDAY 6

13 ABBAQUEEN: A ROYAL CELEBRATION Portland Gay Men’s Chorus.

21 FIRST DAY OF SUMMER

PORTLAND PIANO INTERNATIONAL SUMMER FESTIVAL Portland Piano International. Through June 21.

Graham. Photo by Jenny

ANTONY & CLEOPATRA 24 Oregon Shakespeare Festival. June 2–October 9.

SUNDAY

JUNE CONCERT Metropolitan Youth Symphony.

IN THE NEXT ROOM, OR THE VIBRATOR PLAY Proﬁle Theatre. Through June 28. 15

Calendar

IN THE NEXT ROOM, OR THE VIBRATOR PLAY Proﬁle Theatre. June 11–June 28.

SUMMER SPLENDORS Northwest Dance Project. Through June 28.

PORCH MUSIC Third Angle New Music.

DRAMMY AWARDS

RAKE’S PROGRESS Presented by the Portland Opera. June 11, 12 & 14. Courtesy of Glydebourne,The Rake's Progress (2010), photography by Alastair Muir.

Artslandia at the Performance may | june

2015/16 SEASON

A R T I S T S

R E P E R T O R Y

THE UNDERSTUDY by

Theresa Rebeck

T H E A T R E

2015/16

S E AS O N

SEP 8 - OCT 4

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BROOMSTICK by

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THE MIRACLE WORKER by

William Gibson

D EC 8 - JA N 3

MOTHERS & SONS by

Terrence McNally

FEB 9 - MAR 6

WE ARE PROUD TO PRESENT A PRESENTATION ABOUT THE HERERO OF NAMIBIA, FORMERLY KNOWN AS SOUTH WEST AFRICA, FROM THE GERMAN SUDWESTAFRIKA, BETWEEN THE YEARS 1884-1915 by

Jackie Sibblies Drury

MAR 8 - APR 3

GRAND CONCOURSE by

Heidi Schreck

M AY 3 - M AY 29

THE SKIN OF OUR TEETH by

Thornton Wilder

M AY 1 7 - J U N 1 2

SUBSCRIBERS SEE PLAYS FOR JUST $35 EACH ANY PACKAGE. ANY SERIES. ANY NIGHT.* *PREVIEWS/STUDENTS $25, OPENING NIGHTS $43, CUBA LIBRE $45

503.241.1278 artistsrep.org

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B A R RY JO H N S O N

FROM THE EDITOR-AT-LARGE

The Politics of Art How will Oregon’s new governor join arts discussions already in progress? BY BARRY JOHNSON. Although we often encounter the phrase “the art of politics,” we generally acknowledge that the distance between “art” and “politics” is pretty vast. At the very least, a political experience has a very different character from an art experience. One example of a great political artist is Machiavelli, who defined politics as the art of getting what you want, through any means. In politics, sometimes laying waste to a city is just the thing! Still, if you’re interested in having arts experiences yourself and making sure that others have them, too — well, politics is going to be involved. And given the recent upheaval in Oregon politics, that’s what it’s time to talk about. Oregon’s new governor Kate Brown must still be spinning wildly through a whirlwind of budgets, bills and politics in Salem after her ascension in February. Unsurprisingly, she hasn’t said anything about what her plans for the arts might be, and we don’t have a very good fix on her level of enthusiasm for developing and instituting a plan around arts and culture in the state. Since she did vote for the extension of the Oregon Cultural Trust last year, maybe we can safely assume that she’s at least moderately interested in the arts? She probably won’t promptly derail the arts policy trains that former governor Kitzhaber set in motion, specifically the Oregon Arts Commission’s strategic planning process, which started in earnest last September with town meetings around the state. I talked to Brian Rogers, the ex-

ecutive director of both the Arts Commission and the Oregon Cultural Trust, to get an update, and I like the talking points: access and equity for the arts, the arts’ importance to our economic vitality, arts education and awareness, and how the Arts Commission administers grants. If things work out, these generalities will distill into public policies with specific proposals attached to them. I have no idea what these might be, I only hope that they’re ambitious enough to make a real difference. If you live and/or work in Portland, the importance of the arts and their more practical sibling, design, couldn’t be clearer. Everywhere you look, the creative economy is starting to dominate, and every other person you meet is a designer, or an artist of some sort, or both ... or is working in support of designers and artists. Portland’s rise as a “national” city has paralleled the explosive growth of its design and arts communities — and really, the design and art communities came first! Even if the only scale we use is an economic one — and we all acknowledge that there are lots of others — we know that the arts are central to our success. We also understand that offering arts education to our children will be central to their success. Just hearing Governor Brown articulate this idea would be an important step. Here’s hoping she takes us further down that path. .

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Art Feeds the Soul As I write my final Ambassador column, I reflect on the past year. To be Artslandia Ambassador has been a privilege and an honor, and I hope we — Artslandia readers and I — cross paths again in person.

Portland Baroque Orchestra, Cappella Romana and Friends of Chamber Music — partner to present Jordi Savall and his ensemble Hesperion XXI in a concert that will surely be remembered as one of the top performances of 2015. Portland Opera continues to innovate and redefine its season into a short festival showcase, coming in spring of 2016.

We Portlanders should be proud of the benefits of our Arts Tax, which has distributed over $15 million to schools and arts organizations since 2012. Together, we’ve begun to provide access and equity for the arts, and we’re on the trajectory to making it a reality for everyone.

As Portland evolves, the arts community is embracing the future and bracing for challenges ahead. We’re adding value to our community, and we invite you to come along for the ride. Get involved, ask questions, share your opinions, and be active. Together we can do great things, and the potential is infinite.

“If you have only two pennies, spend the first on bread and the other on hyacinths for your soul.”

Let me end where we began, “If you have only two pennies, spend the first on bread and the other on hyacinths for your soul.” -Arab Proverb

As you know, Portland’s a special place experiencing renewal. Over the last year, we’ve seen the Oregon Symphony go from survival mode to a thriving, leading institution. We’ve also seen three top music organizations —

LISA VOLLE

2014-15 ARTSLANDIA AMBASSADOR EXECUTIVE DIRECTOR THIRD ANGLE NEW MUSIC

LISA’S TOP FIVE PICKS THREE DAYS COSMOSIS LAST THURSDAY OF RAIN ON ALBERTA BodyVox Portland Center Stage [MAY 17– JUNE 21]

[MAY 21– JUNE 6]

[MAY–SEPT.]

IN THE NEXT PORCH MUSIC ROOM, OR THE Third Angle VIBRATOR PLAY New Music Profile Theatre [JUNE 11–28]

[JUNE 27]

A RTS

Education Matters BY COMMISSIONER NICK FISH

am old enough to remember when the arts were part of the basic school curriculum. In kindergarten I worked with clay; in middle school I had a small role in The Curious Savage; in high school I copied still-life prints and tried unsuccessfully to play the recorder. Thanks to all my very patient teachers, they sparked a lifelong love of the arts.

Photo by Jennifer Kalez.

Sadly, over the years, schools across the country were forced to sacrifice arts education because of budget cuts. During the Great Recession, K-12 budgets were cut by more than $2 billion nationwide. What’s always the first thing to go? Classes and programs that aren’t considered “core.”

A major party candidate running for President in 2012 even went so far as to pledge to eliminate government funding for the arts because “the American people can’t afford [them].” Imagine no funding for the National Endowment for the Arts, the National Endowment for the Humanities, or for our Public Broadcasting Service (PBS) … not even Big Bird. We wouldn’t, and didn’t, allow that to happen here in Portland. For years, arts advocates, including former Mayor Sam Adams, Portland Center Stage’s Chris Coleman and CAN’s Jessica Jarratt, sought a dedicated source of funding for the arts. In 2012, they asked voters to approve a new tax which would generate millions for the arts.

In their editorial endorsement of Measure 26-146, Street Roots explained: “Art is everywhere in Portland. It’s at the core of our city’s personality. But in our core institutions, particularly for children and the poor, art is either nonexistent or out of financial and social reach. The benefits of arts training — on math skills, cognitive processing and simply our joie de vivre — are well documented. For $35 per person, we can fund not only public school programs, but also programs generating community involvement among young people who are socially and economically marginalized.” Portland agreed … and answered with a resounding “yes!” The Arts Education and Access Fund passed with 62 percent of the vote. Thanks to Portland taxpayers, we now invest nearly $7 million more each year in arts education. That adds up to about 70 certified arts teachers in six school districts, serving over 30,000 children in our community — teachers like Kathy Wray and Suzi Zehsazian-Darnell, who brought music back to their David Douglas elementary schools. So what do we get for our investment? According to data from The Right Brain Initiative, higher test scores across the board — with astonishing results for children whose first language is not English. The Right Brain Initiative is a groundbreaking arts education program managed by the Regional Arts & Culture Council. Launched in 2008, Right Brain helps teachers learn how to weave the arts into core school curriculum like math and reading. Recent studies confirm that linking core subjects to the arts improves learning. At Right Brain schools, student math and reading scores increased more than twice as much as the average annual rate of increase. For English language learners, scores increased 10 times! But it’s not just about test scores. With robust arts education, kids have better attendance, schools have lower dropout rates, and young people get the chance to develop their own creative talents. Right Brain students agree: “Art makes me feel proud,” shared one student. “It made me feel complete,” said another. And, “This was so much fun; I could explode.”

Artslandia at the Performance may | june

Arts education also helps our kids succeed as adults. A high score on a standardized test doesn’t guarantee a family-wage job — but the ability to think critically and creatively might. As U.S. Secretary of Education Arne Duncan pointed out, “to succeed today and in the future, America’s children will need to be inventive, resourceful and imaginative.”

3D—a new chapter in breast imaging

As Portland’s Arts Commissioner, I am proud to live in a community that understands the value of arts education. And I am grateful for all the champions, from government, business, nonprofit and philanthropy, who donate their time, money and passion to increase access to the arts for everyone in our community. Thanks to their efforts, Young Audiences, PHAME, Metropolitan Youth Symphony, the Ethos Music Center, Northwest Children’s Theater, and too many other mission-driven nonprofits to name are working hard to ensure everyone is exposed to the arts. This year, we have much to celebrate. Work for Art, the innovative workplace giving program for the arts, turns 10. The Regional Arts & Culture Council, our regional arts champion, turns 20. The City-County public art program, Percent for Art, turns 35.

ammography technology so sophisticated it can capture images of breast tissue in thin sections, allowing the radiologist to take a page-by-page look at your breast anatomy. It’s not fiction, it’s fact, and it’s all part of our story. We’re bringing the future of mammography to you today with comprehensive breast imaging, same day services with same day results. We are EPIC Imaging, and we are changing how we look at your mammogram.

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The Portland Opera is celebrating 50 years of excellence. The Pacific Northwest College of Art just cut the ribbon on its new home at 511 Broadway. Literary Arts will re-launch Wordstock at the Portland Art Museum in November. Back to the young people. In just the past two months, I watched Beaumont Middle School students perform with the Metropolitan Youth Symphony at the Arlene Schnitzer Concert Hall; Poetry Slam winner Bella Trent read her poem A Poem about Picking a Poem for Verselandia at City Hall; and kindergarteners from the Roseway Heights Vietnamese Immersion program danced a traditional piece at the Newmark Theatre. Better than any statistic or report, they answer emphatically the question: why do the arts matter? Nick Fish is a Portland City Commissioner.

Artslandia at the Performance may | june

Q+A

Sasha Roiz (left) and Silas Weir Mitchell (right) photographed at Portland Center Stage, where they will be starring in Three Days of Rain in May.

wo of the most popular stars of NBC’s Grimm are taking a break from their TV day job chasing shapeshifting creatures of legend through Oregon’s rainsoaked forests, to star together in a live production of Richard Greenberg’s Three Days of Rain at Portland Center Stage. In the time-jumping family drama, Silas Weir Mitchell and Sasha Roiz play a pair of New York architects — and in other scenes, they portray those architects’ sons revisiting a property their dads designed. On Grimm, now in its fourth season, Mitchell plays Monroe, a bearded, ﬂannel-wearing, winedrinking Portlander who happens to sometimes transform into a wolf-like creature, while Roiz plays enigmatic Portland Police Captain Sean Renard, with a mysterious supernatural heritage of his own. Between howling at the moon and treading the boards, the two actors checked in with Artslandia to share insights on character and craft. BY CLAIRE WILLETT. PHOTOS BY AMY GRAVES.

ON SCREEN ACTING VS. STAGE ACTING SILAS WEIR MITCHELL: I think actors are

doing the same thing, at root, whether for stage or screen. It’s like roller hockey versus ice hockey, or figure skating versus ice dancing. The external rules are slightly different, the parameters, the surface stuff; but in essence, on a phenomenological level, the same laws are at work. What makes theatre so delightful, especially after 88 episodes of TV and no theatre for four years, is rehearsal. Theatre work can take over your life, inner and outer, in a way that TV work doesn’t as much — or at least in a different way. Theatre’s a super-concentrated full-soul immersion in a process and a world and an imaginary human life ... In TV, after so many episodes, the muscle is developed and highly flexible; one tends to become more agile at moving in and out of the imaginary world, so your real life can start to have relevance again. [Whereas] doing a play, Man! It’s really a headlong dive into some other reality! SASHA ROIZ: Both Silas and I came from the stage, and we’ve probably spent about the same amount of years away from the stage, so this is a huge departure for us. For me it’s been ... like a decade away from the stage — which I would have never envisioned when I started out, because all I wanted to do was stage work. So I’m incredibly nervous to do this. I hadn’t felt nervous like this in a very long time. And I always know that if I do — if I have these sort of nerves — it’s always a good thing. It means I’m doing something that I care about; it means I need to strive for a higher level and something that’s going to challenge me. So I’m really excited for it.

ON PARENTS AND CHILDREN SR: The writers on Grimm have a tremendously good time bringing parents into the story, for some reason. Parental lineage is a big theme on Grimm. You constantly see

these characters, no matter how powerful, being put in their place by their parents every time they show up, and it shakes up some of the dynamics. [The show also explores] lineage and fate, and the actions of our predecessors, and the responsibilities and some of the pitfalls that we’ve inherited from them. This sort of Oedipal, unshakeable, “your fate is this or that” idea. That’s really a very strong theme — perhaps the main theme — of Three Days of Rain, where we juxtapose these two stories in the first half and the second half of the play. The first half is [the story of ] the children, and their perceptions and misinterpretations of who their parents were. And then we see, in the second, the reality and the truth of who the parents really were, and what they were in fact struggling and contending with, and [who they were] trying to be. A lot of the fault-finding and finger-pointing, and a lot of the pain that [the characters are] experiencing is really tremendously misconstrued, as it so often is, because there’s a generational divide. I think these are universal themes.

MEMORABLE THEATRE MOMENTS SR: I certainly remember a few productions where I couldn’t move after the curtain came down, and I sat there after everyone was gone ... just ... sort of absorbing it. Those are magical moments. When I went to study theatre in England, [I went to see] a play I wasn’t really familiar with, Cymbeline, and out comes Mark Rylance — I hadn’t really heard of him, I think he was still artistic director of the Globe at that time — and he just killed it. And it just blew my mind. I had no idea you could do that, that you were even allowed to do that. With Shakespeare, no less. He was true to the words, but completely fearless with them. [He] made them his own. He wasn’t at all limited by all the rules and restrictions that we think [acting] comes with and was just unbelievably free. ContInUed on neXt page Artslandia at the Performance may | june

SWM: [I saw] a Théâtre de Complicité

Summer Splendors a collaboration with CHAMBER MUSIC NORTHWEST

JUN 26 - 28 FOUR WORLD PREMIERES

SARAH SLIPPER / LUCAS CRANDALL TRACEY DURBIN / RACHEL ERDOS created to

Chopin’s 24 Preludes performed by Yekwon Sunwoo

“some of the best dancers you will ever see.”

- Calgary Herald

TICKETS nwdanceproject.org 503.828.8285

limited seating - these shows sell out!

you’re invited to our

summer gala

+ creative center

grand opening

MAY 30 / 2015 / 5:30PM

NORTHWEST DANCE PROJECT CREATIVE CENTER 210 NE 10TH AVE (AT DAVIS ST)

tables + tickets

NWDANCEPROJECT.ORG OR 503.828.8285

Artslandia at the Performance may | june

production, Street of Crocodiles — an adaptation of a series of Bruno Schultz stories — at the small Cottesloe Theatre at the National Theatre in London [in the] summer of ‘92. As I sat weeping copiously, my companion and I [were] the last two in the house as the work lights came on, and we staggered out onto the esplanade. I had a powerful, life-altering realization. When theatre is calibrated accurately, when it comes from a place of heart and openness and love, when the word fits the action and the action the word, as it were, the poetry of it hits one more deeply and harder than any other art form. Basically, I realized theatre can be transcendent.

ON PORTLAND SWM [originally from Philadelphia]:

Personally, I am truly humbled by the way in which [my character on Grimm] has been embraced by Portlanders as one of their own. One element I draw on with him is the idea of iconoclasm ... The whole “Keep Portland Weird” thing is really baked into the city’s identity. What’s most delightful and refreshing is that this iconoclasm isn’t put-on, it isn’t done for effect. It is an earnest expression of the will of people who live here to follow their hearts, to let their freak flags fly and live their own lives. I hope this doesn’t sound maudlin, but I think it’s actually really inspiring. SR [from Israel/Montreal]: I didn’t know what to expect, to be honest with you. I was actually terrified that the series would get picked up and I would have to move here. I was like, “This is just for the pilot, right? We’re not actually gonna move up here.” But it’s been the greatest gift! It really, really has ... This will be an entire year for me where I don’t leave town. I’m just going from Grimm to the theatre and back to Grimm. So, this is home. It’s something that you would have never predicted ... I kind of embrace the unknown and I love [the] chaos of this industry, that you never know where you’re going to end up next, [which] brings about these amazing gifts — like all of a sudden having a life in the Pacific Northwest. Which I probably wouldn’t have chosen for myself, and now I can’t seem to do without. .

d n la h 015 as 2

get iN oN the Act! Much Ado About NothiNg

guys ANd dolls FiNgersMith

secret love iN PeAch blossoM lANd sweAt

Pericles

loNg dAy’s JourNey iNto Night the hAPPiest soNg PlAys lAst

ANtoNy ANd cleoPAtrA

heAd over heels

the couNt oF MoNte cristo

ElEvEn Plays in ThrEE ThEaTrEs • FebruAry 20-NoveMber 1 800-219-8161 • osfashland.org Jeremy Peter Johnson in Guys and Dolls

A Cl AssiCAl MenAgerie with

Pink Martini Tuesday, May 19 | 7:30 pm Wednesday, May 20 | 7:30 pm Carlos Kalmar, conductor Portland’s favorite bands – Pink Martini and the Oregon Symphony – put a salsa spin on Prokofiev’s Peter and the Wolf and romp through a kaleidoscope of classical favorites. When Thomas Lauderdale and his pal Carlos Kalmar get together, one thing’s for sure – it’ll be a party you won’t want to miss!

WITH SPECIAL GUEST

CHINA FORBES!

Tickets start at $35 – while they last!

OrSymphony.org | 503-228-1353

A r l e n e

S c h n i t z e r

c o n c e r t

h A l l

SW Main & Broadway · Portland’5 Centers for the Arts

13th Annual SummerASTORIA Festival June 12â&#x20AC;&#x201C;28, 2015 Music Festival

Keith Clark, Artistic Director

Highlights include masterworks of Beethoven, Bach, Tchaikovsky and Sibelius. Come to Astoria for the joy of it!

20 Concerts of Orchestra, Opera, Chamber Music & More AstoriaMusicFestival.org

503.325.9896

Artslandia at the Performance may | june

Feature

Pick an era.

Who doesn’t?

Way back in Grandpappy’s day ...

I always go for Baroque. No time like the present!

First of all, do you even like music?

Actually ... no.

ASTORIA MUSIC FESTIVAL

Only with a side of ... Think outside the Bachs?

JAW: A PLAYWRIGHTS FESTIVAL

No. Why mess with perfection.

... kilts + Celts

NEWPORT CELTIC FEST & HIGHLAND GAMES

OK, how “mainstream” are you? Let’s roll!

Yes! Classical music’s a vibrant tapestry!

Road trip?

No thanks.

Fully immersed, Bro.

Not. I am a rock; I am an island.

PDX POP NOW!

Visit a monastery?

What’s the latest?

SASQUATCH FESTIVAL

... art! ... theatre!

TIME-BASED ART FESTIVAL ("TBA")

CMNW SUMMER FESTIVAL

I go with the flow. Do not disturb.

... silence! I abide.

DISJECTA QUIET MUSIC FESTIVAL

Heavens, no! jazz hands + tap dances

BROADWAY IN PORTLAND

Heck yes!

HOMIEFEST II

vibrato + bravado

PORTLAND OPERA SUMMER SEASON

Artslandia at the Performance may | june

... but I want some acts I know.

OREGON BACH FESTIVAL

MT. ANGEL ABBEY BACH FESTIVAL

BELOVED SACRED ART & MUSIC FESTIVAL

Follow this handy decision chart to find the summer music festival that's right for you. BY A.L. ADAMS. ILLUSTRATIONS BY ZELDA BURK.

TIMBERLINE MOUNTAIN MUSIC FEST

... pickin’ + grinnin’.

Hit the slopes.

Hit the hay.

PICKATHON INDEPENDENT MUSIC FESTIVAL

Totes!

MUSIC IN THE MOUNTAINS,

NORTH PLAINS, OR

Hipster-friendly? Nopes!

Mountains. Pick your rural terrain ...

I swim there to spawn.

Rhythm. How much reggae?

This big ol’ city. This small town, Baby.

Wanna dance? Maybe later.

Crack me one!

Sh’ yeah!

Try on these fairy wings!

How long can you rock? OK!

Um, no.

MUSICFEST NW

FOSSIL, OR

HIGH & DRY BLUEGRASS FESTIVAL BEND, OR

A whole world of it. Some.

To 11!

NW WORLD REGGAE FEST

Just ‘til 7!

BEACON HILL BLUES FESTIVAL

SALEM WORLD BEAT

ASHLAND, OR

WHAT THE FESTIVAL

PROJECT PABST

WHEELER COUNTY BLUEGRASS FEST

High desert.

What’s got you down?

WATERFRONT BLUES FESTIVAL

I’m under age.

Dinosaur country.

Pick one!

Blues.

PBR?

Plains. RO CK ON

... rhythm + blues.

NORTHWEST STRING SUMMIT

PROSPECT, OR

FAERIEWORLDS FESTIVAL

BRONZE BLUES & BREWS

JOSEPH,OR

Artslandia at the Performance may | june

Find your art

VISUAL ARTS

Mel Katz, Fortune Cookie, 2005. Painted aluminum. 7.5'×3.5'×1.75'.

Another big show at the Portland Art Museum headlines our short list of visual arts exhibtions in May and June — this one straight from the École des Beaux-Arts in Paris. BY GRAHAM BELL.

BLAIR SAXON-HILL FOURTEEN30 CONTEMPORARY 1501 SW MARKET ST. Portland artist Blair Saxon-Hill is known for her minimalistic forays into sculpture, collage and painting. Equally at home with rough-hewn natural materials as she is with found objects and altered books, Saxon-Hill’s work references familiar forms. In her use of cut book pages, photogravures and abstract appropriations, she hints at the disparate but tranquil juxtapositions in her sculptural practice. [THROUGH MAY 17] Jean-Auguste-Dominique Ingres, Achilles Receiving the Ambassadors of Agamemnon, 1801. Oil on canvas, 44½"×57½", École des BeauxArts, Paris (PRP 40), Courtesy American Federation of Arts.

BEN BUSWELL UPFOR GALLERY 929 NW FLANDERS ST. Following his solo exhibition at the Marylhurst Art Gym, Ben Buswell continues his exploration of surface in a selection of recent works at Upfor Gallery. By fuzzing the line between image and sculpture, the artist investigates the effects of the physical world on the visual elements of image-making. His new works impart this textural questioning to the viewer in the form of half-remembered memories and abstract imagery. [THROUGH MAY 9]

MEL KATZ & ROLL HARDY LAURA RUSSO GALLERY 805 NW 21ST AVE. In these twin exhibitions, Laura Russo gallery presents new work by Roll Hardy and a selected retrospective of longtime Oregon artist Mel Katz. Hardy’s paintings transform the derelict vistas of industrial areas into urban landscapes full of a sense of history and memory. On the other side of the show, Katz’s anodized aluminum pieces land somewhere between minimal graphic works and bold forays into sculptural abstraction. [JUNE 4–27]

GODS & HEROES: MASTERPIECES FROM THE ÉCOLE DES BEAUX-ARTS PORTLAND ART MUSEUM 1219 SW PARK AVE. In this massive exhibition from the heart of the Parisian art world, you’ll see over 140 paintings, drawings and sculptures from a “who’s who” of European art history. Works by David, Fragonard, Ingres, Géricault and many more explore the universal themes of courage, death and the changing world. The artists in this exhibition have forever changed how art is viewed, made and thought about. [JUNE 13–SEPTEMBER 13] .

E.O. HOPPÉ: STUDIO, SOCIETY AND STREET PHOTOGRAPHY DOUGLAS F. COOLEY MEMORIAL ART GALLERY REED COLLEGE, 3203 SE WOODSTOCK BLVD. Rediscovered only recently, E.O. Hoppé was a pivotal figure in the early 20th century modern art world, a documentary and art photographer who captured portraits and scenes of the changing pace of daily life at the turn of the century. Collected in this exhibition are over one hundred of the best examples of Hoppé’s work that have, up until now, lain unknown in a London museum archive. As an added bonus, the exhibition will be joined by a rotating selection of work by contemporary portraitists including Cindy Sherman, Janine Antoni and Portland’s Storm Tharp. [THROUGH MAY 10]

Artslandia at the Performance may | june

Roll Hardy, Step Through, 2013. Oil on canvas. 62.5"×72.5".

ABOVE:

E.O. Hoppé, Tamara Karsavina and Adolph Bolm in Thamar, 1912. Vintage hand-colored photogravure. © Estate of E.O. Hoppé and CATE.

LEFT:

In our new Fox Tower store, we put a spotlight on local businesses. This season, we are pleased to showcase the creations of Mazama Wares, maker of handcrafted drinking vessels. Their ceramic collection of cups, mugs, tumblers, and servers are designed to bring out the best in your favorite beverages. Celebrate the arrival of spring with a limited edition â&#x20AC;&#x153;Robin's Eggâ&#x20AC;? camp mug, sold exclusively at our store at 750 SW Yamhill St., Monday-Thursday 9-5, Friday 9-6. umpquabank.com/foxtower Artslandia at the Performance may | june

Maloy's offers a fabulous selection of antique and estate jewelry and fine custom jewelry, as well as repair and restoration services.

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Artslandia at the Performance may | june

G O OD DE E D S

HELPED UP FROM A FALL PATA’s Valentine Fund can play a major role in theatre workers’ well-being. Louanne Moldovan shares her story. BY MARTY HUGHLEY.

That day in 2011 was seasonably sunny, the kind of irresistibly lovely Portland summer day that can cloud the judgment of folks more accustomed to clouds. When Louanne Moldovan decided to return a book to the library on her bike, she thought, “It’s so nice out ...” and didn’t wear her helmet. As she pedaled along, a woman who’d just parked on the street, perhaps similarly sun-addled, opened her driver’s-side door in Moldovan’s path. The sudden impact launched the rider over her handlebars, over the car door and onto the ground, her head smacking the pavement. She didn’t immediately seek medical attention — mostly because her precarious life as a theatre artist wouldn’t afford her a lot of care. “I didn’t have insurance,” she recalls. “I was in shock, and I just thought ‘I’m OK! I’m OK!’” A bystander drove Moldovan and her mangled bike back to her home near Mount Tabor, where she tended to her scrapes, cleaned herself up and tried to sleep it off. Waking in the middle of the night, she headed to the bathroom, but, disoriented and dizzy, she instead tumbled down a stairwell. She landed upside down, her body pretzeled, and her head smacked the wall.

friends volunteered to help her with meals, errands and housework, the community also called on one of its lesser-known resources: the Valentine Fund. Established by the Portland Area Theatre Alliance in 1987, the Valentine Fund provides financial assistance to members of the city’s theatre community facing a medical or personal emergency.

Sarah Jane Hardy, chair of the committee in charge of the Fund, claims “no institutional memory” of what led to its creation or its name, but she estimates that since she joined about three and a half years ago, the fund has distributed around $10,000 to theatre professionals in need, with grants of up to $1,500 helping defray the costs of chronic or short-term medical conditions, end-of-life care, housing and transportation. Applicants must be active members of the area theatre community and PATA who are able to demonstrate “extreme financial need.” Hardy communicates with and advocates for qualified applicants, and if the rest of the committee votes to approve an application, it moves on to the full PATA board, which holds the purse strings.

After her initial hospital stay, she went back to work as a part-time talent coordinator for an ad agency and assistant director at Artists Repertory Theatre while scraping up the $7,000 down payment required to get her surgery scheduled. She had to wear a bulky neck brace for three months, then required a second surgery because of complications. Altogether, she was hospitalized for more than two weeks, and in the spring, she was laid off from the ad agency. The Oregon Health Plan eventually covered some of her costs, but Moldovan didn’t finish paying off her portion until last summer. Amid all that, $1,500 from the Valentine Fund was valuable. But what really touched Moldovan was the inclusion of a $500 Fred Meyer gift card Valentine procured from the grocery chain. “I started crying,” she says. “It was that thoughtful, more personal gesture ... like someone showing up with a basket of brownies.” “They do it with such graciousness,” Moldovan says about the process, “and I felt so very honored by the whole thing. I made sure to tell the hospital billing office when I brought in the check, ‘This is from the theatre community of Portland!’” . To donate directly to the Valentine Fund, visit portlandtheatre.com/donate-to-valentine-fund

PATA fundraises through its member companies each February, using an “ask” modeled after the AIDS-fighting efforts of the Actors Equity union. That’s been a challenge, Hardy admits, because “some of those theatres already are passing the hat for themselves.” Still, they’ve met a goal of building up $10,000 in reserves. PATA’s also recently streamlined the application process to “remove the intrusion on the applicant’s life.” Moldovan calls her own process “very sweet and simple, which is very thoughtful, because when you’re in crisis, everything is stressful.”

Moldovan wound up in intensive care for six days, unable to move. Between the two falls, part of her spinal column had compressed. Even a slight re-injury to her head or neck could result in paralysis. She needed major surgery, but had no way to pay for it. She needed help. Moldovan is well-known in the Portland theatre community as a director, writer and occasional performer, notably with her own Cygnet Productions. As a battalion of

Artslandia at the Performance may | june

Photo by Marty Hughley.

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PROFESSIONAL PERFORMER, ADVENTURES IN ARTSLANDIA PODCASTER

FROM THE DESK OF SUSANNAH MARS 4 CITIES

Acting since age

TOURED LAST YEAR

Created and starred in

5 VERSIONS

with her holiday revue: PDX; LA; NY; Norwalk, CT

of Mars on Life, a solo variety show

2014 finalist: Actress in a Musical for 1999 Actress The Light in in a Musical for the Piazza Funny Girl

Mic purchased to hone vocal technique for voice-overs and audio

Outstanding volunteer at her kids' school

PODCAST GUESTS TBD:

“People who make art and like to talk about it!”

‘91–‘92 Drammy Musical Actor 2010 PAMTA: Outstanding Actress

2014 PAMTA: Outstanding Actress

27 YEARS

2012 Musical Actress in a Lead Role

2002 Drammy Acting Ensemble for Dinner with Friends

How many jazz standards do you know by heart?

“250? DOES THAT SEEM LOW?”

in Portland

FAVORITE RADIO SHOW

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oes a grand piano count as a desk? Regardless, it's a natural work environment for singer, actor and Show Boat star Susannah Mars, who’s volunteered to host an Adventures in Artslandia podcast and play around in our gorgeous new Gotham Building loft. “I think I won one more Drammy that I can't find ...” mused Mars as she arrayed her many awards on our windowsill. Stay tuned. .

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3 SHADES of faux snakeskin on sassy, strappy shoes

“Can I just say, I hate the word ‘favorite?’ As soon as I get to my car I’ll think of 12 more I should have said first!” PHOTO BY RAINA STINSON.

Artslandia at the Performance may | june

Photo by Scott Belding.

here’s always been a belly dancer or two in Portland. Lost venues like The Fez, The Greek Cusina, The Blue Monk and Santorini all saw the odd swoosh of silk, and restaurants like Marrakesh and dance floors like the Viscount still regularly keep time to tablas and tinkling bells. But lately, such scattered offerings have converged into a groundswell. Belly dance festival JamBallah Northwest will turn five this August at Artists Repertory Theatre, as Studio Datura — a dedicated belly dance studio offering world-renowned courses — turns four, and the brand-new Portland Bellydance Guild finds its feet. Elise Morris (pictured), JamBallah producer, Datura-certified dancer and Guild president, greets her growing arts audience with open arms, but she’s also ready to put those new to the ancient dance form through appropriate (ahem) orientation. AS TOLD TO A.L. ADAMS BY ELISE MORRIS.

Learning Curve

ow many tickets does JamBallah sell? How big would you estimate Portland’s belly dance community is in general? We’ve been selling 400-500 workshop spots per year and expect this year to easily sell out our evening shows in the 250-seat theaters at Artist’s Rep. I’d guess there are a good solid 300 folks who are in the belly dance community in Portland, including students, teachers, performers, musicians and enthusiasts. Arts and dance aficionados don’t seem to have a very good handle on belly dance; there’s a tendency to marginalize it as mere “entertainment.” Where does that perception come from, and do you see it changing? I feel like belly dance in all forms has come from a much less ‘exalted’ background than, say, ballet — meaning it’s only recently that belly dance in any form has been put on stages, with lights, and audiences expecting to pay to see “high art.” In the Middle East and parts of Europe and Asia, where myriad styles of traditional or folkloric belly dance originate, most dances are performed either at celebrations like weddings, family dinners or parties; in temples or holy places; or simply in homes. Of course, there’s a vast history of all types of belly dance and fusion in world cinema, but those scenes are often highly stylized, and given an exotic “otherness.” Thanks to cinema, and the expanse of travel in the ‘50s and ‘60s, a version of belly dance was brought to America’s housewives in the form of dance-at-home records — and of course, the “bellygram.” That perception has continued to color people’s impressions of the dance form, even decades later. I notice that the American press has a hard time describing belly dance; they don’t have the proper vocabulary for the movements and attitudes without using words like “undulation,” “gyration,” “exotic” and “seductive.” Like most dance patrons from outside belly dance’s cultures of origin, they tend to see it as a strictly esoteric and cultural dance. They haven’t been conditioned to recognize the different styles of the discipline or to validate it as high art. It wasn’t until tribal fusion happened that Americans started going to dedicated belly dance shows outside of themed clubs or restaurants. The cabaret/orientale and folk dances don’t come from a stage-performance tradition; as dances of the people, they strive for a much more intimate connection and interaction with the audience than a large stage permits. Belly dance offers a sort of audience engagement rarely seen elsewhere in dance, but choreography that was originally conceived for close-up performances is also slightly more difficult to translate to the stage. At the moment, the belly dance community’s fairly cliquy and tends to stick to its own circles, but the newly-formed Portland Bellydance Guild is making a major effort to draw everyone together to support

A GUIDE TO BELLY DANCE STYLES Categorizing styles can actually be pretty controversial within the genre itself. “Belly dance” is an American-coined umbrella term, used to describe everything from modern fusion to region-specific cultural dances performed throughout the Middle East, Africa, and parts of Europe and Asia. The three main branches of the art form are traditional/folkloric, cabaret/orientale, and tribal/fusion, and within those there are many, many offshoots and subgenres all distinct from each other. The lines get quite muddy sometimes — as in all globally-enjoyed art forms — with many of the dancers adding influences from other countries and styles and even film and media. The dance forms evolve with the peoples and cross borders freely. BY ELISE MORRIS.

TRADITIONAL/FOLKLORIC dances came first, often named for the region or people they come from (i.e. Baladi, Persian, Gypsy-Roma, Saidi, etc.) Religious dances, such as Zaar (North Africa) and Odissi (India) also belong in this classification. LOOK FOR: authentic region-specific costuming and music;

spontaneous or informal performance at family, community or cultural celebrations; both men and women participating; props like sticks, canes, pots and bowls. CABARET/ORIENTALE is a term that probably describes what most Americans think of when they think “belly dance”: a solo dancer or troupe wearing the spangly bedlah braand-belt combination. The term raqs sharqi is often used to describe this form of dance, though there is some fuzzing between folkloricly-performed and professionally-performed dances with that term. There are Arabic, Turkish, American, and many other forms of cabaret style. It has a strong presence in both Middle Eastern and American film, usually included in a decadent banquet scene. LOOK FOR: glamorous, sparkly costuming and an engag-

ing, upbeat dancer demeanor; flashy props like veils and Isis wings, or swords and candelabras balanced on the head; mostly female dancers, often soloists; dancers who ‘become one with the music,’ embodying the sounds of the music through their movements. TRIBAL/FUSION belly dance is a much newer American

branch of the dance form, developed in California and blossoming across the world. Inspired by cabaret and folkloric dance forms of the “spice trail” (including Flamenco and Classical Indian,) this includes the original group tribal improv style developed by Caroleena Nereccio of Fat Chance Belly Dance™ and soloist sets. LOOK FOR: some group dances led by a front-and-center

dancer and some solo choreography; infusion of other movement styles like theatrical, hip-hop, and modern; theatrical mood-setting, from vaudeville silliness to a dark, gothic mystery; earthier costumes than cabaret, with textured or dyed fabrics and heaps of chunky silver jewelry; inspiration from the Golden Age of film; fire props and feather fans; fewer men than traditional, but more than cabaret.

CONTINUED ON NEXT PAGE Artslandia at the Performance may | june

WHO’S WHO IN PORTLAND BELLY DANCE Portland is home to several world-renowned dancers who tour the globe teaching and performing and have devoted their lives to this dance form. Here are a few who’ve worked with JamBallah:

RACHEL BRICE TRIBAL FUSION* Arguably one of the most famous belly dancers in the world, definitely the most well-known tribal fusion performer anywhere. She popularized tribal fusion by joining and pioneering Miles Copland’s Bellydance Superstars, then blazed off on her own for several years before moving to Portland and founding Studio Datura, where she teaches her signature multi-year certification and training program: Rachel Brice’s 8 Elements of Belly Dance ™. She also tours the world, selling out classes and shows wherever she goes, and runs Datura Online, one of the most comprehensive and professional belly dance-class media platforms out there. (www.rachelbrice.com)

ASHLEY LOPEZ THEATRICAL/TRIBAL FUSION* Trained as an opera singer, multi-level Pilates, yoga and fitness instructor, Ashley performs with Beats Antique and Rachel Brice’s Datura Project, as well as touring the world as a soloist instructor/performer. Ashley fuses the theatrics and voice of her opera-singer background into her intensely athletic and precise style. (www.ashleylopezbellydance.com)

Gypsy Heart. Photo by Glisson Imaging.

each other and the community as a whole. I’m the current and first Guild president. We’ve also got a vice president, secretary, treasurer, PR/media head and 12 area representatives all working together to form the Guild board. What’s the male/female mix at belly dance shows? How many audience members would you estimate are dancers themselves? At the shows, I’d say the current mix is 75 percent female, 25 percent male. Most are belly dancers, Middle Eastern musicians, and of course spouses or significant

RUBY BEH TURKISH CABARET Ruby’s formally trained in both American classic belly dance and turkish oriental dance, which she studied in its native Istanbul. She stars in three dance tutorial videos: Flawless Floorwork, Totally Turkish, and All About Arms. As a certified Pilates instructor and an active student of kung fu, she brings incredible balance and stamina to her dance practice. (www.bigfunbellydance.com)

PAULETTE REES-DENIS TRIBAL IMPROV A self-proclaimed “staunch advocate of the global tribal community,” Paulette started dancing with the seminal San Francisco-based Fat Chance Belly Dance several decades ago, then branched off to form Gypsy Caravan in Portland, with the mission to “take tribal global!” Needless to say, she travels and teaches widely. (www.paulettereesdenis.com)

SHARON KIHARA TRIBAL/THEATRICAL FUSION

Rachel Brice. Photo by Glisson Imaging.

lured by the glitz and promise of spectacle. The audience changes dramatically depending on the venue. Belly dancing at a large festival like Coachella, Burning Man or the Rose Festival yields a more eclectic and diverse audience than dancing at a local restaurant or cultural celebration. Belly dancers are wonderful at spectacle, whether they’re a winking, seductive cabaret performer dripping with spangles, or a proudly mysterious, silver-bedecked tribal dancer. Have you experienced belly dance in its countries of origin? How different is it there than here? What feedback do you hear from foreign audience members? I personally perform theatrical fusion, so I don’t tend to perform for audiences expecting folkloric dance from their country of origin, and I’ve never traveled to the Middle East, India or Northern Africa. The feedback I’ve heard from those who have which has been mostly positive. There are, of course, some folks who decry all non-Arab or non-Egyptian belly dance as appropriation, but the term “belly dance” covers so many different styles that it would be impossible to point to one as “true” belly dance. Even in its origin countries, belly dance is always evolving and changing, so it’s farcical to claim that raqs sharqi, or whatever modern form one is pointing at is truly “original.” Belly dance has become a global dance, practiced by women and men on stages and in homes across the entire world. .

Avant-garde, graceful and powerful, Sharon gravitated to belly dance from a strong background in western dance, including ballet, modern and jazz. She currently tours all over the world as a top performer of tribal/ theatrical fusion. (www.sharonkihara.com)

others. We do get a fair amount of folks from all cultures who just love the art form, and there are always some spectators who wander in,

*TEACHING AT JAMBALLAH 2015.

Catch JamBallah NW at Artists Repertory Theatre August 7–9.

Artslandia at the Performance may | june

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Artslandia at the Performance may | june

ANNOUNCING THE 2015-2016 SEASON! OUR TOWN By Thornton Wilder | On the U.S. Bank Main Stage

September 12 – October 11, 2015 In this Pulitzer Prize-winning American classic, Wilder takes us to the idyllic turn of the twentieth century in the town of Grover’s Corners, New Hampshire. As we witness some of the most familiar moments of life – young love, family conflicts, secret wishes and community connections – the playwright positions the lives of Grover’s Corners’ inhabitants against the vast context of endless time and a boundless universe. His beloved drama celebrates both the marvel of everyday existence and the “something way down deep that’s eternal about every human being.”

SEX WITH STRANGERS By Laura Eason | In the Ellyn Bye Studio

October 10 – November 22, 2015 A raging snowstorm traps strangers Olivia, an unsuccessful yet gifted thirty-nine-year-old writer, and Ethan, a techaddicted and wildly successful young blogger, in a secluded cabin. Opposites instantly attract, and undeniable chemistry ignites. As the dawn rises, however, what could have just been a one-night-stand transforms into something more complicated when online exploits interfere with their reallife connection.

AIN’T MISBEHAVIN’ By Murray Horwitz and Richard Maltby On the U.S. Bank Main Stage

October 24 – November 29, 2015 Winner of the Tony Award for Best Musical, this sassy, sultry musical celebrates the remarkable life and talents of a legendary jazz great, Fats Waller. You will be jumpin’ and jivin’ with the delightful humor and infectious energy of this exuberant jazz review that takes us from the Harlem Renaissance through World War II. Waller’s work shows a determination to grasp life’s joys, laughter and passion, even in a community shadowed by the pain of an often difficult American society. “Waller’s raison d’être was showing the world that, bad as things were, it was all right to have a good time.”

GREAT EXPECTATIONS Adapted from Charles Dickens by Lucinda Stroud On the U.S. Bank Main Stage

January 16 – February 14, 2016 Based on Charles Dickens’ classic coming of age novel, Great Expectations tells the adventures of the Victorian orphan Pip. As a boy, Pip has three encounters with people that will change his life: the escaped convict Magwitch, the bewitching and cold Estella, and the unhinged Miss Havisham. When Pip comes into an unexpected fortune and begins the life of a gentleman, his past is not so easily left behind.

FOREVER By Dael Orlandersmith | In the Ellyn Bye Studio

January 30 – March 20, 2016 Forever is inspired by Orlandersmith’s experiences in Paris at the famed Père Lachaise Cemetery, where strangers from around the world make pilgrimages to the graves of legendary artists such as Marcel Proust, Richard Wright and Jim Morrison. Orlandersmith is inspired to investigate the complex legacy she received from her mother and their life in Harlem. Riveting and powerful, Forever is about family – the ones we are born into, the strange way powerful bonds are formed with people who, though unrelated by blood, come to feel like family, and the legacies that shape us all.

EACH AND EVERY THING By Dan Hoyle | In the Ellyn Bye Studio

February 6 – March 27, 2016 The newest solo show from award-winning actor/ playwright Dan Hoyle (The Real Americans) is about how we experience the world in the digital age. From a showdown with a violent felon in small-town Nebraska, to a childhood listening to anti-conformist rants in San Francisco; from the hard-scrabble corner boys of Chicago to the intellectual temple of Calcutta’s famed coffeehouse; from a Digital Detox retreat in remote Northern California to an intimate confession in Manhattan, we join Dan in his search for true community, spontaneity and wonder in our fractured, hyper-connected world.

STUPID F**KING BIRD By Aaron Posner | On the U.S. Bank Main Stage

February 27 – March 27, 2016 In this irreverent, contemporary, and very funny remix of Chekhov’s The Seagull, award-winning playwright Aaron Posner wages a timeless battle between young and old, past and present, in search of the true meaning of it all: an aspiring young director rampages against the art created by his mother’s generation; a nubile young actress wrestles with an aging Hollywood star for the affections of a renowned novelist; and everyone discovers just how disappointing growing up can be. Winner of the Helen Hayes Awards for Outstanding Resident Play and Outstanding New Play or Musical.

THE PIANIST OF WILLESDEN LANE Based on the book The Children of Willesden Lane by Mona Golabek and Lee Cohen; adapted and directed by Hershey Felder | On the U.S. Bank Main Stage

April 2 – May 1, 2016 Set in Vienna in 1938 and in London during the Blitzkrieg, The Pianist of Willesden Lane tells the true and inspirational story of Lisa Jura, a young Jewish musician whose dreams are interrupted by the Nazi regime. In this poignant show, Grammy-nominated pianist Mona Golabek performs some of the world’s most stunning music as she shares her mother’s riveting true story of survival. Pianist is infused with hope and invokes the life-affirming power of music.

The Second City’s A Christmas Carol:

TWIST YOUR DICKENS* By Peter Gwinn and Bobby Mort On the U.S. Bank Main Stage

December 9 – December 31, 2015 A complete send-up of the holiday classic, this adult comedy is adorned with the improvisational genius of the legendary comedy troupe The Second City, and includes zany holiday sketches, an ever-changing list of drop-in local celebrities and uproarious improv based on audience participation— it’s never the same show twice!

THE SANTALAND DIARIES* By David Sedaris; Adapted for the stage by Joe Mantello In the Ellyn Bye Studio

December 2 – December 27, 2015 Based on the true chronicles of David Sedaris’ experience as Crumpet the Elf in Macy’s Santaland display, this cult classic riffs on a few of Sedaris’ truly odd encounters with his fellow man during the height of the holiday crunch. * S pecial Holiday Engagements. Twist Your Dickens and The Santaland Diaries are not part of a season ticket package, but season ticket holders can order tickets at special pricing!

A STREETCAR NAMED DESIRE By Tennessee Williams | On the U.S. Bank Main Stage

May 14 – June 12, 2016 Tennessee Williams’ iconic Pulitzer Prize-winning masterpiece is an exquisite study of the unraveling of Blanche DuBois, a fading southern belle. When she arrives unexpectedly on the doorstep of her sister, Stella, and her brother-in-law, Stanley Kowalski, Blanche is clinging desperately to a persona designed to help her survive. Over the course of one hot, sultry New Orleans summer, Blanche’s fragile facade slowly crumbles as she meets her match in the rough-hewn and hyper masculine Stanley, who is determined to expose her. Portland Center Stage’s production will star veteran stage/TV/film actor Russell Hornsby (Hank Griffin on Grimm).

DALEK RETURNS FOR THE 2015 HOLIDAYS!

ORDER SEASON TICKETS TODAY! www.pcs.org / 503.445.3700

a message from the portland opera

The Tavern Scene from Hogarth’s “A Rake’s Progress”

THE RAKE’S PROGRESS

William Hogarth

Igor Stravinsky

In 1733, William Hogarth created “A Rake’s Progress.” This eight-painting series traced the ﬁnancial rise and moral fall of young Tom Rakewell in 18thcentury London, where he succumbed to the municipal pleasures of the tavern, the gambling den, and the whorehouse. The paintings were sensationally popular and the public snapped up engravings of the series. In 1951, Igor Stravinsky composed The Rake’s Progress, his only full-length opera, to a story based on the Hogarth paintings. Stravinsky reached back to the 18th century for his musical inspiration, fashioning a score that is an homage to Mozart in its melodic vocal lines, its recognizable arias, duets, and ensembles, and its chamber orchestration, all sharpened with Stravinsky’s wit and spiky humor.

David Hockney

In 1975, David Hockney crafted nowlegendary scenic and costume designs for The Rake’s Progress. Hockney also reached back to the 18th century for his inspiration, taking Hogarth’s crosshatched engraving technique and interpreting it through his own playful sensibility, adding carefully chosen color and unique visual perspectives. In 2015, their combined genius re-unites for the Paciﬁc Northwest premiere of The Rake’s Progress, staged by Portland Opera in the Hockney designs. A special complementary exhibit at the Portland Art Museum, “A Rake’s Progress,” will feature the eight Hogarth engravings and more than 40 Hockney sketches, drawings, and set models, depicting the visual artist’s design process from initial idea to ﬁnal concept.

June 11, 12 & 14m Keller Auditorium PortlandOpera.org 503-241-1802 866-739-6737

HAPPY 50TH TO A LIFE-CHANGING CAMP! Artslandia junior reviewer GRACE ETTINGER shares her summer memories of attending Young musicians and artists.

As a child, I always longed for a camp environment like the one in The Parent Trap, a camp that formed long-lasting grace ettinger (center) at Yma. friendships and allowed students to bring Oreos and photos of Leonardo DiCaprio to decorate their dorms. Looking back at the last three years of memories from YMA (Young Musicians and Artists), I realize that I have found my dream summer camp (although I haven’t yet found my long-lost twin). YMA is a two-week overnight camp that provides multiple arts courses for students grades 4-12. Each arts focus provides an invaluable blend of professionalism that’s reminiscent of an arts intensive, with the fun and games of a classic, all-American summer camp. There are two sessions of YMA. The first session includes music oriented classes and the second features performing and visual arts courses. The camp’s housed at Willamette University, which provides a pre-college environment for the students to soak in. YMA was founded in 1965, when Portland music teacher Sister Ann Miriam created a camp for young musicians in Oregon, making this year its 50th anniversary. Now, the camp is run by QUINLAND PORTER, who was a camper in the mid-‘70s and counselor through the 1980s before becoming YMA’s top dog. The first day of camp at YMA is a whirlwind of activity. Counselors greet old and new campers, groups of friends gather to talk, and campers head to their respective auditions and orientations with nervous grins on their faces. A busy day, but a great one, because it marks the start of a creative, fun and Parent Trap-esque two weeks of camp.

Young Musicians & Artists

Elizabeth Bailey, a friend of mine who’s done musical theatre with me at YMA for the past three years, remembers “long hours sitting in the green grass on the quad talking to the most amazing people … I’ve learned so much about myself from the people at YMA and couldn’t ask for a better experience.” When I ask my friend Emma Hirsch, a dancer and writer at YMA, what words come to mind when she thinks of camp, she lists “warmth, community, family, love, appreciation, understanding and home ... no matter the art form, you’re there because you care about something.” Porter and Joellen Sweeney, another alum turned faculty member, both talk about what a formative place YMA is for young people. “You won’t even notice your life is changing,” Sweeney says, “but you’ll come out better than you came in.” Porter agrees that YMA “ … allows each student to be his or her most authentic self.” On a personal level, many lessons I’ve learned about how to be a collaborative and productive artist have come from YMA. Seeing an environment that heavily emphasizes positivity and collaboration between all art forms has shaped me, and taught me why art is important and how it should be executed. It’s wonderful to walk out onto the sunny quad outside of the dorms and be surrounded by creativity at work: an improv group practicing in the shade, two songwriting students singing a Dolly Parton song and playing guitar, or the arts students drawing portraits of their friends. While each student can only focus on one subject, everyone gets to experience different types of artwork through galleries, performances and getting to know fellow campers. Maybe if Lindsay Lohan had come to YMA instead of The Parent Trap summer camp, things would have worked out better.

MOST

memorable, transformative

REWARDING professional instruction

SUMMER with lifelong friends

EXPERIENCE for two unforgettable weeks

IN OREGON

at Willamette University

SINCE 1965 celebrating 50 years!

ONLINE at YMAinc.org CALL 503.946.1056

SMALL WORLD!

Remember Quinland Porter? She talked to us about the Portland Revels in the Past Performance article of our November/December issue. Photo courtesy of Quinland Porter.

Artslandia at the Performance may | june

feature

PUTS HIS FILMS IN PERSPECTIVE A YELLOW PAGES SALESMAN WANDERS ONTO A SET ... ... the Yellow Pages salesman [in Last Days] ... just happened to walk into our office ... where there are a lot of flea markets. We ... had racks of clothes and sunglasses laid out ... and this guy came in and started looking at the clothes like they were for sale ... I said, “Oh this isn’t a store. This is a fitting.” But he didn’t hear me; he just introduced himself: “Hi! Thaddeus, Yellow Pages salesman.” He started selling me ... and he wouldn’t stop ... And I said, “Wow, we could just put him into our set and he would just sell.” Which is what we did.

Filmmaker Gus Van Sant has such a unique take on Portland, drugs, love, life and death, you could call it a school of thought. Northwest Film Center certainly does, offering a two-month series of classes and screenings called Essential Gus Van Sant through June 20. The following are direct Van Sant quotes compiled by course instructor and Conversations with Gus Van Sant author Mario Falsetto. ILLUSTRATIONS BY CAROLYN MAIN.

THE SAN FRANCISCO GAY COMMUNITY “GOT” MILK

ACTORS, STOP TRYING TO LOOK COOL

There were lots of different reactions to [San Francisco screenings of Milk], but we had to just play it. I think all in all, they were surprised because ... I think they probably assumed that we would get it wrong, because usually movies do … it feels good that they don’t hate it ... But I think ultimately they were happy that the movie did that movie-like thing that gets you motivated.

A professional actor ... wants to look good no matter what he’s doing. A lot of actors come with this desperate desire to look cool on screen, so there are things that they just won’t do because they think they’ll look like a jerk if they do them. You want them to look real. You don’t want them to look like they’re guarded and always trying to look cool. The vanity is difficult sometimes.

SHOOTING IN PORTLAND It’s partly a convenience. I know people in Portland that can do the job with me. [Restless] was originally set in Maine and we were going to shoot in December. We needed different seasons, because the story goes through three seasons. In Portland, we would have our different seasons, but we don’t get the snow. And Portland was also the same size and sort of the same vibe as the original town. So we went to Portland. I mean, if I can shoot in Portland, I like to shoot there.

REMAKING HITCHCOCK’S PSYCHO When I told Danny Elfman, who I thought would be perfect to do the score ... his reaction was, “They’ll kill you. You’ll be killed.” I said, “Well, is that a reason not to do it? I don’t care if I’m killed. I’ve been killed before, I don’t care.” ... I didn’t really know. It was reviled by people who I thought wouldn’t be so bothered by it, like film students and film teachers in Los Angeles. ... People seem to think that I was saying that Hitchcock didn’t do it right and that I was going to do it better. But I would never even think that. I was playing with people’s sensibilities, and I guess it’s sort of a wiseass thing to do.

Artslandia at the Performance may | june

NAME CACHÉ ... if they want to get Brad Pitt in a movie, Brad might say yes to someone like me as the director ... A lot of times they use my name to get certain actors.

SKEWERED BY CRITICS

KUDOS TO KBOO

The criticism of [Even Cowgirls Get the Blues] got really nasty. They would print pictures of me with red eyes and say, “He’s on drugs.” It got really bad; it was like pure hate. It’s really a frightening thing. It’s like they want to burn you alive. If it were another period of history, they could get you and put you on a stake.

I think [my interest in experimental and soundscape music] comes partly from a music show here that a guy named Richard Francis [had] on KBOO ... here in Portland. ... you can stream it now, so anyone in the world can listen to KBOO.

MOST GRATIFYING ASPECT OF FILMMAKING I guess the conceptualizing. Having the idea, falling into an idea, deciding to do it.

THE SHAKESPEARE SCENE IN MY OWN PRIVATE IDAHO A lot of people don’t like the Shakespeare. Paul Bartel, the [late] filmmaker and actor who was a friend of mine, said, “I love the beginning but the Shakespeare absolutely doesn’t work.” It destroyed everything for him. The American distributor wanted to cut out all the Shakespeare, but the foreign distributor wanted to cut the other parts out. They wanted only the Shakespeare. It’s got a sort of fractured personality.

MORE FROM NORTHWEST FILM CENTER TOP DOWN: ROOFTOP CINEMA In July and August, NWFC holds its annual outdoor film series held atop the panoramic parking rooftop of the Hotel deLuxe. (July–August 2015)

BACK TO A SHOESTRING BUDGET I feel some relief that Gerry was done for so little money. I think I’m trying to go back to where I came from ... I really like it when I hear that someone has made a $150,000 movie.

GUILTY AS CHARGED; DRUGSTORE COWBOY DOES ROMANTICIZE DRUGS [James Fogle’s] book does romanticize drug use, and in the end, the film does too because it’s from his point of view, and you throw Burroughs in there and you’ve got a romanticized drug movie. I think that it does look at it through the eyes of the guy who is using drugs. It’s like a war story you hear in a rehab clinic rather than a hands-off view of drugs ... They’re always kind of whimsical because everything is so heightened and everything’s going wrong all the time and there’s always this big emergency, which is: how to get more drugs. Once you get into that space of showing their real lives, you’re romanticizing.

NIRVANA’S MUSIC IN LAST DAYS I was driving through places on the way to Aberdeen ... and I would play the music. I realized ... there are a lot of things about the music when you drive through the backwoods [of the Pacific Northwest] that give an almost aural representation of what’s going on around you. Things like chainsaws ... sound just like Kurt’s guitar, or a booming from the bass drum and bass that’s in sync, sound like trees crashing. There’s the cymbals splashing in a really specific way that sounds like salmon jumping. Dave Grohl was from Washington. I’m sure it’s not meant to be on purpose, but people bring something with them from their background ... and Aberdeen’s a logging town.

“INDEPENDENT FILM” For me, “independent film” means that the film is independent of the idea that it must make money, and free of the pressures to change things in the service of making money. I’m not sure if that’s exactly how to describe it any longer, because it’s kind of mutated into something else. The great big filmmakers actually make the most independent films. You could say Scorsese is an independent filmmaker.

PORTLAND JEWISH FILM FESTIVAL

SILVER SCREEN CLUB

In June, the Portland Jewish Film Festival will explore themes of spirituality and Jewish identity throughout all parts of the world, especially how American Jews perceive themselves in a larger social context. (June 14–28, 2015)

The Silver Screen Club are film enthusiasts and NWFC’s strongest supporters. The Silver Screen Club enjoys discounted tickets and invitations to special events.

FILM CAMP FOR KIDS AND TEENS NWFC offers Summer Film Camps where kids and teens learn about visual storytelling techniques and produce their own movies in a week. (Register now for summer!)

iFILMMAKING The NWFC School of Film offers a series of classes for would-be filmmakers of all ages to master the shooting and editing capabilities of their iPhones and iPads.

Artslandia at the Performance may | june

Glamorous Landmark condo at the 705 Davis (This is just the entry!) National Registry Registry National of Historic Historic Places Places of

$998,500

TAG, YOU’RE IT. And in our version of the timeless chasing game, this is great news. We start by complimenting a member of the Portland performing arts community who, in turn, must write kind things about another community member. On and on it shall go throughout the 2014–15 performance season, to ensure that plenty of positivity is generated. And there’s only one rule: if you’ve been tagged, we can't tell you who’s responsible. You’ll find out for the first time right here in print.

SCOTT SHOWALTER EXECUTIVE DIRECTOR, OREGON SYMPHONY

CHRIS COLEMAN ARTISTIC DIRECTOR, PORTLAND CENTER STAGE

Like all of my fellow arts leaders, Chris has been open and warm in welcoming me to Portland. Furthermore, he has played a lead role in the Arts Tax Initiative, which helps fund many great organizations around our community. Both personally and professionally, I am grateful for Chris.

CHRIS COLEMAN SHARONLEE MCLEAN ACTOR

Sharonlee is riveting to watch onstage: nuanced, emotionally charged, surprising. And in the rehearsal hall, she’s a delicious mess: obsessed, growling, hilarious and ferocious.

SHARONLEE MCLEAN

BONNIE HENDERSON-WINNIE WARDROBE MISTRESS, PORTLAND CENTER STAGE

503 242 9000 834 SW St Clair Avenue, Suite 103 Portland, Oregon 97205 www.laurieholland.com 46

Artslandia at the Performance may | june

Oh my goodness! There are so many wonderfully talented, creative, giving people here in Oregon. So many. So many that I love and am close to — but, there’s one person whom I have known since 1995. She’s the best wardrobe mistress I’ve ever worked

with. She’s never faltered from her professionalism. She treats every single talent with kid gloves. She observes each actor and quietly figures out the best way to dress them. She can dress someone in three to five seconds. Her temperament is spiritually solid and gentle — a gentle giant, if you will. The backstage life is always on point because of her calculated, artistic professionalism. This woman is Bonnie Henderson-Winnie.

BONNIE HENDERSON-WINNIE DANNA ROSEDAHL WIG MISTRESS, PORTLAND CENTER STAGE

We’ve worked together since 1997, and I count myself very fortunate to have been able to work closely with her for so many years. She not only makes and styles beautiful wigs, but we’ve faced some challenging shows together, and she’s never been anything but supportive and ready to figure it out together. Danna’s skill in creating just the right look for each character — whether it is making a wig, facial hair or styling the actor’s own hair — is a big part of the whole beautiful picture on stage, whatever the show. Thank you, Danna!

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Artslandia at the Performance may | june

DID YOU KNOW? Lewis & Clark College

In 4000 Miles, a cross-country-cycling grandson visits his New York bohemian grandmother after biking to the East Coast from the Pacific Northwest. The Race Across America covers that route in about 3,000 miles, while the Tour de France spans 2,300 miles.

4000 MILES Artists Repertory Theatre April 28–May 24 Suddenly Last Summer is set in a New Orleans poet’s garden, and Louisiana’s native plants have pretty poetic names, like Paw Paw, Mayhaw, Sassafras, Grancy Graybeard, Devilwood and Dogwood.

SUDDENLY LAST SUMMER Shaking the Tree Theatre Through May 2 Ramona Quimby, a beloved character from kids’ fiction, was written as a Portlander by author Beverly Cleary. Bronze statues of Ramona and two other Cleary characters grace Grant Park.

RAMONA QUIMBY Oregon Children’s Theatre May 9–31

ONE EXTRAORDINARY WEEKEND of camaraderie, conversation and concerts as we celebrate the legacy of legendary Russian pianist, Sviatoslav Richter. Artistic Director Arnaldo Cohen hosts the Festival.

The first known showboats weren’t the grand paddle-wheel steam ships you see in films; they were houseboats pushed down the river by separate tugboats.

SHOW BOAT Portland Opera May 1–9

Passes on Sale Now! portlandpiano.org 503.228.1388 Hit animated series The Simpsons is deeply rooted in Oregon. Creator Matt Groening is a Lincoln High graduate, and many character names — Flanders, Lovejoy, Quimby — are swiped straight from the street signs in NW Portland’s “Alphabet District.” In Mr. Burns, A Post-Electric Play, characters try to recall old episodes of the show to entertain each other after a mass power outage.

MR. BURNS, A POST-ELECTRIC PLAY Portland Playhouse May 13–June 7

Artslandia at the Performance may | june

Portland’s Favorite ‘Sassical Pop’ Lady Quartet

The Julians Because Every Student Matters. Endorsed by... • MESD Education Association • Color PAC • State Representatives Alissa Keny-Guyer and Rob Nosse • Portland City Commissioner Nick Fish • and many more

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Friday August 14, 2015 7 PM So-named because it takes place in in an actual hayloft! The concerts typically fill up s get there early! The Hayloft 5304 Center Street, Salem OR

Create a legacy.

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Cultivators and stewards of philanthropy. Whether you want to create a legacy or support an existing charitable fund, The Oregon Community Foundation can help you achieve your goals. We will work with you and your professional advisors to ensure your charitable gifts have maximum impact and we provide related administrative services so you can enjoy unburdened giving. To learn more, call us at 503.227.6846 or visit www.oregoncf.org.

"They are CLASSICAL. They are FOLK. They are INDIE. They are JAZZ. They are POP. They are most certainly SPECTACULAR." ~ artslandia Concerts Private Parties Special Events

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Artslandia at the Performance may | june

Thank You TO THE TEACHERS dance | media arts | music theatre | visual arts

in our OREGON SCHOOLS

DANCE 路 MEDIA ARTS 路 MUSIC 路 THEATRE 路 VISUAL ARTS

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CHIPPER AT OAKS PARK

THIRD ANGLE NEW MUSIC

WANDERLUST CIRCUS

SMART CAR! Artslandia gave a few of our favorite arts friends rides all over the city in our new smART Car. Thank you to Smart Center Portland for this ridiculously fun partnership. Tag #smARTslandia when you see our car. You can't miss us! [ TAG YOUR PICTURES #ARTSLANDIA ]

ACTRESS MERIDETH KAYE CLARK

LAUREN WEEDMAN

BODYVOX

2014–2015 COVER ARTIST, SARA SJOL

LEAH NASH AND CHRISTOPHER ONSTOTT OF NASHCO PHOTOGRAPHY

ACTRESS SUSANNAH MARS

KAROL COLLYMORE

PART OF THE ARTSLANDIA CREW

Artslandia at the Performance may | june

I F ‘ B U S I N E S S A S U S UA L’ M E A N S C O N T I N U I N G TO S E R V E P O RT L A N D ’ S FAV O R I T E B R U N C H O N O N E O F T H E B E S T PAT I O S I N T H E C I T Y F O R A N OT H E R F O RT Y Y E A R S T H E N , Y E S ,

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WARM RICOTTA AND BEET SALAD

CHEF DAVID MACHADO

“Nel Centro” is Italian for “in the center,” and the perfect description for the restaurant David Machado opened in the heart of Portland’s theatre district at the depths of the nation’s recession. “It was a hard time to start something,” Machado notes, but what seemed like a risky business decision was actually the restaurant-business veteran and Jazz Festival board president’s calculated vote of confidence in the performing arts. “Other restaurants and hotels were pulling back their arts support, and arts groups were struggling,” says Machado. “I knew Nel Centro’s long-term fate would be tied to the performing arts groups downtown. We wouldn’t make it unless they made it, so we did a lot more than just feed people before and after shows. We offered restaurant patron programs, donor receptions, anything the arts groups needed.” As the arts groups have revived, refilling the nearby Keller, Lincoln Hall, Portland’5 and the Arlene Schnitzer Concert Hall with eager patrons, Nel Centro has thrived. .

INGREDIENTS ½ pound ricotta ½ pound large red beets ½ pound large gold or chiogga beets 3 large oranges, either cara cara or blood oranges, skin and pith removed, sliced into ¼ inch rounds 1 cup baby arugula ¼ cup citrus vinaigrette (recipe below) ½ cup whole hazelnuts, toasted Salt and black pepper to taste

CITRUS VINAIGRETTE FOR BEET SALAD MAKES 1 QUART ½ cup champagne vinegar ½ cup fresh squeezed orange juice 1 each large shallot, minced 1 teaspoon lemon juice 3½ cups extra virgin olive oil ½ teaspoon salt Combine vinegar, orange and lemon juice, minced shallot, and salt in a medium mixing bowl. Slowly whisk in olive oil until fully incorporated. Cover with either plastic wrap or a tight fitting lid and refrigerate. Store for up to 2 weeks.

Preheat oven to 350° F. Spread hazelnuts out on a baking sheet in an even layer, place in oven, and toast until golden brown and fragrant, about 5 minutes. Remove from oven and allow to cool. Once cooled, lightly crush hazelnuts with the flat side of a knife. Scrub beets under cold running water to remove any dirt. Lightly coat beets with olive oil and place in a large baking dish, cover with foil and bake until beets are tender and easily pierced with a fork, about 1 hour. Remove from oven and cool at room temperature. Slice both ends of the beets. Gently rub a damp towel over skins to remove. Cut into 2 inch pieces and set aside. Turn oven broiler to high. Place ricotta into a small glass baking dish, season liberally with salt and fresh cracked pepper, and drizzle with extra virgin olive oil. Place under broiler until a deep, golden crust is formed and cheese is warmed through, about 5 minutes. Remove from oven and set aside. In a large mixing bowl, combine beets, orange segments and baby arugula. Toss with citrus vinaigrette, and season to taste with salt and fresh cracked black pepper. Mound the tossed salad in the center of a chilled plate, top with warmed arugula, and garnish with toasted hazelnuts. Look for Machado’s brand new restaurants, Altabira City Tavern and Citizen Baker, this summer at Hotel Eastlund.

PHOTOS BY RAINA STINSON.

Artslandia at the Performance may | june

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Our philosophy is simple: hire and keep the best lawyers around. Like Rick Yugler, just one of our talented and tenacious lawyers. Sure, he’s past president of the Oregon State Bar and Oregon Trial Lawyers Association, but being a great litigator takes more than professional acclaim. It requires understanding risks and rewards, costs and benefits, knowing how litigation impacts business, and having the skill to go the distance at trial. That’s why clients who want to succeed turn to us. Simply put, we know litigation. 503.224.4100

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Artslandia at the Performance may | june

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D I S C OV E R

The Other Vancouver ... IN CANADA!

What do you think of when you hear “Vancouver?” Probably Vancouver, Washington, Portland's nearest neighbor to the north — often called “The ‘Couv.” You might even picture a crowded, crawling I-5 rush hour commute. Well, think again. Look further north. Think Canada. Vancouver, British Columbia, Canada is a thriving major city, a west-coast hub of international culture and performing arts. Stay on I-5 for about 5 hours, 300 miles past “The ‘Couv,” and you'll be there! Pro Tip #1 : Make a rest stop before Seattle, and plan extra time to check in at the border. Artslandia has started exploring Vancouver, BC and all of its cosmopolitan parts. From Gastown to Railtown, Vancouver’s neighborhoods all have distinct personalities, providing out-of-towners with a plethora of iteneraries to choose from. Artslandia chose culture and we love what we've found so far — more than 100 theatre groups, more than 50 dance companies, and more than 70 music organizations. The Vancouver Symphony Orchestra has a 96-year history and a Grammy-winning maestro at the helm. The Arts Club Theatre Company sets both classic and contemporary works on three stages and has premiered more than 80 new Canadian plays. The In The House Festival is a unique summer event that puts diverse performances in intimate living room spaces and backyards. And we're eagerly discovering more arts info for Artslandia Vancouver, which we plan to publish this summer! We’ve also noticed as Portlanders that Vancouver already feels a lot like home. Sarah Slipper of Northwest Dance Project agrees: “When I arrived in Portland in 1997, I was struck by how similar it was to my hometown, Vancouver. The overall ‘vibe’ and energy of Portland reminded me of Vancouver then, and it still does.” Caroline Markos of Vancouver Symphony Orchestra calls Portland “a sister city,” and Vancouverites’ fascination with Portland “a crush.” Certainly, when you compare the two places' amenities, you can see the resemblance:

FOOD FUSION is a big trend in Vancouver. As in Portland, organic food is a priority and food trucks abound. PUBLIC TRANSPORTATION IS A BREEZE. Skytrain is Vancouver’s public train, similar to Portland’s MAX. SeaBus uses electric boats to whiz you around the harbor.

CYCLISTS ARE EVERYWHERE, and bike lanes are ubiquitous. (Unlike Portland motorists, however, Vancouver drivers do honk their horns a lot!)

ARTISANAL ALCOHOL AND BEER ARE BOOMING. The Liberty Distillery, near The Arts Club on Granville Island, is Vancouver’s first artisanal distillery and feels like it’s been plucked right out of Portland.

ARTSLANDIA’S TOP TWELVE REASONS TO MAKE THE TRIP! WHERE TO STAY? THE OPUS VANCOUVER YALETOWN A contemporary-stylish Yaletown boutique hotel features curated rooms with coveted city views. ROSEWOOD HOTEL GEORGIA A hotel with historical grandeur and timeless elegance. Featuring Sense, A Rosewood Spa. THE LISTEL HOTEL Dubbed Vancouver’s most artful hotel on hip Robson Street.

WHERE TO EAT? HAWKSWORTH RESTAURANT Locally sourced — forged and caught — contemporary Canadian cuisine, reflective of the country’s culturally diverse heritage. LA PENTOLA Rustic Northern Italian inspired cuisine: simple handmade pastas and imported Italian necessities like prosciutto and olive oil. BELGARD KITCHEN The Settlement Building in Railtown is as close to Portland as you can get. May we recommend the gravlax hash, Postmark Ale sausage skillet, coconut quinoa porridge?

WHERE TO DRINK? BITTER TASTING ROOM Thirteen rotating tapes from the best of BC craft brewers including delicious ales, lagers and bitters. L’ABATTOIR Sip colorful cocktails in the elevated dining room in the heart of Gastown. PROHIBITION TASTING ROOM Enjoy a vintage house-made bitter cocktail or bubbly in this underground lounge.

WHAT TO SEE? MUSIC Vancouver Symphony Orchestra, Vancouver Recital Society, Chor Leoni Men’s Choir. DANCE Ballet BC, Tara Cheyenne Performance, In the House Festival. THEATRE Arts Club Theatre Company on all three stages, Bard on the Beach, Theatre Under the Stars.

A WATERFRONT TRAIL similar to our riverfront opens into a spectacular public green space, Stanley Park. So Portlanders, it’s time to discover the other Vancouver! Artslandia will see you there. Pro Tip #2: Download a visitors app for Vancouver at www.tourismvancouver.com.

Pro Tip #3: Don’t sweat the currency. Everyone takes the U.S. Dollar and the exchange rate is currently in favor of the red, white and blue.

Artslandia at the Performance may | june

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past performances perFormanCes

LAKEWOOD THEATRE

an you believe that the cute kid who served up cocktails in Lakewood Theatre Company’s 1964 production of Auntie Mame serves on the staff of the selfsame company today? Steve Knox, now the company’s education coordinator, came full circle — from adolescent acting in Lake Oswego, to directing in New York and executive directing Ballet Hawaii, then home again into his current post ... and the welcoming arms of Mame, which Lakewood is currently reprising in its musical form. Lakewood Theatre Company goes way back. Lakewood Theatre formed in 1952 as Oswego Players, an all-volunteer organization founded “to inspire the love of theatre,” performing at various locations around Lake Oswego. Back then, we charged adults $1.25 and students 60 cents. When we got our first permanent home, a former Methodist Church in 1961, we changed the company name to Lake Oswego Community Theatre. In 1979, the company bought and relocated to the former Lakewood Elementary School. The building was remodeled to accommodate the theater and other uses, and became Lakewood Center for the Arts. Lake Oswego Community Theatre became Lakewood Theatre Company 1990. When Lakewood Center opened, we amended our mission: “To inspire the love of theatre and the arts.”

1964

Auntie Mame, 1964. Left to Right: John Uppinghouse (Ito), Hilda Jackson (Vera), Edra Henkel (Nora the Housekeeper), Steve Knox (Young Patrick), Mike Booth (Lindsay Woolsey), Lanni Hurst (Auntie Mame).

1980

Long-term relationships I may have the longest association with the theatre, but Kay Vega and Andrew Edwards have been the backbone of the organization for almost 45 years. Kay Vega [pictured, No No Nannette] first became involved with our organization in 1970 as a member, volunteer, actress and then board member. As the theatre grew, she was hired as the executive producer overseeing all productions and educational programs. Andrew Edwards [pictured, Pajama Game] was hired as the first full-time paid theatre manager in

Pajama Game, 1980. Back Row, Left to Right: Katrina Van der Horst, Andrew Edwards, Paul B. Bender, B.Gail Hillyer, Larry Bozarth. Front Row, Left to Right: Garry Reynolds, Pam Spradlin.

the mid ‘70s, and he’s managed the growth of the organization for the last 40 years. He’s also acted and directed in numerous productions over the years. Now he’s executive director for Lakewood Center for the Arts, which encompasses Lakewood Theatre, Lake Oswego Festival of the Arts, and all the other classes, activities and events that are based at the center.

Same Mame, Different Day 1986

No No Nanette, 1986. Left to Right: Mary Lewis, Siobhan Charlesworth, Susan Ruddock, Diana Duncan. Front: Kay vega.

Artslandia at the Performance may | june

In 1964’s Auntie Mame, I was Young Patrick, with the line, “Stir, never shake — bruises the gin!” You never forget those great lines, no matter how much time passes. Lanni Hurst played Auntie Mame [pictured]. Lanni was a remarkable woman and very active in the Portland theatre scene. She was also instrumental as a community leader; one of her most notable projects was a campaign to save the Old Church, which is still

there today. David Niederloh was Older Patrick in 1964. Flash forward 51 years, and the role of Mame is played by Jennifer Niederloh Goldsmith, David’s daughter! The script and characters are virtually the same between the play Auntie Mame (published 1956, performed by Lakewood in 1964) and the musical Mame (published 1966, performed by Lakewood in 2015). Both versions capture the story and spirit of Auntie Mame, who is one of the world’s most beloved, madcap, devastatingly sophisticated and glamorous aunts. Who can’t love a lady who states, “Life is a banquet, and most poor suckers are starving to death!” I feel fortunate that I can return to the place where I started, to share what I’ve learned after spending my professional life working in the arts. .

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