Parfumerie - Bag&Baggage

®

GENEROUSLY SPONSORED BY RALPH AND MARILYNN HELZERMAN

THE 2016-2017 SEASON PRESENTED BY RONNI LACROUTE & WILLAKENZIE ESTATE

THE 2016-2017 SEASON SPONSORED BY THE HILLSBORO HOPS

REMODELS

|

NEW HOMES

|

COMMERCIAL

|

HIGH PERFORMANCE

BETTER BUILDING THROUGH SERVICE, CRAFT, AND SCIENCE

HAMMERANDHAND.COM PORTLAND: 503.232.2447 | CCB# 105118 SEATTLE: 206.397.0558 | WACL# HAMMEH1930M7

Dan Palmer, Woodshop Manager

DESIGN / BUILD REMODELING HOME IMPROVEMENT CUSTOM HOMES

Suddenly, visiting that trendy new restaurant feels a bit unnecessary.

A kitchen like this is where life happens. They are so inviting, they make dining out a little less appealing. With exquisite form, and flawless function, every square inch feels well thought out. All in a kitchen meant to inspire spirited conversations, great meals, and endless compliments. This award-winning space was designed and crafted to reflect our client’s discriminating tastes and singular style. Now, what can we do to personalize your home?

WE TAKE PRIDE IN BEING A CERTIFIED B CORPORATION

866.691.2719 www.neilkelly.com

Visit Our Design Centers: Portland | Lake Oswego Eugene | Bend | Seattle OR CCB#1663 | WA L&I #NEILKCI 18702

Bag&Baggage Productions presents

PARFUMERIE Scott Palmer Founding Artistic Director Beth Lewis Managing Director

A Comedy In Three Acts by Miklos Laszlo Adapted by E.P. Dowdall from the English translation by Florence Laszlo of the Hungarian play Illatszertar Parfumerie is generously sponsored by Ralph & Marilynn Helzerman

Cassie Greer Director of Advancement Arianne Jacques Patron Services Manager Megan Wilkerson Director of Design & Production Jim Ricks-White Technical Director & Lighting Designer Melissa Heller Resident Costume Designer

Board of Directors Carol Beauchamp Julie Case Karl Citek Kathy Gaona John Jacques Beth Lewis Eric Lewis Patricia Logan Linda Morrisson Gayle Nachtigal (chair) Scott Palmer Jan Simmons Donna Swanson K. Marie Tyler Kasi Woidyla

The 2016–2017 Season Presented by Ronni Lacroute and WillaKenzie Estate

THE CAST Mr. Miklos Hammerschmidt, owner of the Parfumerie................................................ David Heath Mr. George Horvath, senior clerk ................................Joey Copsey** Mr. Sipos, senior clerk .................................................. Patrick Spike Mr. Steven Kadar, clerk ................................................ Andrew Beck* Miss Amalia Balash, clerk ...................................... Arianne Jacques* Miss Ilona Ritter, clerk .........................................Stephanie Leppert Miss Elizabeth Molnar, cashier .........................................Leslie Gale Arpad Novack, delivery boy & clerk ................................Eric St. Cyr** Fritz, delivery boy/ Policeman ..................................... Trevor Jackson A Detective / Customers .................................................. Sam Jones Customer & others ...................................................... Lalanya Gunn Customer & others .......................................................... Zoe Flach*** Customer & others ................................................. Dawson Oliver ***

CREW/PRODUCTION TEAM Co-Directors....................................... Scott Palmer & Cassie Greer* Stage Manager & Props Master ..................... Ephriam Harnsberger Costume Design ......................................................... Melissa Heller Scenic Design ........................................................ Megan Wilkerson Lighting Design & Technical Direction......................Jim Ricks-White Sound Design ...............................................................Kelly Green*** Assistant Stage Manager .................................... Mackenzie Joseph This performance runs approximately 2 hours and 30 minutes with one 15 minute intermission.

Please remember: turn OFF your phone, do not text during the performance, and photography or recording of this performance is strictly prohibited.

The 2016–2017 Season Sponsored by The Hillsboro Hops

*Member of the Bag&Baggage Resident Acting Company, generously sponsored by David & Shirley Woodford **Bag&Baggage Associate Artist ***Pre-Professional Development Intern, Supported by the Richard B. Siegel Foundation PARFUMERIE • BAG&BAGGAGE

5

DIRECTOR’S NOTES By Scott Palmer I

just didn’t have another 1940s radio show spoof joke in me.

For three years, B&B has been filling The Venetian Theatre with hilarious, over the top, fast-paced and farcical holiday shows and…well, I just couldn’t bring myself to do another one! Not that we felt like the 1940s Radio Shows were bad; quite the contrary!

Those productions (It’s A Somewhat Wonderful Life, A Miracle On 43rd Street, and A KBNB Kristmas Karol) have been among the most popular and critically acclaimed shows in the company’s history. I have to admit that I miss Lana, and Winston, and little Pete Paulson, and Gilroy, and Felicity.

Those characters were a holiday tradition for me, and for the company, for so long that it feels like a holiday without our family!

Which is why Parfumerie is such a great choice for us this season. It introduces us, and our audiences, to an entirely new family of characters and does so with subtle charm, romance, and warmth. A perfect counterpoint to the manic and maniacal festive comedies of the past 3 seasons.

Parfumerie is a remarkable play, not only as a stand-alone script, but also because of its amazing pedigree. Written in 1937

by Hungarian playwright Miklos Laszlo, Parfumerie remains one of Europe’s most popular holiday plays, and was responsible for inspiring some of the most iconic films and musicals in American history. The Shop Around The Corner (starring Jimmy Stewart) in 1940, In The Good Old Summertime (starring Judy Garland) in 1949, the Broadway smash She Loves Me in 1963, and You’ve Got Mail (starring Tom Hanks and Meg Ryan) in 1998.

Think about how powerful and timeless a story has to be in order to inspire so many other successful treatments, and over such a long period of time! There has to be something there, right? Something timeless and inspiring that brings such a range of artists back, time and again, to the lovely story of a little Hungarian perfume shop just before Christmas.

There is so much heart in this play; romantic entanglements, confusion and conundrums, mistaken identities, betrayal and justice, and the always heartwarming feeling of new love and new hope. All of the later treatments and adaptations of Parfumerie retained some (if not all) of these qualities, but none of them retained what I feel is a more powerful context embedded in Laszlo’s original story; a story set in Eastern Europe just a few years before the rise of fascism and the start of the Second World War. Miklos Laszlo was actually born Nicholaus Leitner, to a family of German/Jewish decent, in 1903, just a few years before Emperor Franz Joseph decreed that all citizens of Hungary who were not of Hungarian decent must “culturally unify” by dropping their family names and heritage and taking on a more traditional Hungarian family name. Leitner became Laszlo, and 6

BAG&BAGGAGE • PARFUMERIE

Nicholaus became Miklos, and Eastern European families of Jewish decent began to sense the coming storm clouds of hatred and paranoia. Particularly troubling was the rise of Anti-Semitic sentiment targeted at shop keepers and business people. In fact, Miklos’ own father was ultimately left destitute before his death, and Miklos emigrated to the United States just before the war as a way of escaping the rising tide of extremism, fascism, and hatred.

Although Laszlo’s Parfumerie is ultimately a story of love and redemption, there are storm clouds behind the charm.

Hammerschmidt, the shop owner, mentions the fact that shops are closing all around him; all of the employees are worried about money and about their future; and there is the lingering presence of the police, a feeling of paranoia, and of detectives and surveillance. In our approach to this work, Cassie and I have tried to find ways of bringing some of those storm clouds forward to help create a context for our audiences. This isn’t a Tom Hanks/Meg Ryan romantic comedy completely…in fact, Miklos Laszlo’s story is a specific one, set in a very particular time and place, and with a darker, more threatening atmosphere swirling underneath the scent of perfume and the witty banter.

I have always believed that the holidays were a time to celebrate; to honor our loved ones and friends, to be thankful for all of our bounty, to remember those we have lost, and glory in the love we are given. But it is also a time to reflect on the serious issues we face as a people, as a country, as a city, and as a community.

For all that we love each other, and grow to care for each other more and more, let us not ignore the storm clouds that may be gathering on the horizon. In fact, it is because we are a community that the storm clouds matter. It is because we are a community that we will overcome.

“The hero is the one who kindles a great light in the world, who sets up blazing torches in the dark streets of life for men to see by. The saint is the man who walks through the dark paths of the world, himself a light.” –Felix Adler I want to give a very special thank you to Cassie Greer, who stepped in to co-direct Parfumerie with me when the pressures of the EVOLUTION capital campaign started to fray me at the seams. This has been an extremely challenging year for B&B, and our whole staff, and having Cassie there to add her wisdom, thoughts, and insights has…essentially…saved my life. Thanks, kid. Yer alright.

May you and yours have a most wonderful holiday season filled with light.

Scott Palmer Artistic Director

ACTOR BIOS ANDREW BECK (KADAR)

Andrew holds a Master of Fine Arts in Acting from the University of Nebraska- Lincoln and a Bachelor of Arts from the University of Oregon. This is Andrew’s third year as a member of Bag&Baggage’s Resident Acting Company. You may have seen Mr. Beck with Bag&Baggage in Emma (as Frank Churchill and Mr. Elton); A KBNB Kristmas Carol (as Donald Donaldson); Our Country’s Good (as Ralph Clark); Dial “M” for Murder (as Tony Wendice) and in Love’s Labour’s Lost (as The King of Navarre). Other companies Andrew has worked for include the Oregon Contemporary Theatre, The Majestic Theatre, Willamette Stage Company, Nebraska Repertory Theatre and The Ludlow Festival (England). Other Favorite roles include: The Great Gatsby (as Jay Gatsby); The Seagull (as Trigorn); In The Next Room (as Dr. Givings) and Frankenstein’s Bride (as The Monster).

Andrew is a current member of The Long Con Improv group and works as a Financial Advisor in his family’s practice when he is not making loud noises in front of paying audiences. Andrew is lucky to have such great family, friends, and wife, Katie.

JOEY COPSEY (HORVATH)

Joey received his primary theatrical training at Hiram College in Ohio. Having grown up on the south Oregon Coast, Joey returned to Oregon after college and has worked on stage intermittently in the years since around the Portland area. This is his second season working as an actor with Bag&Baggage.

Previously Joey performed in B&B’s Richard III, The Best of Everything, Moby Dick Rehearsed and Emma. Some notable productions at other institutions over the years include All My Sons (Chris Keller); Judevine as David; Antony and Cleopatra as Marc Antony; How the Other Half Loves as Frank Foster; and Caucasian Chalk Circle as Azdak. Joey lives in Portland and when not acting spends as much time as he can with his incredible friends and family. He also runs a small residential contracting business, and just generally tries to be useful.

ZOE FLACH (CUSTOMER)

Zoe is a senior at Sherwood High School and plans to study theatre in college.

This is Zoe’s second show with Bag&Baggage, and she’s thrilled to be back. She was last seen with Bag&Baggage this summer in Coriolanus: Or The Roman Matron (as Messengers/ Soldiers). Zoe caught the theatre bug in 2nd grade in a play about the first girl to immigrate through Ellis Island. Other favorite productions in school have been A Midsummer Night’s Dream (as Titania); Thoroughly Modern Millie (as Mrs. Meers); and Once On This Island (as Asaka). When not on stage Zoe enjoys making 3-D art, petting dogs, and reading. She’d like to thank her Mom and Dad for their endless love and support.

LESLIE GALE (MOLNAR)

Leslie is thrilled to make her Bag&Baggage debut.

Leslie is currently a theatre student at Portland State University and lead vocalist in the 204th ARMY Band. Audiences may remember Leslie from Lakewood Theatre Company performances as Elizabeth in Young Frankenstein, and as Agnes Gooch in Mame, the Musical. Leslie has also portrayed Escalus in Romeo and Juliet (PSU), Donna Taffeta in The Taffetas (Longview Stageworks), Paulina in A Winter’s Tale (PCC,) and Lucille in Meet Me in St. Louis (H.A.R.T.) Leslie is a graduate of American Musical and Dramatic Academy, and a member of Portland Area Theatre Alliance.

LALANYA GUNN (CUSTOMER)

Lalanya holds a BFA in Theatre from Niagara University. She was last seen in Bag&Baggage’s production of Crimes of The Heart as Chick Boyle. She has worked on stages in Buffalo, Austin and Los Angeles. Portland Credits include Jesus Christ SuperStar (Post 5); The Heidi Chronicles ( Twilight Theatre); Rent (Theatre in the Grove); Best Xmas Pageant Ever and Show Boat (Lakewood Theatre); Bat Boy (FunHouse Lounge); Sound of Music, Jungle Book, and Snow White (Broadway Rose); Book of Miriam, Transient, and Lady Gregory’s Ingredients (Readers Rep. Theatre); Dicken’s Christmas Carol (Mask & Mirror); Is he Dead? (Beaverton Civic Theatre);

and Fiddler on the Roof (Portland Center Stage). As always much love to Greg for all his support.

DAVID HEATH (HAMMERSCHMIDT)

David is pleased to be appearing in his seventh show at Bag&Baggage, where he last appeared as Mr. Robinson in The Graduate. Previous B&B shows include Moby Dick, The Crucible, Of Mice and Men, and Death of a Salesman. He has been performing in various Northwest venues for more than 40 years. He was a long-time member of the New Rose Theatre ensemble, where he appeared as Ed Devery in Born Yesterday; Norman in The Norman Conquests; James Joyce in Travesties; Richard Rowan in Joyce’s Exiles; and the Sheriff of Nottingham in The Adventures of Robin Hood, to name but a few of his favorites. He has also appeared at Artists Repertory Theatre (including Putnam in The Crucible; Uncle Harvey in Season’s Greetings; and Jim in Passion), Storefront (Ten November), Lakewood, Portland Repertory, Portland Civic, Northwest Classical Theatre, and Profile Theatre Project. He has also appeared in an episode each of the locally filmed Portlandia and Leverage. In his spare time he is an avid birder and world traveler.

TREVOR JACKSON (POLICEMAN/FRITZ)

Trevor holds a BFA in Theatre from Western Oregon University. This is his second season with Bag&Baggage; you may have seen him last year in Rope (as Brandon) or in Richard III. Past performances have included The Underpants (as Cohen); Deathtrap (as Clifford); The Liar (as Dorante); Death By Design (as Walter Pearce); and Thoroughly Modern Millie (as Trevor Graydon). Trevor also occasionally dabbles in directing and in screen acting. He also enjoys reading, writing, video games, beer, and Tex-Mex, in that order. He would like to thank his Dad, his girlfriend (Hi Amanda!), and all of his friends.

ARIANNE JACQUES (BALASH)

Arianne holds a Bachelor’s in Theater Arts from Oregon State University.

This is her tenth season with Bag&Baggage Productions. From then past nine seasons, favorite roles

include: The Importance of Being Ernest (as Gwendolyn); Twelfth Night (as Viola); Crimes of the Heart (as Babe); Julius Caesar (as Cassius); The Great Gatsby (as Jordan); Private Lives (as Sibyl); Our Country’s Good (as Mary Brenham); The Best of Everything (as Gregg Adams); Moby Dick, Rehearsed (as Stage Manager/Elijah); and most recently The Graduate (as Elaine Robinson). Arianne has been box officer for the company since 2011, and is now the Patron Services Manager for B&B. When she is away from the theater, Arianne spends her time reading, watching nature documentaries, & helping out at Basilisk (her partner’s amazing restaurant). Arianne would like to thank Jason and her mom & pop for their endless love and support.

SAM JONES (DETECTIVE)

Sam graduated last year from Portland State University with a Bachelors of Science in Arts in Letters. He most recently appeared in Bag&Baggage’s summer production of Richard III as Rivers and Richmond. Past favorite roles include Eurydice (as Nasty Interesting Man); The Importance of Being Earnest (as Reverend Chasuble); Romeo and Juliet (as Friar Laurence); Our Town (as Stage Manager); and Die, Mommie, Die! (as Angela Arden).

He is a member of the sketch comedy group Almost Boston, and would like to thank his friends and family for their unwavering support. Sam is neither human nor dancer.

STEPHANIE LEPPERT (RITTER)

Stephanie holds a Bachelor’s of Fine Arts in theatre from The American Musical and Dramatic Academy (Los Angeles campus). She’s appeared on the Bag&Baggage stage several times in the last couple of years, including Lear (as Cordelia), Julius Caesar (as Portia), and The Best of Everything (as Brenda).

She’s also worked with Lakewood Theatre in Lake Oswego in South Pacific (as Nellie) and two winters in a row in White Christmas (as Rhoda). You also may have seen Stephanie last Christmas in A Taffeta Christmas (as Kaye) at Broadway Rose in Tigard. Various other credits include Into the Woods (as Cinderella); Our Town (as Emily); Crimes of the Heart (as Meg); The Sound of Music (as Maria); The 25th Annual Putnam County Spelling Bee (as Olive); Twelfth Night (as Olivia); PARFUMERIE • BAG&BAGGAGE

7

LET’S NOT COMPLICATE THINGS. The all-new Volvo S90 is the result of thoughtful Scandinavian design, both inside and out.

Sophisticated curves, natural wood detailing, and intuitive technology all add up to an inspired driving experience.

THE ALL-NEW VOLVO S90 OUR IDE A OF LU XU RY

ACTOR BIOGRAPHIES and Les Miserables (as Cosette). In addition to performing, Stephanie has a passion for health and fitness. She is a licensed massage therapist and certified chiropractor’s assistant at Lula Health Center in southeast Portland, as well as a certified Pure Barre instructor in the Portland Pearl District. Stephanie would like to thank her wonderful friends, family, and hunky boyfriend for being a foundation of constant love and support.

DAWSON OLIVER (CUSTOMER)

Dawson is a senior at Gaston High School, where he has participated in theatrical productions since freshman year. Over the last four years, he has participated in several productions, including Arsenic and Old Lace (as Teddy); A Christmas Carol (as Jacob Marley); and The Lion, the Witch, and the Wardrobe (as Mr. Tumnus). Parfumerie is Dawson’s second production with Bag&Baggage, following his most recent role in last year’s production of Moby Dick, Rehearsed (as Daggoo). Dawson spends his spare time reading anything he can get his hands on and hanging out with friends.

He would like to thank Bag&Baggage for the chance to act with them once again, and is very excited to be a part of this performance.

PATRICK SPIKE (SIPOS)

A former Bag&Baggage board member, Spike, as his friends call him, holds a BA in theatre with emphasis in directing from Western Washington University, and MFA in directing from Humboldt State University. He has directed productions of Educating Rita, Love Letters, The Mystery of Irma Vep, Dangerous Liaisons, and performed in The Importance of Being Earnest (as Lady Bracknel) and in The Farndale Avenue... Christmas Carol (as Phoebe Reece) for Bag&Baggage. Spike also recently directed Batboy the Musical and Six Dance Lessons in Six Weeks in California. As Product Manager for Arts People ticketing and patron management software company based in Portland, he works closely with various performing arts groups around the country. Spike recently relocated to Scappoose OR with his partner Fernando and their three dogs.

ERIC ST. CYR (ARPAD)

Born and raised a short drive outside the city of Boston, MA, Eric holds a BA in Theatre Arts from Plymouth State University. Eric is thrilled to be part of the 2016–2017 season as an associate artist with Bag&Baggage productions. Past B&B appearances include Lord Hastings/Second Murderer in Richard III as well as Queequeg/ Cynical Actor in Moby Dick Rehearsed and Benjamin Braddock in The Graduate.

New England theatre credits include work with such companies as; New Hampshire Theatre Project (Portsmouth, NH) Artists Collaborative Theatre of New England (Portsmouth, NH) Lost Nation Theatre (Montpelier, VT) and The Players Ring (Portsmouth, NH). Eric would like to thank his mom and dad for their continued love and support, and his number 1 girl, his daughter Romy Mae St. Cyr for her everyday inspiration. Daddy loves you, girl! Peace, love, and Merry Christmas!

CREW BIOGRAPHIES CASSIE GREER (CO-DIRECTOR)

Normally found in front of the lights, Cassie is excited to be sitting on the other side of the table for Parfumerie, working with Scott and this fantastic cast! This is her 22nd Bag&Baggage project since joining the company in the 2011–12 season, having appeared on stage in Of Mice and Men (as Curley’s Wife); Julius Caesar (as Mark Antony); The Great Gatsby (as Daisy Buchanan); and the title character in Coriolanus, among several others. Cassie assistant directed this fall’s The Drowning Girls, as well as B&B’s 2014 production of The Crucible; her other directing work has most recently been seen at Fertile Ground ‘13 and the San Francisco Fringe ‘14 (Cinnamon and Cigarettes); Spotlight Musical Theatre Academy (adaptations of The Drowsy Chaperone, Carrie, Godspell, Footloose, and The Aristocats); and B&B’s touring production of A Christmas Carol in 2013. Cassie received her training in the BA Theatre program at Goshen College and the MFA Acting program at Florida Atlantic University, is a certified Assistant

Teacher of Fitzmaurice Voicework ®, and a proud member of the Bag&Baggage Resident Acting Company. She wouldn’t be here without Danny, and is incredibly grateful to her family and friends for their continual love, support, and energy.

EPHRIAM HARNSBERGER (STAGE MANAGER/ PROPS MASTER)

Ephriam completed his Bachelor of Fine Arts Degree in Omaha, Nebraska at Creighton University. This is his sixth production with Bag&Baggage.

Productions include: The Drowning Girls (SM); The Graduate (SM); Coriolanus (SM); Emma (ASM); The Best of Everything (ASM); The Lady Aoi (SM); Othello (SM); The South Omaha Stories (SM/AD); The Spitfire Grill (SM/AD); The Tempest (ASM); Compleat Works of William Shakespeare [abridged] (ASM); Titus Andronicus (ASM); Twelfth Night (ASM); Phantom (AD); Dames at Sea (SM); Almost, Maine (SM); Julius Caesar (ASM); and Comedy of Errors (ASM). Although he is usually found backstage he has also appeared onstage in Cabaret (as Emcee); Noises Off! (as Selsdon); and Urinetown (as Bobby).

Ephriam is honored to work alongside the incredible company members of Parfumerie. When he is not wandering about the stage Ephriam also enjoys cooking, camping, hiking, and singing silly songs with his sisters. He would like to thank Bag&Baggage, Nik, and his parents.

MELISSA HELLER (RESIDENT COSTUME DESIGNER)

Melissa splits her time between heading the costume shop and designing costumes at Pacific University, and designing for local area theater companies. Melissa holds a BS in Apparel Design from Oregon State University, where her interest in costumes for theater began. She began her work with costumes at OSU in 2006, and helped to create all of their productions until she graduated in 2008; she then moved to Portland to pursue her career in the apparel industry. Melissa reignited her passion for costume design in 2010 when she began work with Oregon Ballet Theater, helping to create costumes for all of their productions for the 2010/2011 season. She has designed for numerous production companies including Mt. Hood Community College, Broadway Rose Theater Company, St. Mary’s PARFUMERIE • BAG&BAGGAGE

9

more for what moves you. more for what moves you.

smart center of portland www.smartcenterofportland.com

smart center of portland www.smartcenterofportland.com

SALES: 877-301-9285 1605 SW Naito Parkway, Portland, OR, 97201 SALES: 877-301-9285 1605 SW Naito Parkway, Portland, OR, 97201

CREW BIOGRAPHIES Academy, Oregon Children’s Theater, and is the Resident Costume Designer for Bag&Baggage Productions and Pacific University. Her recent works include Our Country’s Good, Julius Caesar, Kabuki Titus, Lear, and Emma with Bag&Baggage Productions; Charlotte’s Web with Oregon Children’s Theater; and The Taming of the Shrew with Portland Actors Ensemble.

Melissa thanks Bag&Baggage Productions for this engaging partnership.

ARIANNE JACQUES (PATRON SERVICES MANAGER)

Arianne holds a BA in Theatre Arts from Oregon State University. She began working as an actor with Bag&Baggage in their 2007/08 season, but has become a staff member as well. After originating the role of Box Office Manager in 2011, she then became Operations Officer in 2013 and is, as of 2015, Patron Services Manager for the company. Arianne looks forward to continuing to grow with Bag&Baggage as the company evolves.

MACKENZIE JOSEPH (ASSISTANT STAGE MANAGER)

Mackenzie’s love for working backstage started at Jesuit High School, where she participated in the Technical Theater Program. Although she now holds a Bachelor of Arts degree in Film from Northwest Nazarene University, she still holds a place in her heart for theater.

This is Mackenzie’s second show with Bag&Baggage; she made her company debut as Assistant Stage Manager for The Graduate earlier this Fall. Outside of the theater, Mackenzie produces videos and spends time with her beloved family and friends.

BETH LEWIS (MANAGING DIRECTOR)

Beth has over ten years of experience in theatre administration and management. She most recently served as Managing Director of Curious Comedy Theater, Portland’s only nonprofit comedy theater. She moved back home to the Portland area in 2013, after being in Los Angeles for five years working at The Pasadena Playhouse, where she ended her tenure there as their Annual Giving Manager. Before that, she lived in New York City, where she served as the Director of Development

for The Looking Glass Theatre, and the Associate of Special Events for Sonnet Repertory Theatre. In addition to her work at Bag&Baggage, she is currently a board member of the Portland Area Theatre Alliance. She also holds a BA in Theatre from Connecticut College and is a Core Company Member of the Original Practice Shakespeare Festival.

SCOTT PALMER (ARTISTIC DIRECTOR & CO-DIRECTOR)

Scott received his Bachelor’s Degree from the University of Oregon, his Master’s Degree from Oregon State University, and completed his PhD Coursework in Theatre, Film, and Television studies at the University of Glasgow in Scotland.

Over the past 20 years, Scott has developed an international reputation for his approach to classical dramatic literature, and more specifically his work with major literary adaptations of Shakespeare and his contemporaries.

Scott has adapted and directed critically acclaimed shows for Glasgow Repertory Company, Toi Whakkari (the National Drama School of New Zealand), Salem Repertory Theatre, Oregon State University, and Bag&Baggage Productions. Scott was the Founding Artistic Director of Glasgow Repertory Company, Scotland’s only Shakespearededicated theatre company, as well as the Bard in the Quad Outdoor Shakespeare summer event at Oregon State University.

Scott is a Hillsboro native and has served on the Hillsboro Arts and Culture Council and the Westside Cultural Alliance, and previously worked as the Trust Manager of the Oregon Cultural Trust. Thanks and love to Brian.

JIM RICKS-WHITE (LIGHTING DESIGNER & TECHNICAL DIRECTOR)

With over 30 years in theatre, Jim is pleased to be joining the B&B Resident Artist family. Jim has worked professionally as a Production Stage Manager and Stage Manager (Civic Light Opera Seattle, Spokane Interplayers, Stumptown Stages), Technical Director, Lighting and Set Designer (Innovation Theatreworks, Tower Theatre, Portland Actors Ensemble), Properties Artisan and all-around Theatre Tech (the list goes on and on...) — in venues as small as 99-seat black box theatres, and as large as the Olympic Stadium for the 2012 London Olympics

and Paralympics. Basically, he has yet to meet a theatre tech job he didn’t like — or at least enjoy! Jim also teaches technical theatre at PCC Sylvania and has held numerous administrative positions in theatre during his career. In his free time, Jim loves to travel, explore great food and enjoys working off steam swinging a German longsword at his local HEMA gym, Indes Western Martial Arts. Jim looks forward to being able help to nail down some good story telling and bring the 2016–2017 B&B season to light!

MEGAN WILKERSON (DIRECTOR OF DESIGN & PRODUCTION, SCENIC DESIGNER)

Megan holds a Masters of Fine Arts in Design for the Theatre from the University of Texas at Austin and is a member of United Scenic Artists Local 829. Besides being the Resident Scenic Designer for Bag&Baggage Megan is also a Resident Artist at Artists Repertory Theatre in Portland and an Ensemble Member at Rivendell Theatre in Chicago. Megan was a Recipient of Chicago’s After Dark Award in Scenic Design for her thoroughly creepy set for Marisa Wegrzyn’s Psalms of a Questionable Nature with Rivendell, and was nominated for a Drammy award for her design for The Childrens Hour at deFunkt theatre in Portland. Her Design work has also been recognized by The Chicago Tribune, The Austin Critics Circle, The Milwaukee Journal Sentinel, the South Eastern Theatre Conference, and The United States Institute for Theatre Technology. Regionally she has worked with The Oregon Shakespeare Festival, The Milwaukee Repertory Theatre, Artists Repertory Theatre, The New Conservatory in San Francisco, Renaissance Theaterworks, Milwaukee Chamber Theatre, Broadway Rose, Teatro Milagro, deFunkt Theatre, Next Act Theatre, The Skylight Opera, First Stage Children’s Theatre, The Michigan Opera Theatre, Pittsburgh Public Theatre, and the Portland Opera. She has taught Theatre, Design, and Art courses at Lewis & Clark College, The University of Portland, Michigan State University, The University of Wisconsin Milwaukee, St. Norbert College, Randolph-Macon Women’s College, Carroll University, Central Michigan University, the Milwaukee High School for the Arts, and The University of Minnesota in Minneapolis/ St. Paul.

PARFUMERIE • BAG&BAGGAGE

11

THANK YOU, SPONSORS

ABOUT BAG&BAGGAGE Bag&Baggage is committed to unique interpretations and novel stagings of plays by the world’s best-known authors. We seek to rethink and reinvigorate the most celebrated titles, to challenge the public to experience them in new ways, and to connect our work to the lives and experiences of our audiences. Founded by a Hillsboro native, Bag&Baggage believes that cultural experiences like live theatre play an absolutely crucial role in the health of our community.

12

BAG&BAGGAGE

THANK YOU, DONORS Your financial support is CRUCIAL to our success, and we are deeply grateful for your generous contributions.

Find out more about the benefits of becoming a BAGGAGE HANDLER online today at www.bagnbaggage.org!

(For contributions made between November 1, 2015 and November 1, 2016) IMPRESARIO $10,000 & ABOVE Anonymous Hillsboro Arts & Culture Council Del & Helen Kraemer Charitable Fund Ronni Lacroute/ WillaKenzie Estate James F. & Marion L. Miller Foundation PGE Foundation Regional Arts & Culture Council, Including Support from Washington County Pat Reser EMISSARY $5,000 & ABOVE Anonymous Dan Bergsvik & Don Hastler Karl Citek & Patricia Logan Steve & Maggie Dixon Kathy Gaona Steve & Marilyn Gray Ralph & Marilynn Helzerman Hillsboro Rotary Foundation Andrew Hoffmann & Linda Morrisson* Kevin Hoover & Nita Brueggeman* The Jackson Foundation The Kinsman Foundation Eric & Diane Lewis Mike & Laura McMurray* Fred & Gayle Nachtigal Linda & Brad Needham Oregon Cultural Trust Sandy Palmer David & Shirley Woodford AMBASSADOR $2,500 & ABOVE Benevity Community Impact Fund City of Hillsboro Tom & Gayle Hughes Juan Young Trust* Leonard A. & Susan Magazine Scott & Linda Mokler Jan Simmons Stillness Within Integrative Therapies* CONCIERGE $1,000 & ABOVE Anonymous Carol A. Beauchamp Steve & Joan Callaway* Debi Coleman Cultural Coalition of Washington County Kymberli Colbourne & Jim Ricks-White Jim & Vicki Currie Steve & Marilyn Gray Intel Volunteer Grant Program Ken & Anne Jackson Annemarie & John Jacques* Sherry Lamoreaux & Paul Duchene Barbara Mason Mentor Graphics Foundation* OCF Founder’s Fund of The Oregon Community Foundation Roger Palmer & Donna Rondema

Todd Palmer William Pike Richard B. Siegel Foundation Richard Siegel* Linda & Don Sinclair Rita & William Tomison Wells Fargo Foundation PORTER $500 & ABOVE Anonymous Tina Arth, in memory of Darrell Baker Terry Blackburn Mark Brumley & Joyce Woods Jessica Chou & Tom Chau Columbia Bank* Dale & Julie Case Cindy Dauer David Duty George & Donna Evans Gimre’s Shoe Store Bruce & Kathy Hanna Sue & Pete Harris John & Sherry Hayes David Heath Scott & Sonya Hoatson Robert Holub Fred Hostetler kcvoice.com Law Offices of Patrick Cadiz Naomi Mabins Carolina Malmedal Rebecca & John McAllister McNally’s Taproom Jeff & Sandie Nelson Brennan Randel & Matthew Corwin Right Fit Senior Living Solutions Lisa Rowley Winston Saunders & Sara Stamey Margaret Stevens Delbert & Donna Swanson Bruce Ulrich Carla Velders, in memory of G. Coulson-Velders John Walters Jann & David Weber* Mark Wilkinson Jerry & Judy Willey Work for Art, including contributions from more than 75 companies & 2,000 employees STEWARD $250 & ABOVE Alan Anderson & Ron Daum Pauline Beard Brenda & Jeff Beck, in memory of June & Theo Beck Kay & Brian Blachly* Gregory Bruce* Marsha Bryant John & Cheryl Burnor* Carla Caesar Phil Cayton Martin Conley Ron & Kitty Crisman* Segun De Silva Eric & Dagmar Dickey Lisa DuPre’ Andrew Franklin Christina Gamgene Paul Gerlach Joseph R. Gilles Larry & Ann Greer Ken Hannam, in memory of Dawn Hawkins

Gregory & Laurie Hannon Duncan Hart Pat Heiden Kimberly Higgins Hook SEO Keren Hoover Suzan Hopman Arianne Jacques & Jason Myers Laura Lillegard Lisa Ritchie Agency, Inc. American Family Insurance Carol Loughner Dr. Darell & JoAnn Lumaco Heather & Eric Mash Charles McReynolds Victoria Mee Sondra Moroney Patricia O’Rourke Keith & Laurie Raines Carol Reich Robert J Rineer* Lisa Roskopf Michael Rouches Elaine Ruys John E. Ryan Peter Schuyler Adam Simantel Adrienne & Jeremy Southard Janica Stewart Rhonda Studnick Kaiser Gerda Sylvie Debbie Thomas Misty Tompoles K. Marie Tyler Jessi Walters Brian Whitney Charles Wilkison Michael & Nadine Zimmerlund Bob & Kris Zorko BELL CAPTAIN $100 & ABOVE Clark & Sharon Allworth Enrique Andrade Anonymous (2) John Bakum Mary Jo Bartels Alice Bartelt Bazi Bierbrasserie Pamela Bearce Andrew Beck Linda Besant & Martha Goetsch Jim & Betsy Biller Don & Bonnie Blish Dennis Boardman & Andrea Trautwein Dale Buck John & Cheryl Burnor Aron & Peter Carleson Robin Castleberry Joseph Copsey Morgan Cox Dave Danell Becky Decesaro Layne & Sharon DeLapp Arthur & Sandra Diederich Gwendolyn Drake Joanne Ducham Bill & Barbara Duerden Debra & Bruce Duffe Glynn Durham Alison Ebbott & Bill Hasan Paul & Linda Erickson Skip Farmer Mary Flanagan Kari Fredheim Kathryne A. & Donald H. Gilbert Marilyn Grendele* Chuck & Leah Hagele

A. Jay Hamlin & Kay Demlow Jeanette Hanna Charlotte Headrick, in honor of Scott Palmer & Arianne Jacques Karen Hershey & Roark Berkey Mark & JoAn Hudson Jeff Kishlock & Anne Brennan Malle Kollom Moon Lee-Comstock & Chuck Comstock Beth & Evan Lewis Samuel Little Fay Littlefield Doreen Lundberg Gene & Judy Lynch* Susan & Rudy Marchesi Branden McFarland Vickie J. Miller Montinore Estate Anne Mueller & Lars C. Larsen* Colleen & David Myers Helen NoonanHarnsberger Johanna Norton David & Lisa Ogden Simone Ostric Robyn Parnell & Mark Waggoner Proud & Disgusted Don Rea Rio Vista Foundation Robin & Barbara Scott Silverna & Raymond Scott° Paula Seid* Mary Beth Self Pamela South Linda & Larry Sparks Dick & Doreen Stenson* Kim Strelchun Rebecca Swearingen Gary Taliaferro Fawn Taylor Testech, Inc.* Ermine & Susan Todd Kristen Van Kranenburgh Kaye Van Valkenburg & David Maier Ward/Davis Associates* Richard Winkel Richard & Kasi Woidyla Clark Woodford & Bob Read Jon & Jill Woodworth Kathleen Worley Delbert & Janet Yocam Deborah Zita & Maryka Biaggio

Patricia Collins Helen Conover Cornelius Veterinary Clinic PC Cindy Cosenzo & Ian Hannis Lisa Curry Christine D’Arcy Katie Davis Russell Davis Renee Demke Ted & Lynne Desel Suzanne Jo Dudy Scott Eagan & Nikki Poppen-Eagan Marsia Fergusson* Heather Ferrin Myers Mike Flynn Michael & Jayne Gallagher Patricia Gaumond Jessica Geffen Trischa Goodnow Beth Graser Cassie Greer & Danny Palmer Mary Michelle Hamm Chris Harrington Clara-Liis Hillier Linda Hillin B. Gail Hillyer Jessica Hirschhorn Christopher Hoy Hilary Hutchinson Lynn Ironside Robin Johnson Sally Kearney

BELL HOP $25 & ABOVE William & Marcia Anderson Anonymous (8) Ian Armstrong Thomas Bearden Linda Becking* Phillip Berns Cindy Biggs Pam Bohling Martha Bosch Connie Bradley Casey Campbell Carol Cantrell Irwin Caplan Hilde Carpenter Kirsten Carpentier Maggie Chapin Sarah Jo Chaplen Stephanie & Morgan Chase Margaret Christmann Margaret Collins

$1000 & ABOVE Lila Ashenbrenner Sara Behrman & F. X. Rosica Steve & Joan Callaway Kymberli Colbourne and Jim Ricks White Nan Frederick & Michael Ponder Mary Michelle Hamm Mike & Laura McMurray Fred Williams Richard & Kasi Woidyla

Janette Kilgore Rae Knowles James Kundart Patricia A. Lach Laurel Lahmers Kat Larsen L. Mark Larsen Alice Larson Steve & Valerie Mallinson Christina Massey David McCammon Bianca McCarthy Sarah McKenney Phil & Heather McKnight Annette Merrill Amy Mihelich Gayle Miller Wendy Mitchell, in honor of Beth Lewis Melissa Moore Michele Mudd Larry Norman OneOC Anita Osterhaug & Job Rabinowitz Hillary Ostlund Russ & Carol Paine Scott Palmer & Brian Garner Judi Palumbo Michelle Payne B. Procassini Doug Rankin Beth Roberts Kristine Rowan Lesly Sanocki Kim Sargent*

Donna & Scott Satterlee James Sheedy Glenda Sims Kate Sokoloff Barbara & Jeffrey St. Cyr Susan Statler Chuck Steury & Samyak Yamauchi Diane Stone Jeri Tess The Standard Scott Thiemann, in memory of David Jenkins Eileen & David Threefoot Sara & Kelly Uhacz Karen Vancil Deborah Vaughn Fred Wallace & Dana Sweet Lori Wallner Ginny & Mark Watson Larry White Elaine Willbanks Fred Williams Vickie Williams William Wuertz

*all or a portion of this gift is directed to PASSPORT °all or a portion of this gift is directed to the Silverna Scott Internship Fund

2016 GALA DONORS Our unique PASSPORT free ticket program enables Bag & Baggage to provide free tickets to any student from any high school in Washington, Columbia, Tillamook, and Yamhill Counties…on demand. As long as there is a seat available, B&B pledges to never turn away a student who wants to see our shows. Very special thanks to our donors who have generously supported this important program through our 2016 Gala and Auction. $2500 & ABOVE Karl Citek & Patricia Logan Andrew Hoffman & Linda Morrisson Linda & Brad Needham Sandy Palmer

$500 & ABOVE Carol A. Beauchamp Dan Bergsvik & Don Hastler John Figueiredo Kathryne A. & Donald H. Gilbert Sue & Pete Harris Ralph & Marilynn Helzerman

Jeff Kishlock & Anne Brennan Moon Lee-Comstock & Chuck Comstock Eric & Diane Lewis Fred & Gayle Nachtigal Scott Palmer & Brian Garner Don & Linda Sinclair R. Scott Smith Peter & Sherry Sunderland Carla Velders Patricia Vice David & Shirley Woodford $250 & ABOVE Phil Cayton David Duty Ellen Hinds Annemarie & John Jacques Paul Kinley Sherry Lamoreaux & Paul Duchene Leonard A. & Susan Magazine Jan Simmons Pamela South Bruce Ulrich Rick Van Beveren

$100 & ABOVE Tina Arth Pam Bohling Kirsten Carpentier John Castino Staci Cenis Martin Conley Skip Farmer Kathy Gaona Beth Graser Beth & Evan Lewis Carol Loughner Elizabeth Manser Patricia O’Rourke Peter Schuyler John Shorb K. Marie Tyler Jack Whitehead Jerry & Judy Willey Shelley Wright $25 & ABOVE Pauline Beard Segun De Silva Annette Epifano Jim Kalvelage Sima Sabahi Caroline Spooner Fred Wallace & Dana Sweet Joyce Young

BAG&BAGGAGE

13

Home design

K R WO OP SH basements and bonus rooms

Ladies and Gentlemen, 1975. Screenprints, each 43½ x 28½ in.

118

PRE-RELEASE PROOF FOR ME Topics include: Determining your basement’s renovation potential; Play areas; Workout space; Media room; ADU and guest suites; Seismic and water mitigation options and more!

Nov. 9 th

6:00 pm

H ote l d e L u xe

cost: $20 at door or mention Artslandia when you RSVP to martha@arciform.com by Nov. 3rd to attend FREE.

Photo by BLANKEYE / Patrick Weishampel WA ARCIFL*910KJ OR CCB#119917

ARC IFORM.C O M

(503)

493-7344

®

Portland’s Finest Real Estate

AT TH E P E R FO R M A N C E A CIT Y PL AYBILL AND PERFORMING ARTS MAGA ZINE

503 242 9000

ANDY WARHOL: MIRROR IMAGES

21

The Portland Art Museum’s exhibition of Warhol prints reveals a master of images and the virtues of passivity.

FEATURES EDITOR-AT-LARGE 16 By Barry Johnson

26

EDIA REVIEW — Not for Distribution

CALENDAR 18 Be in the know 119

ANDY WARHOL 21 By Barry Johnson FAVORITE PLACES 26 Featuring Suzanne Nance IMAGO’S LA BELLE 28 By Brett Campbell CROSSWORD 34 Think you know art?

28

N OV E MB ER | D ECE MB ER 2016

DAY JOBS 38 Featuring Joey Copsey

A RT S L A N D I A .COM

834 SW St Clair Avenue, Suite 103 Portland, Oregon 97205

www.laurieholland.com

NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

15

FROM THE EDITOR-AT-LARGE

2017 SEASON OF

let us entertain you

Company Jan. 26 - Feb. 26 Beehive Apr. 13 - May 14 The Addams Family Jun. 29 - Jul. 23 Gypsy Aug. 3 - 20 Trails Sep. 21 - Oct. 22 Holiday Hit Parade Nov. 22 - Dec. 23 503.620.5262 • broadwayrose.org

P earson F inancial G rouP

16

Season packages now on sale • Single tickets on sale Dec. 15, 2016

ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016

The visually opulent exhibition of Andy Warhol prints at the Portland Art Museum through January 1 isn’t the only place you can see a Warhol these days. Through December 11, Open This End is occupying the Ronna and Eric Hoffman Gallery of Contemporary Art, a small survey from the large collection of Blake Byrne of some of the important currents in art, from the emergence of Pop Art to the present. And the name comes from the single, small Warhol painting in the show.

Open This End arrived soon after Warhol’s famous soup can series and was among his first series of shipping and handling label paintings that used the silkscreen process.

Soon after, he learned that photographs could be reproduced that way, too. The rest, as they say, is history, from the Marilyn Monroe images forward.

Open This End is a tiny painting, 8-by-11 inches, and though it has some visual interest—the bright red, the elongated sans serif typeface, the imperfect transfer (some of the red bleeds into the letters), even the weave of the canvas—the potential conceptual pleasures lurking inside those three words are more important.

Maybe we simply contemplate the times we had already started opening a package before noticing those three words on the other side, and the mess we made of it by failing to obey the instruction. Or maybe we become a bit more political—I will open whatever end I want. Or metaphorical: What could lurk behind those three words? The rest of life?

Open This End drives home the idea that art can be thought of as a form of communication, and though the generator of the message is important, so are the medium and the receiver. In this case, the medium (an acrylic painting) lifts a common instruction to the level of art, and the receivers, you and I, generate the possible meanings it can have.

Another example: Attracted by a wall of parking lot photos by Los Angeles artist Ed Ruscha, I nearly tripped over a small granite rectangular slab on the floor. The dark slab,

made of Absolute Black granite, was only 2 inches high, and I caught myself before I stumbled over it—or stepped on it.

The artist, Bruce Nauman, had handcarved two words on the granite, using a classical Roman script: PARTIAL TRUTH

Great concerts for the holidays HOLIDAY POPS

The catalog for the show suggested that the words were slightly off-center. The catalog also said that it was “a solid communication of uncertainty,” which maybe isn’t quite so oxymoronic as it sounds. “I just don’t know” would also be a solid communication of uncertainty, after all.

At first I simply took the words literally, or at least what I thought was literally: We are only ever dealing with part of the truth.

Or as philosopher Alfred North Whitehead succinctly observed: “There are no whole truths: all truths are half-truths. It is trying to treat them as whole truths that plays to the devil.”

NOVEMBER 26 & 27 Jeff Tyzik, conductor Doug LaBrecque, baritone Pacific Youth Choir Pops Conductor Jeff Tyzik, the Oregon Symphony, and the Pacific Youth Choir get the festive season off to a magical start with all your favorite carols and beloved holiday melodies.

GOSPEL CHRISTMAS DECEMBER 9–11 Charles Floyd, conductor Gary Hemenway, music director Northwest Community Gospel Choir This 18-year tradition keeps getting bigger and better. The region’s premier gospel singers and the Oregon Symphony orchestra will have you on your feet, clapping and shouting, celebrating the true spirit of the season. Don’t miss out on this exhilarating experience!

“THE ART IS A PROMPT, A WAY TO BEGIN AN INDEPENDENT THOUGHT PROCESS IN THE VIEWER.” Then I decided Nauman might have meant something slightly different: The opposite of “partial truth” isn’t necessarily the “whole truth.” Couldn’t it also be “impartial truth,” something like “objective truth”? Our partial truths—the truths that work their way to positions we favored in the first place—so neatly justify our desires and fit our ideologies. I happen to believe that we can try to discipline our thinking so that we get closer to “impartial truth”—but following Whitehead, we have to admit that our discipline can never supply the “whole truth.”

Art has taught us by now that it supports various readings (various partial truths!), and we tend to chase down the one that is most useful to us, if we have time. We could also meditate on how much Partial Truth resembles a gravestone, and how that tugs at the meaning.

Much of the contemporary art that finds its way into galleries these days plays similar sorts of games with viewers, even if they are not always word games. The art is a prompt, a way to begin an independent thought pro-

IT’S A WONDERFUL LIFE DECEMBER 17 Norman Huynh, conductor Oregon Repertory Singers Everyone’s favorite feel-good holiday classic! Jimmy Stewart and Donna Reed star in the timeless tale of a discouraged businessman whose guardian angel helps him discover the far-reaching influence of everyday kindness. In original black and white, with the orchestra performing the uplifting soundtrack in real time.

COMFORT AND JOY: A CLASSICAL CHRISTMAS DECEMBER 18 Norman Huynh, conductor A frothy holiday mix of light classical works along with your favorite seasonal songs, all capped with a traditional sing-along that will put you in the finest of Yuletide spirits.

ODE TO JOY: NEW YEAR’S CELEBRATION DECEMBER 30 & 31 Carlos Kalmar, conductor Portland Symphonic Choir Amber Wagner, soprano Kelley O’Connor, mezzo-soprano Anthony Dean Griffey, tenor Dashon Burton, bass-baritone What better way to start the New Year than this celebration of triumph and joy! Beethoven’s Ninth and the full-throated glory of its soaring Ode to Joy will have you ready to pop the cork and welcome in an exhilarating New Year.

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

CONTINUED ON PAGE 36

NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

17

OUT & ABOUT MUSIC

DANCE

THEATER

ONE NIGHT ONLY!

FAMILY SHOW

THE OREGON TRAIL

PORTLAND CENTER STAGE

This quirky production pays homage not only to the historic trail, but also the quintessentially vintage computer game “The Oregon Trail.” The play follows the lives of two Janes: “Now Jane” is playing the game in 1997, while “Then Jane” is traversing in a covered wagon in 1848. As they embark on their journeys, a weird twist of fate brings them both to a realization that will change their lives forever.

OCTOBER 29–NOVEMBER 20; U.S. BANK MAIN STAGE, THE ARMORY

BRIGHT HALF LIFE PROFILE THEATRE

Following the love story between Vicky and Erica, Bright Half Life tells a sincere tale of the ups and downs looking 25 years into their relationship. Through romance, children, marriage, and divorce, this play speaks volumes on the honesty and courage it takes to fight for love.

FROZEN FAIRY TALES

NOVEMBER 25–DECEMBER 23; THE VENETIAN THEATRE, HILLSBORO

NOVEMBER 13; ARLENE SCHNITZER CONCERT HALL

REGGIE WILSON / FIST AND HEEL PERFORMANCE GROUP WHITE BIRD

Reggie Wilson calls his choreography style “post-African/Neo-Hoodoo Modern Dances.”

The award-winning choreographer and performer combines his inspiration from Africans of the Americas with post-modern elements. His critically acclaimed performance Moses(es) celebrates the movement of African peoples and cultures throughout the world through inspiring song and dance.

NOVEMBER 17–19; LINCOLN PERFORMANCE HALL, PORTLAND STATE UNIVERSITY

A CIVIL WAR CHRISTMAS: AN AMERICAN MUSICAL ARTISTS REPERTORY THEATRE

SAT & SUN 5:00pm–Midnight

reservation 503.688.5952 littlebirdbistro.com 215 SW 6TH AVE. PORTLAND, OR 97204

Pulitzer Prize-winning playwright Paula Vogel intertwines a group of disparate characters, including President Lincoln, in this Civil War-era play. Famed Portland musicians revitalize traditional American songs and marches for a spirited performance illustrating mankind’s potential for compassion, unity, and hope.

NOVEMBER 22–DECEMBER 23; ARTISTS REPERTORY THEATRE

18

ARTSL ANDIA AT THE PERFORMANCE

BAG&BAGGAGE

OCTOBER 27–NOVEMBER 13; ARTISTS REPERTORY THEATRE

OREGON SYMPHONY

hours MON–FRI 11:30am–Midnight

PARFUMERIE The classic tale of two unsuspecting lovers, which has inspired the iconic films Shop Around the Corner and You’ve Got Mail, is coming to Portland. Only the truth can help the distressed employees of the Parfumerie in this romantic Christmas story.

Kids will welcome the winter season after attending this Oregon Symphony performance. The show includes the hit Disney song Let it Go from Frozen, as well as music from classic stories like The Snow Queen, The Winter’s Tale, and The Nutcracker.

SW 6th between Oak & Pine

LA BELLE IMAGO THEATRE

THE SANTALAND DIARIES PORTLAND CENTER STAGE

Get away from the Christmas chaos this December with David Sedaris’ sarcastic production that mocks the holiday season.

The Santaland Diaries portrays Sedaris’ experience as Crumpet the Elf in Macy’s Santaland display. His bizarre encounters at this hectic time of year only prove that the holidays can bring out the best—and worst—in all of us.

NOVEMBER 26–DECEMBER 24; ELLYN BYE STUDIO, THE ARMORY

HERSHEY FELDER AS IRVING BERLIN

PORTLAND CENTER STAGE

This masterful biopic of renowned pianist and performer Irving Berlin features some of his best songs, performed live by Hershey Felder. The plot follows Berlin from antisemitic czarist Russia to New York’s Lower East Side, in a remarkable story of an uncommonly talented songwriter who epitomizes the American dream.

NOVEMBER 30–DECEMBER 30; U.S. BANK MAIN STAGE, THE ARMORY

IN GOOD COMPANY

NORTHWEST DANCE PROJECT

Part of the annual holiday tradition, the company of Northwest Dance Project is putting on a troupe-made show celebrating the wonderful talent of the group.

DECEMBER 8–10; LINCOLN PERFORMANCE HALL, PORTLAND STATE UNIVERSITY

OUT & ABOUT HANDEL’S MESSIAH

PORTLAND BAROQUE ORCHESTRA

Hear Handel’s Messiah as the composer would have! Portland Baroque Orchestra’s annual holiday performance is this region’s only regular performance of the piece on period instruments. Portland’s famed chamber choir Cappella Romana, four world-renowned soloists, and noted director Gary Wedow join the performance.

DECEMBER 9–12; FIRST BAPTIST CHURCH

LA BELLE

IMAGO THEATRE

Imago Theatre presents an original play that is Beauty and the Beast meets Titanic.

When Lady Rose takes refuge from a storm in the ship’s steam room, she befriends the ship’s coal stoker and discovers his world of automata. The two inevitably fall in love and find themselves in a real-life version of their pretended fantasies.

The Oregon Community Foundation provides tax-deductible options to help create a brighter horizon for Oregon’s future.

DECEMBER 9–JANUARY 2; IMAGO THEATRE

GEORGE BALANCHINE’S THE NUTCRACKER OREGON BALLET THEATRE

The Nutcracker will make its rounds at the Oregon Ballet Theatre this Christmas and is guaranteed to put anyone in the Christmas spirit. Set to the timeless Tchaikovsky score, this whimsical performance follows life-size toy soldiers and a rambunctious mouse king, dancing snowflakes, and an animated nutcracker-turned-prince.

DECEMBER 10–26; KELLER AUDITORIUM

THE CHRISTMAS REVELS: COMMEDIA ITALIANA PORTLAND REVELS

This year’s annual Christmas performance is set in the Italian Renaissance! A bored Doge in Venice runs away with a commedia dell‘arte troupe (an originally 16th century Italian group that performs impromptu shows sometimes using masks) in a performance drawing from Abbots Bromley, The Sword Dance, The 12 Days of Christmas, and The Dragon.

oregoncf.org

DECEMBER 16–21; ST. MARY’S ACADEMY

THE NUTCRACKER AND CBA CONTEMPORARY NUTCRACKER CLASSICAL BALLET ACADEMY

This holiday season, Classical Ballet Academy is featuring the traditional show, Nutcracker, followed by a totally contemporary version of the beloved holiday ballet. Both Nutcrackers contain original choreography, extravagant costumes, and spectacular performances by the students of the company.

DECEMBER 21–24; LINCOLN PERFORMANCE HALL, PORTLAND STATE UNIVERSITY

NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

19

“SOME OF THE BEST DANCERS YOU WILL EVER SEE” -CALGARY HERALD

andy warhol likes boring things ANDY WARHOL: PRINTS FROM THE COLLECTIONS OF JORDAN D. SCHNITZER AND HIS FAMILY FOUNDATION OCT 8 – JAN 1

TICKETS DEC 8 - 10 / 7:30PM

NWDANCEPROJECT.ORG 503.828.8285

IN GOOD COMPANY LINCOLN PERFORMANCE HALL

portlandartmuseum.org Andy Warhol (American, 1928–1987). Space Fruit: Still Lifes, Cantaloupes II (II.198), 1979. Screenprint. 30 x 40 in. Courtesy of Jordan D. Schnitzer and His Family Foundation. © 2016 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York.

20

ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016

Marily 54

: L O H R A W Y D N A

R O R R I M GES A IM

yn M

(Mar onroe

67. ilyn), 19

ch 36 x

prints, ea

Screen

36 in.

OOF F

SE PR -RELEA

PRE

N

JOHNSO

BY BARRY

EVIEW

DIA R OR ME

—

ribution

Dist Not for

N O I T I B I H X SE ʼ M U E S U F M O T R R E A T S D A N A M THE PORTL PRINTS REVEALS A SSIVIT Y. L A O P H F R O A S W E F U O RT I V E H T D IMAGES AN

21

LADIES AND GENTLEMEN, 1975. SCREENPRINTS, EACH 43½ X 28½ IN. “The prints of Ladies and Gentlemen portray drag queens who frequented The Gilded Grape, a disco near Times Square.

Warhol loved the dramatic glamour of drag queens and transgendered people in his circle, fascinated by gender fluidity.”

CAPTIONS BY CURATOR SARA KRAJEWSKI

es and Gentlemen, 1975. Screenprints, each 43½ x 28½ in.

PRE-RELEASE PROOF FOR MEDIA REVIEW — Not for Distribution

morous wife at her husband’s side to a widow

images, a montage of news photographs that

ion. While other works in the portfolios depicted

’s prints were the only ones to reference events

he starker compositions based on the gray scale Mick Jagger , 1975.

Screenprints, each 43½ x 28¾ in.

tention to circulate the portfolio as an exhibition

— Distribution bitionNot plan wasfor a propaganda move designed

mage, plucked from its original circulation pattern

115

121

VIEW — Not for Distribution

h the help of the United States government to

important spheres of influence in the burgeoning

p a troubling episode in recent American life and

of US culture abroad.

emocratizing effect, as a populist counterbalance

ultiple prints equates to more viewers experienc-

hem. With his business acumen, Warhol recog-

shing enterprise, Factory Additions, in 1966. That

Sex Parts, 1978. Screenprint, 31 x 23¼ in.

ainting with an exhibition at Leo Castelli Gallery

SPACE FRUIT: STILL LIFES, CANTALOUPES I, 1979.

Space Fruit: Still Lifes, Cantaloupes I, 1979. Screenprint, 30 x 40 in.

SCREENPRINT, 30 X 40 IN.

e environment created of prints and multiples. He

“The Space Fruit series is utterly strange, an unexpected

itions enabled him to capitalize on his fame and

willing portrait subjects like Mick Jagger in seductive slender, shirtless Jagger captured in Based on takeposes. on theA art historical tradition of the still life.

ersions of his most famous works. From 1967 to

67, pp. 38, 52–55), Campbell’s Soup I (1968,

wers (1970, pp. 77, 86–89)—sets of ten prints in

atore Silkscreen Co., Inc.

he Factory Additions prints furthered Warhol’s

media images that he first set out to explore in

value of standardized forms and machine-made

systems, seriality as a format was well explored

made a strong impression through mechanical

duplicating forms of grids and other ordering

Mao , 1972.

Screenprint,is 36 already x 36 in. the Polaroids sexy; then Warhol, in his prints, emphasizes lips photographs, and open mouth hot dramatically lit full studio the with compositions flip Untitled , 1973. Xerox 36 print paper, 11 x 8 ½ in.

MAO, 1972.

SCREENPRINT, X on 36typewriter IN. colors, blacks out facial features as if to censor identity, accents fine handsthe andshadows long hairoutweigh with drawn ourand sense of perspective: the peaches, “Warhol madeline. hisThe portrait Mao theportfolio same year 1978ofsix-print Sex President Parts (above) goes with its bringing graphic portrayal of gay sex. apples,further and melons, the fleeting ephemeral to par On June 1968, the Warhol radical feminist writerany Valerie Solanas entered the Factory, shot Warhol and his Richard Nixon went3,to China. deflected political Warhol invited men from bathhouses back to the studio for photo shoots involving sex; he shot close-up with the earthly associate Mario Amaya, and attempted to shoot Fred Hughes, Warhol’s manager andobjects.” business partner. reading of the work byofclaiming wantedand to see Maoreferring as depictions buttocks,hepenises, torsos, to them, in coded fashion, as “landscapes.”4 In his Warhol nearly died as a result. His recovery was long and arduous, and it changed the course of his artistic a fashion fiproduction. gure.

Forprint me,output, trading theseries, drab published color andhisinpropaprolific this a small edition thirty with five artist’s proofs, is one of very Factory Additions continued during convalescence, withofprojects progressing on two gandistic pomp officialofsoup portrait garish colors versions ofMaoʼs the Campbell’s cans for (1969) and Flowers (1970). The source imagery for the Flowers few of representations physical manifestation of desire. on which series was gesture based, was a photograph lifted from a 1964 issue of and “makepaintings up” canof 1966, only be read the as print a subversive Modern Photography. The image’s author, the photographer Patricia Caulfield, sued Warhol, eventually Referring to the sexualized male body as a landscape was another way Warhol distanced himself from in the Coldreceiving War era.” royalties as part of the settlement. It wasn’t the first time Warhol had been sued over copyrighted

MICK JAGGER, 1975. the real and the physical. This sense of remove paralleled his exploration of abstraction in the subsequent images; another case involved Charles Moore’s Birmingham images from Life magazine. Afterward, Warhol “When I look at these images, I see desire and seduction, printsmore Space Fruit and Shadows, both published inimagery 1979. from Space Fruit (above andbutpp. 142–45) forms became careful in securing the rights to reproduce existing printed media sources, and how each man played his role in creating this stunning mpact of his prints. Instead of the rhythm of the he toward using Polaroid photographs taken by him or his assistants. ashifted set ofdecisively sparse still-life compositions based on photographs of various fruits lit at dramatic angles. Very print publishing, and an art studio.

In The Philosophy of Andy Warhol: From A to B and Back Again or and slippage in registration of the ten Marilyn set of portraits.”

omplicated the media’s distribution repeatable Mick Jaggerof , 1975.

Screenprint, 43½ x43½ 28¾ in. IN. SCREENPRINT, X 28¾ ation into the sameness. For Warhol, desire for

Paloma Pic

6

ublisher David Whitney) and utterly flat surfaces

7

ance when they are viewed together.

(1975), Warhol

explained his motivation:

e production reached a high point at the Factory,

Factory Additions. The variations from print to Business temporality, like a set of film frames passing in

little detail of the fruit is given to imply dimensionality. Large areas of solid color also serve to flatten

In 1972, President Richard Nixon traveled to China, the first US president to visit the People’s Republic.

photograp

That same year, Warhol decided to work with the perhaps most widely reproduced and circulated image

Picasso’s

the picture plane. This use of color gives equal weight to the objects and their shadows, leveling the difference between presence and absence. Shadows (opposite left, and pp. 140–41) is a similar

at the time—the portrait of China’s leader taken from his book Quotations from Chairman Mao Tse-

5 art is the step that comes after art. I started as ain commercial artist, exercise depicting whatRed is not there.

Based on aand photograph darkened room, the many works in the Tung.

Also known as the “Little Book, ” it was published distributed of across China from 1964

through the yearsis of the and I want to finish as a business artist. Being good in1976, business theCultural mostRevolution. The US political attempts to normalize relations with

s experiments in films, especially Sleep (1963),

In his por

fascinating also attempt to alter perceptions of time, in the

the largest communist nation created an array of camera-ready media moments that Warhol could have

kind of art. After I did the thing called “art” or whatever it is called, I

reworked.

Yet when asked about his use of the iconic portrait, Warhol evasively quipped, “I thought it 110

went into business art. I wanted to be an Art Businessman ortoatake Business would be fun on Mao as aArtist. fashion figure.”8

ELECTRIC CHAIR, 1971. SCREENPRINT, 35 ½ X 48 IN. During the hippie era people put down the idea of business. They’d say “money “The Electric Chairs are among Warholʼs most haunting images. He painted his first is bad” and “working is bad.” But making money is art, and working is art—and version in 1963; that same year FOR a law banning mandatory capital punishment in for Distribution PRE-RELEASE PROOF MEDIA REVIEW — Not good business is the best art.2 the U.S. went into effect. Repeating the image over and over, in painted versions as well as prints, suggests Warhol was exploring his observation that we become As an artist presiding over when a creative media company, Warhol’s relationship to media images changed desensitized to images of death media becomes oversaturated with violent dramatically from his more critical usage in the 1960s. His career had come full circle from his days in content.”

Warhol to

where tor

Warhol of

PRE-RELEASE PROOF FORdealer MED Lu 43

queens w

where he

Candy Da

them to b

gender ro

advertising, as he returned to creating images that easily circulated in mainstream visual culture. Notably,

22

his portraits—a significant source of income generated from private commissions—often flowed from ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016 one platform to another, as evidenced by Mick Jagger (1975, above and pp. 120–25) a published print

In the firs

his two-di

“

If you want to know all about Andy Warhol, just look at the surface: of my paintings, films, and me, and there I am. There’s nothing behind it.

T 119

oward the end of our interview, I asked Sara Krajewski, the Portland Art Museum’s Curator of Modern and Contemporary Art, about Andy Warhol’s greatest strength as an artist. She thought only for a moment before she answered. “He understood images—including his own,” Krajewski said. “They are still very powerful to us today.”

The exhibition at the Portland Art Museum of Warhol’s prints from the collections of Jordan D. Schnitzer and his Family Foundation, provides us with more than enough examples to test both of those propositions. More than 250 of those images present themselves for consideration, many of them among the most famous of the 20th century. There are sets of Warhol’s Mao prints, his Marilyn prints, the legendary Campbell’s soup cans, and portraits of Warhol himself, a media superstar in his own right. Even the ones that aren’t quite so famous now were famous when they were made—the set of electric chair prints, his Sunsets, the Mick Jaggers, skulls, hammer and sickles, the endangered species prints, and his selection of American celebrities.

”

and consequences. There is nothing redemptive about his art.” And no, there is no “HOPE” in Warhol’s work.

“I thought Kennedy was great,” he told a young journalist named Gretchen Berg in 1966, “but I wasn’t shocked at his death: It was just something that happened.”

Warhol was a particularly difficult interview subject, dancing around questions, playing around with the poor journalist who had drawn the assignment to talk to him. But sometimes he seemed to reveal something about himself, and one of his responses to Berg is perhaps the most frequently quoted Warhol line: “If you want to know all about Andy Warhol, just look at the surface: of my paintings, films, and me, and there I am. There’s nothing behind it.”

In a 1963 radio interview, he was asked the emperor’s new clothes question in a radio interview.

“Do you think pop art could survive, let’s say, without PR people?”

“Oh, yeah.”

Krajewski is right: They display an insight into image-making that “You do?” graphic designers have borrowed ever since Warhol started showing “Well, because I think people who come to the exhibition understand them in 1962. Shepard Fairey’s Barack Obama “HOPE” poster fol- it more. They don’t have to think. And they just sort of see things and Shadows I, 1979. Screenprint with diamond dust, 43 x 30½ in. lows the Warhol formula: appropriate a straightforward image of a they like them and they understand them easier. And I think people Ten Portraits of Jews of the Twentieth Century: George Gershwin, 1980. Screenprint, 40 x 32 in. famous person and drench it in color to increase its visual interest. are getting to a point where they don’t want to think, and this is easier.”

And in Fairey’s case, add that critical word “HOPE” and the Obama Warhol’s prints are easy. Easy like a magazine. That makes sense, series hone in on shape and surface, rather than depict a perspective into an architectural space. Both campaign’s logo, something Warhol would never have done. because abefore he became a pop art icon, Warhol was an awardseries resonate with Warhol’s darker obsessions with death and decay: when read metaphorically still Yes, we live inlooming the visual world that Warhol did a greatofdeal create, life or shadow becomes a memento mori, or reminder one’sto eventual demise. winning illustrator and art director on Madison Avenue in the ‘50s. even though it has been nearly 30 years since his death. A world of That doesn’t mean they don’t have the ability to generate friction, Both series also indulge the visual plenty associated with Warhol’s rich surfaces, now including diamond images, representations, visual interpretations of reality. tension, an edge that accompanies those beautiful colors—the green dust, and their compositional complexity stands in counterpoint to the remaining program of the Business curving horn on the bighorn ram in the Endangered Species set, for Warhol’s Art centrality to that visual worldplace suggests that maybe hehad unmodel—portrait commissions—taking at the same time.

The critics a strong distaste for his example, popping against his purple body and orange snout. There’s derstood outright more commercialism, than just the though.

He also understood thefetishes, and bohemian yetimage, commissions kept coming.

Warhol and his quirks, a visual thrill involved and then a realization that this beautiful universe background of images, the ‘50s and ‘60s images drenched hadhow been in accepted into an upper-class cultural domain where the his slippery ability to avoid creature is on the brink of extinction. stating beliefs his vapid guise virtues tomovie, his business. this “in” position, he managed culture, maybe evenanddrowned it inbecame television, andFrom celebrity

casso, 1975. Screenprint, 41 x 29½ in.

become aHe great cultural arbiterfor who, through Interview magazine, appearances at Studio 54 and on magazinetoimages. had a knack probing our weakest spots—our Warhol might stipulate to his critics’ primary argument against television, and his empty role as ancuriosity ad pitchman, claimed the power ofUnderstandthe media to designate what and who intense but essentially about celebrities. him—that he doesn’t care or, at least, not care enough. “It’s really would above), rise to thehe topexperimented of the cultural imagination circa 1980.6by combining the rtrait of Paloma Picasso the screenprint ing that(1975, desire, he promoted the mostincommon of them into the realm nothing,” he said about his art in the same 1963 radio show, “so it phic source and of squares of colored paper flatten the composition art, the most vivid ofthat communication systems.and partially obscure really has nothing to say.”

s face.

By 1980, Warhol entered into a partnership with the gallery owner Ronald Feldman and created a

of thematic portfolios. matter which was oftenwas suggested the case Jordan with He did it number by playing it cool andThe at subject a remove, easy by forFeldman, him as was Collector Schnitzer sees Warhol as a mirror of his time. “Artists their first Tenpersonality.

Portraits of Jews of the Twentieth Century (1980, above 150–55). because that wasendeavor, his own “Warhol’s gesture is always theright and arepp. always chroniclers of their times,” he said in his downtown office, ook his experimentation with Ladieswrote, and Gentlemen (1975, same,” one art step criticfurther Carter Ratcliff “nonchalant to pp. the114–19), point of surrounded by great Northwest art. “They’re the ones who reflect rn pieces of papericiness, overlay whether color andhe shape on up the avariously posed subjects ways. serves supermarket productinordramatic a a superstar the social 111 mores, attitudes, and political issues of their time. Their ften solicited ideas for his work, andhis hegift tookas encouragement for this intense series from the Italian art presence.”

And a colorist injected visual interest ultimate job is to help us see and make us see.”

DIAAnselmino, REVIEW — Not for again: Distribution uciano who published and exhibited theisprints.

Thereminding series features in hiseventually images.

Ratcliff “Warhol forever us ofdrag the A mirror counts on the observer to provide the interpretation, and its attraction every sort—informative, who were invited eye’s from promiscuity, the Gilded Grape nightclub to in imagery GreenwichofVillage to Warhol’s studio, what Ratcliff calls Warhol’s “hypersensitive passivity in the face of shocking, simply pretty.” e photographed them.

Warholor was fascinated by transvestites and male-to-female transgender; art and life,” can reveal a lot. Including our guilty pleasure in front arling, Ondine, and Holly Woodlawn some ofisthe stars of his films.

Not example only did heoffind Ratcliff ’s critiquewere of Warhol a particularly biting an of Marilyn or Elvis, say. Or that endangered ram. Or that series of be the epitome of the movie star’s glamorous presence, but critics: he was also to thepermissiveartifice and evaluation shared by many Warhol “Hisdrawn extreme electric chair prints, the color combinations screaming around the 3 ole-play associatedness withleads drag. “I it’s interesting to try toindiff be another toguess an aesthetic of seeming erencesex. to”values, meanings, black outline of a state-constructed death delivery system.

st half of the 1970s, Warhol’s prints reveal more about his desire and his homosexuality than

imensional work had since the 1950s. (The films made in the Factory explore sex explicitly and

CONTINUED ON PAGE 24

NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

23

A

re the soup cans art? Not the cans, exactly, the image of the cans, part of the ubiquitous network of design that permeated American culture. The bright red top sets off the script Campbell’s logo, and the bottom white section reveals the identity of the soup within—chicken noodle, cream of mushroom, green pea.

We pass by them even today in the supermarket, swiftly, without a glance, unless we toeachwant Campbell’s Soup happen I, 1968. Screenprints, 35 x 23 in. soup. Hanging on the wall? We are encouraged to consider…well, all sorts of things. Just as we do 82 when we gaze into the mirror at our own refl ection. How the neck PRE-RELEASE PROOF FOR MEDIA REVIEW — Not for Distribution connects head and shoulders, just like it does on a bighorn ram, say.

How far will your reverie go? How much time do you have? How easy are you on yourself?

I wonder how Warhol would have accommodated himself and his art to the internet, to Photoshop, to social media. It’s so easy to achieve the visual effects that Warhol did, not that they were all that difficult back in the day—a technical process and a gift for color.

But what we don’t know is what images Warhol would have chosen to emblazon across our retinal fields, what he would have directed us toeach consider, without us knowing we were being directed in any mpbell’s Soup I, 1968. Screenprints, 35 x 23 in. direction at all. .

PRE-RELEASE PROOF FOR MEDIA REVIEW — Not for Distribution

EXHIBITION INFO Andy Warhol: Prints from the Collections of Jordan D. Schnitzer and His Family Foundation October 8–January 1, 2017 Portland Art Museum, 1219 SW Park Ave.

CAMPBELLʼS SOUP I, 1968. SCREENPRINTS, EACH 35 X 23 IN.

COME VISIT OUR NEWLY

REMODELED SHOWROOM

Campbell’s Soup I, 1968. Screenprints, each 35 x 23 in.

82

c

PRE-RELEASE PROOF FOR MEDIA R

Gifts | Home Décor | Jewelry | Accessories

SEE OUR NEW AND EXPANDED

INTERIOR DESIGN CENTER

FURNITURE | DESIGN SERVICES | HOME DÉCOR

-TIME WINNER

BEST HOME STORE

223 NW 9th Avenue, Portland, OR 97209 503-222-5337 | bellacasa.net Mon-Sat 10-6 |

Sun 11-5

Artslandia_Nov.Dec.indd 1

24

ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016

NOW OPEN IN THE PEARL

901A NW Davis St. | Portland, OR 97209

503.241.2393

10/7/16 10:07 AM

128 NW Eleventh Avenue, Portland, Oregon 97209

Chris Coleman, Artistic Director

503.445.3700

pcs.org

Portland Center Stage at

SEASON TICKETS STILL AVAILABLE! Visit www.pcs.org for more info.

THE OREGON TRAIL

By Bekah Brunstetter On the U.S. Bank Main Stage Oct. 29 – Nov. 20, 2016

THE SANTALAND DIARIES

By David Sedaris; adapted for the stage

by Joe Mantello | In the Ellyn Bye Studio Nov. 26 – Dec. 24, 2016

HERSHEY FELDER AS IRVING BERLIN

REVIEW — Not for Distribution

By Hershey Felder On the U.S. Bank Main Stage Nov. 30 – Dec. 30, 2016

ASTORIA: Part One

By Chris Coleman; based on the book ASTORIA: John Jacob Astor and Thomas Jefferson’s Lost Pacific Empire, A Story of Wealth, Ambition, and Survival by Peter Stark | On the U.S. Bank Main Stage Jan. 14 – Feb. 12, 2017

Visit www.pcs.org for tickets!

Katie deBuys in Stupid F***ing Bird. Photo

by Patrick Weishampel/blankeye.tv.

HIS EYE IS ON THE SPARROW

A musical biography of Ethel Waters

By Larry Parr | In the Ellyn Bye Studio Feb. 4 – Mar. 19, 2017

MARY’S WEDDING

By Stephen Massicotte In the Ellyn Bye Studio Apr. 15 – May 28, 2017

CONSTELLATIONS WILD AND RECKLESS A new musical event from Blitzen Trapper

On the U.S. Bank Main Stage Mar. 16 – Apr. 30, 2017

LAUREN WEEDMAN DOESN’T LIVE HERE ANYMORE

By Lauren Weedman On the U.S. Bank Main Stage Mar. 17 – Apr. 30, 2017

By Nick Payne On the U.S. Bank Main Stage May 13 – June 11, 2017

WHAT’S YOUR

FAVORITE

p ne

n a z Su e c n Na n

PLACE

PRO

26

ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016

DIRE G R AM

C TO R

WE INTERVIEWED 50 OF OUR FAVORITE ARTISTS ABOUT THEIR FAVORITE PORTLAND PLACES. .

O R E G O N

B A L L E T

T H E AT R E

P R E S E N T S

GEORGE BALANCHINE’S

THE NUTCRACKER

®

INCLUDING 8 PERFORMANCES WITH THE OBT ORCHESTRA

Dec. 10 – Dec. 26, 2016 Keller Auditorium

SUZANNE NANCE Program director at All Classical Portland

www.obt.org | 503-222-5538 Peter Franc | Photo by James McGrew

FAVORITE PLACE All Classical Portland Observatory

HOMETOWN Media, Pennsylvania

WHY IS THIS YOUR FAVORITE PLACE? “All Classical Portland is the biggest reason I moved to this amazing city from Chicago.

When I first visited Portland and walked into the All Classical “observatory” (which is where our broadcasts originate), I was blown away by the beauty of the city, the warmth of its people, and the power (and reach) of the station.

I feel connected to Portland when I’m sharing music in this magical space.”

Peter Franc | Photo by James McGrew

SINGLE TICKETS START AT $23 GROUP TICKETS START AT $15 PRODUCTION SPONSOR:

SEASON SPONSOR:

PORTLAND IS...

“Portland is creatively complex.

As I explore its vibrant neighborhoods, I’m reminded of Portland’s uniqueness and creative brilliance, but I also see the struggle of so many in our city. Supporting our community is very important to me, as is sharing music (as both a radio host and a singer) to enhance lives and promote emotional literacy.”

Suzanne Nance is All Classical’s Program Director and On-Air Host. Hear Suzanne weekdays 2 pm to 6 pm, and Sunday 3 pm to 6 pm.

David Blount Environment and Natural Resources

Good people make great lawyers.

Our philosophy is simple: hire and keep the best lawyers around. Like David Blount.

As a former EPA counsel, David has a keen understanding of the complex regulations and potential impacts that companies and municipalities face, whether it’s compliance, mitigation, or litigation. That’s why clients who want to succeed count on us.

Simply put, we know environmental law.

Oregon | Alaska LBBLawyers.com

Photo by Will Nielsen.

NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

27

Photo by Kyle Delamarter

AN ARTSLANDIA FEATURE

28

ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016

Imago Theatre’s

LOST IN THE WORLD OF THE AUTOMATO N

by Brett Campbell

I

mago Theatre is at a tur ning point. For 35 years, Portland’s most original theater company has specialized in making something beautiful out of not much: some masks, some movement, some music, often using no words or sets at all. The result: the long running, enor mously popular mask shows Frogz and ZooZoo, and dozens of other magical theatrical creations.

But after more than three decades, Imago founders Carol Triffle and Jerry Mouawad decided the time had come to retire those warhorses. This summer, the couple announced they were selling the former Southeast Portland Masonic lodge that has long served as Imago’s headquarters, performing and rehearsal space, and prop and costume shop. And in December, Imago opens its biggest, riskiest venture ever. Given Imago’s flair for dazzling visual imagery and movement, La Belle: Lost in the World of the Automaton, which runs December 9–January 8, promises to be a beauty.

looking for a new form that we could dabble in for family audiences after working in mask theater since the inception of the company in the late ‘70s,” says Mouawad.

“We found that in La Belle.”

feel like an Imago show. “We were quite ambitious,” Mouawad remembers. “It had grown into this big Shakespeare production with eight to 10 characters. Reality set in after we realized how complex the execution was going to be.”

They threw out the script, postponed the originally scheduled 2014 premiere, and started over with a new outline involving just two characters. In summer 2014, the team banged out the framing story of Sam Stoker (played by Jim Vadala), who works in a 1920s steamship engine room and Lady Rose (Justine Davis), whose romance proceeds in parallel with the original La Belle story. The rest of the characters would be portrayed by puppets, and Imago would create a magical environment for their story to unfold.

NEW TERRITORY

They knew the great French writer/director Jean Cocteau’s classic 1946 film of Beauty and the Beast boasted that rare universal appeal to both children and adults—a story with Frogz’s family-friendly mix of sophistication and simplicity. Mouawad and Triffle based their adaptation not on Cocteau’s movie nor the Disney production nor the many other movie, TV, and literary versions of Beauty and the Beast. Instead, they returned to French writer Gabrielle-Suzanne Barbot de Villeneuve’s original 1740 novel.

“Intertwining two different worlds that become one was a bit Imago-esque,” Mouawad explains. “Design has always been in the forefront of what Carol and I do. All the design elements should have an Imago-esque flavor. Every design element should support the story and have a physical connection with the audience.”

Without their old standbys, Triffle and Mouawad knew that promoters and presenters needed a new production that could draw the large audiences that financed the couple’s more experimental work. “We were

In 2013, they began working with writer Devin Stinson, who had a background in hip-hop, and trip-hop composers Elissa and Amanda Payne. After nine months, they realized that what they’d wrought didn’t

It sounds a bit Terry Gilliam-esque as well, and in creating La Belle’s two intersecting worlds, the team soon confronted the artistic ambitiousness that sometimes drove that great film director over his budget.

But for its creators, it’s been a bit of a beast.

CONTINUED ON PAGE 30

NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

29

Baroque, Classical, Romantic

BUILDING THE PERFECT BEAST Construction commenced in January 2015.

Building La Belle turned into a project of unprecedented (for Imago) complexity and expense—over a quarter million dollars, some of it crowd-sourced. La Belle sports a lot more moving parts and more collaboration than Triffle and Mouawad had ever experienced: Stinson, three composers (the Paynes and songwriter Lydia Ooghe), engineers, fabricators, illustrators, painters, some with experience in other Portland creative ventures that combine adult and kid-friendly appeal like Laika’s animation studio and Lion King puppet master Michael Curry’s workshop.

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

“This is a big challenge for Imago,” Mouawad frets. “After so many years of working on Frogz and ZooZoo, we knew that if things started looking too complex we shouldn’t go there—and we led ourselves right there.

Terry Gilliam gets so complex in his rich

“

The complexity might not be evident when you see it. Every little effect takes forever to make, but it goes by so quickly.

”

use of intricacy that it becomes a gigantic challenge. I’m trying to work our way out of that challenge.”

After 21 months of production and two-anda-half years of development, Imago’s new world neared completion by fall 2016. The set—“a kinetic playground”—is a giant ship with revolving water wheels, pumps, steam whistles, and automata/robots—clockwork 30

ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016

puppets. A steamer trunk transforms into a giant music box. Fabrication director Lance Woolen and mechanical engineer Roger Nelson crafted complex gear systems. Think Willy Wonka and the Chocolate Factory.

“It’s like an animation,” Mouawad says. “The complexity might not be evident when you see it. Every little effect takes forever to make, but it goes by so quickly.”

With the theater likely to sell soon, it’s easy to see La Belle as a production as a culmination of Imago’s rich, three-decade history. “I don’t think we’ve left any genre behind that we have not romped in—comedic and dramatic theater, movement, mask, puppetry, shadow theater, song and experimentation,” Mouawad wrote in a press release. “Our goal is to create a moment-by-moment visual

playground, keeping the young ones engaged while taking older ones and adults on a visceral and romantic journey.”

Imago Theatre’s La Belle: Lost in the World of the Automaton runs December 9–January 8 at Imago Theatre, 17 SE 8th | Tickets: 503.231.9581 or TicketsWest.com, 503.224.8499.

A TUNA CHRISTMAS by joe sears ed howard jaston williams

originally produced by charles h. duggan

NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

31

The Treasure of Mermaids...

Aquamarine & Diamond Pendant

Celebratin

ars g 40 Ye

503.636.4025 VANDENBURGHJEWELERS.COM 27 A AVENUE, LAKE OSWEGO TUESDAY–FRIDAY 10:00–5:30 SATURDAY 10:00–4:00

dance

DISCOVER THE

gift

OF

4 amazing SHOWS for $99 BALLETBOYZ® JAN 24 & 25

COMPANHIA URBANA DE DANÇA MARCH 9-11

Great Britain

CHE MALAMBO APRIL 25 & 26

Brazil

MARTHA GRAHAM DANCE COMPANY MAY 10

Argentina

NYC

ORDER ONLINE: whitebird.org/gift 32

No Fees. Seating in Price Level 3.

ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016

Theater for All Ages with Song, Dance & Story

NOVEM

BER 30 – DECEMBER 30

A CHRISTMAS CAROL

By Charles Dickens Adaptation and original lyrics by Rick Lombardo Original Music by Anna Lackaff and Rick Lombardo Music Arrangements by Anna Lackaff` We’re bringing back our award-winning community lovefest for the holidays!

If you were lucky enough to score a ticket to last season’s production, you know that this is a holiday tradition not to be missed.

Portland Revels Presents

Commedia Italiana

TICKETS ON SALE NOW AT PORTLANDPLAYHOUSE.ORG

A Venetian Celebration of the Winter Solstice St. Mary’s Academy, 1615 SW 5th Ave., Ptld

Tickets:

www.portlandrevels.org or 503-274-4654

Dec. 16-21, 2016 - Matinees & Evenings

Experience the secret season in Cannon Beach

Ornament Your Holidays HANDEL’S MESSIAH DEC 9 | 10 | 11 | 12 FIRST BAPTIST CHURCH

Visit CannonBeach.org to plan your trip @ExperienceCannonBeach

pbo.org 503.222.6000 NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

33

C

R

O

S

S

W

O

R

D

ACROSS

23. Santaland Diaries author.

2. Orpheus in the__________.

25. Italians wear this in red on New Year’s Day.

6. Second largest continent.

27. Gaston’s sidekick in Beauty and the Beast.

8. In which musical would you find Cunégonde, Paquette, Maximillian, and Dr. Pangloss?

30. Best-selling Christmas single of all time.

9. Colors of the Campbell’s Soup label were inspired by this university’s football team.

32. Seven-light holiday candelabra.

11. Latin instrument named for its number of strings.

12. Rudolph’s elf friend.

18. Actor who narrated How the Grinch Stole Christmas TV special.

19. Amino acid that’s blamed for Thanksgiving Day sleepiness.

20. Band whose album is popularly paired with The Wizard of Oz. 34

ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016

31. Where the Grinch stole Christmas.

33. Arturo Benedetti Michelangeli is mostly associated with which instrument?

34. Warhol magazine.

39. Nutcracker composer.

42. Scrooge’s first name.

43. Adagio Pathetique composer.

44. This Opera's characters are Adalgisa, Pollione, Oroveso, Clotilde, and Flavio.

DOWN

2016-17

Open HOuses

Find your people.

1. Silent Night was written for this instrument.

Middle School

Tuesdays, 10:30 to 12:00

3. Second day of Christmas gift.

November 15 December 6 May 9

4. Mary Bailey’s non-George life profession.

5. This composer couldn’t read or write music.

High School

Thursdays, 10:30 to 12:00

November 17 December 8 January 5

7. Where you’d find the Holiday Ale Festival.

10. It’s customary to do this for the Hallelujah chorus.

RSVP to Lainie Ettinger, Admissions Director, at lettinger@nwacademy.org

13. First song performed in space.

15. Number of ghosts in A Christmas Carol.

16. Town founded in 1620 by the Pilgrims.

17. A male turkey.

20. New adaptation of the 1936 Czechoslovakian play that inspired You’ve Got Mail.

21. Claude Debussy nationality.

22. The Nutcracker was the first orchestral score to use this instrument.

pHOTO: sOFIa Marcus-Myers

14. Who gives Clara the nutcrackers as a gift?

Inspiring daily through academics and arts.

nwacademy.org

A R T I S T S R E P E R T O R Y T H E AT R E

24. Christmas Oratorio composer.

26. U.S. president who banned Christmas trees in the White House.

28. Christmas Festival of Lights location.

29. Siegfried composer.

35. Number of reindeer that pull Santa’s sleigh.

A Collaboration with Staged! by

36. Inventor of Christmas lights.

Paula Vogel Paul Angelo

directed by

37. Pulitzer-winning author of A Civil War Christmas.

STARTS NOV 22

38. “You have died of __________” on the Oregon Trail.

40. Messiah composer.

“...AN AMBITIOUS, SWEEPING WORK”

41. Fairy fruit.

-VARIETY

Think you got ‘em all right?

Find the answers to this crossword puzzle on our website!

ARTISTSREP.ORG • 503.241.1278 SEASON SPONSORS:

SHOW SPONSORS:

ARTSLANDIA.COM NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

35

EDITOR-AT-L ARGE CONTINUED FROM PAGE 17

January 19-29

Portland’s 9th artist-generated NEW WORK FESTIVAL Theatre, Dance & Multidisciplinary Arts

Fertile Ground Dozens of Acts of Creation $50 Festival Pass On Sale Starting

Creative Adventures for 11 Days in January

December 1

www.fertilegroundpdx.org

cess in the viewer. The art may evince strong feelings and powerful insights, but we will consider it, interpret it, complete it.

Open This End includes the work of many of the best artists working in this vein: Mike Kelley, Sherrie Levine, Kehinde Wiley, Ruscha, Nauman, and Warhol. Some of them are minimalists, some pop-related, some very political. An Agnes Martin stripe painting is there and provides a meditative release, while a Martin Kippenberger painting might stir us back up.

If I were pushed to say something about what they all mean together? I’d look past their cleverness, their sense of humor, their technique, and suggest that they are primarily examples of Crisis Art. Artists live in the same world we live in, and they respond to the numbing flood of commercial images that surround us, the emptiness that dogs our activities, our reluctance to consider the consequences of our actions, and...worse. Since the last century, they’ve started sounding the alarm in various ways. Even Warhol. Especially Warhol.

I think of Open This End as a ticket to board the many thought trains that leave the Hoffman Gallery. And the best thing is, no one knows where they will lead. Which is also the scary thing. .

presents Mark O’Connor’s

St. John the Baptist II, by Kehinde Wiley.

An Appalachian Christmas

Featuring the O’COnnOr Band with SpeCial gueSt nanCy iveS

EXHIBITION INFO Open This End: Contemporary Art from the Collection of Blake Byrne

wedneSday, deCemBer 14, 7:30pm The Arlene Schnitzer Concert Hall Tickets $18 – $105, at www.portland5.com

Through December 11 Ronna and Eric Hoffman Gallery, Lewis & Clark College, 0615 SW Palatine Hill Road.

Discounts for All Classical Portland donors and Oregon Trail Card holders. Call (503)943-5828 for details.

SPONSORED BY BOB’S RED MILL

ACP_Artslandia_MarkOConnor_ThirdPage_ad.indd 1 36 ARTSL ANDIA AT THE PERFORMANCE

• NOV | DEC 2016

9/29/16 5:30 PM

UNCOMMON SENSE 2016-17 SEASON

LOST IN THE WORLD OF THE AUTOMATON

WORLD PREMIERE Dec 9th - Dec 18th

DEC. 9, 2016 TO JAN. 8, 2017 FROM THE CREATORS OF FROGZ AND ZOOZOO

PUPPETRY, SHADOW

Original ensemble theatre inspired by comic book mythology. Featuring AERIAL DANCE, physical theater and A C R O B A T I C S

FERTILE GROUND FESTIVAL Jan 20th - Jan 29th Three companies, one show! Featuring non-linear storytelling, AERIAL DANCE, dance, physical THEATRE and A C R O B A T I C S

THEATRE, AMAZING EFFECTS - A DAZZLING IMAGO SPECTACLE. T I C K E T S W E S T. C O M – 5 0 3 . 2 2 4 . 8 4 9 9 IMAGO: 503.231.9581 | IMAGOTHEATRE.COM

ECHO THEATER COMPANY 1515 SE 37th AVE | PORTLAND, OR Suitable for all ages Tickets at echotheaterpdx.org | 503-231-1232 x2

Kids come in all shapes and sizes, from different backgrounds, with various interests and individual strengths.

What they all have in common is the need for a school as unique as they are. At the French American International School, your kids will experience a proven program of student-centered, inquiry-based academics, unparalleled language immersion, arts, music, P.E., and a nature trail—all set on our beautiful 15-acre campus.

Artslandia mag half page November-December 2016.indd 1

10/14/2016 1:07:25 PM

NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

37

WHAT’S YOUR

DAY JOB

MANY OF PORTLAND’S MOST TALENTED PERFORMERS HAVE SIDE JOBS—OR EVEN COMPLETE CAREERS—BEYOND THE PERFORMING ARTS. HERE’S ONE!

C

Joey Copsey

M

Y

CM

MY

CY

CMY

K

ACTOR & HANDYMAN

BY DAY

Owner and operator of Inherently Handy, the home fi x-it wizard you wish you had.

“Both roles mean working with new people on a regular basis and keeping an open imagination for solving problems.”

–Joey Copsey

38

ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016

PHOTO BY JASON QUIGLEY.

BY NIGHT

An actor about town whose most recent performances include a farmer in Jane Austen’s Emma and a carpenter (of all things) for Moby Dick, Rehearsed, which were both staged by Bag&Baggage.

mind opening

since 1869.

OREGON EPISCOPAL SCHOOL

info evening Tuesday, January 10 7:00 to 8:30 pm Pre-Kindergarten to Grade 12 Students in 5th grade through high school are invited to attend.

Learn more at www.oes.edu/admissions Financial Aid - need-based award program available.

6300 SW Nicol Road | Portland, OR 97223 | (503) 768-3115 | www.oes.edu

Always

open

ALL-NEW JAGUAR XE

IMPECCABLE MANNERS. IMPRESSIVE OFFER.

With elegant design, exceptional handling, and an available 340hp V6 engine, the all-new Jaguar XE is poised to rule the roads. But don’t just take our word for it: Motor Trend hails it as “The best-handling small premium sports sedan there is.”

And GQ says that the XE is “The best entry-level luxury car in the world.”

MSRP from $35,895 Jaguar Portland A DON RASMUSSEN COMPANY

1638 West Burnside Portland, OR 97209 503.224.3232

J AGUAR E LITEC ARE

BEST IN CLASS COVERAGE 5 Y E A RS 6 0 , 0 0 0 M I L E S

5 YEARS

New Vehicle Limited Warranty 5 YEARS

60 ,0 0 0 Vehicle M ILES New Vehicle New

5 YEARS

60 ,000 MILE

5 YEARS Limited Limited Warranty Warranty

6 0 , 0Complime 00 MILE

24-Hour Assistance Complimentary Scheduled Maintenance 60 ,0 0 0 Vehicle M I LRoadside E S Limited Complimentary Scheduled Maintenance New Warranty

24-Hour Roadside Assistance New Vehicle Limited Warranty

Jaguar Remote & Protect™ 24-HourInControl® Roadside Assistance 24-Hour Roadside Assistance Complimentary Scheduled Maintenance

24-Hour Roadside Assistance

Jaguar InControl Protect ™ Jaguar InControl®Remote Remoteand & Protect™

Jaguar In Complime Jaguar In

BEST IN CLASS COV * LASS COV BEST IN CLASS CO BV EE SR T AI G N EC B E S T I N C L A S S C O V E R A G E* ©

JaguarPortland.com

*2017 Jaguar XE R-Sport shown. Supply of 2017 XE 25t at MSRP of $35,895 is limited. Price shown is MSRP. Includes destination, but excludes tax, title, license, retailer fees, all due at signing, and optional equipment. Retailer price, terms and vehicle availability may vary. See Jaguar retailer for details. Jaguar retailer may rescind or amend this offer without notice. *Class is cars sold by luxury automobile brands and claim is based on total package of warranty, maintenance and other coverage programs. For complete details regarding Jaguar EliteCare coverage, visit JAGUARUSA.COM, call 1.800.4.JAGUAR. © 2016 Jaguar Land Rover North America, LLC.