Bright Half Life - Profile Theatre by Artslandia

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BRIGHT HALF LIFE By

Directed by

TANYA BARFIELD REBECCA LINGAFELTER

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Profile Theatre Presents

BRIGHT HALF LIFE

TANYA BARFIELD Directed by

REBECCA LINGAFELTER

CAST

Vicky ................................................................................ Chantal DeGroat* Erica.................................................................................. Maureen Porter*

DESIGNERS & PRODUCTION

Scenic Design ......................................................................Peter Ksander Lighting Design .............................................................. Miranda K. Hardy Costume Design ............................................................Jenny Ampersand Sound Design ........................................................................Mark Valadez Stage Manager ................................................................... D Westerholm* Production Assistant ...........................................................Charlie Capps RUN TIME IS APPROXIMATELY 90 MINUTES WITH NO INTERMISSION Bright Half Life was commissioned by Center Theatre Group, Los Angeles, CA Bright Half Life was developed during residency at the Eugene O’Neill Theatre Center’s National Playwrights Conference in 2014. (Preston Whiteway, Executive Director and Wendy C. Goldberg, Artistic Director) The New York premiere of Bright Half Life was produced in 2015 by Women’s Project Theatre (Lisa McNulty, Producing Artistic Director) Bright Half Life is presented by special arrangement with Dramatists Play Services, Inc., New York.

THIS SEASON IS FUNDED IN PART BY

VIDEO AND/OR AUDIO RECORDING OF THIS PERFORMANCE BY ANY MEANS WHATSOEVER IS STRICTLY PROHIBITED. Profile Theatre is a member of Theatre Communications Group (TCG), the national organization for the American theatre. * Member of Actors’ Equity Association, the professional union of actors and stage managers.

BRIGHT HALF LIFE • PROFILE THEATRE

DIRECTOR’S NOTES BY REBECCA LINGAFELTER

ABOUT TANYA BARFIELD

The Greeks had two kinds of time. Chronos is the embodiment of chronological time, the inevitable ticking away of the seconds of our lives. Kairos represents the idea of time as the right or opportune moment. This conception of time is event time. It describes the seminal moments in our lives that add up to who we are; birth, death, marriage, divorce, the fateful meeting or an accidental pivot in the path of our lives. Tanya Barfield’s Bright Half Life employs both of these ideas of time. We feel the inevitable tug of chronological time, hinting at the decay that is inherent in life, while simultaneously being thrown back and forth through event time. Time in the play is liquid and mercurial. It highlights the way in which the events that make up who we are are not sequential, but “all at once”. Through a temp job or an office with a view, an unforgettable third date, the Challenger explosion, confessions at a movie theatre, the AIDS epidemic, twins, legalized gay marriage, homework, illness, skydiving and flying a kite we are witness to the totality of a life lived in love. Vicky asks Erica, “Do you think forwards or backwards? Or do you think just “now”? I hope that you will allow the play to move you through all of these experiences of time—forwards, backwards and ultimately “now”—sharing space with a love story that is major not minor and holds in it’s DNA lessons fundamental to what it means to be human.

Tanya Barfield’s The Call premiered at Playwrights Horizons in coproduction with Primary Stages. Her play Blue Door was nominated for a Pulitzer Prize and AUDELCO Award and was seen at numerous theaters around the country. Her play Of Equal Measure played at Center Theatre Group in Los Angeles and was nominated for an NAACP Image Award. Short plays include: Medallion (Women’s Project/ Antigone Project), Foul Play (Royal Court Theatre, Cultural Center Bank of Brazil), The Wolves and Wanting North (Guthrie Theatre Lab, published in: Best 10-Minute Plays of 2003). Tanya wrote the book for the Theatreworks/USA children’s musical, Civil War: The First Black Regiment which toured public schools around the country. Barfield has been a recipient of a 2013 Lilly Award and the first inaugural Lilly Award Commission, a 2003 Helen Merrill Award for Emerging Playwrights, a 2005 Honorable Mention for the Kesselring Prize for Drama, a 2006 Lark Play Development/ NYSCA grant and she has twice been a Finalist for the Princess Grace Award. She is a proud alumna of New Dramatists and a member of The Dramatist Guild Council.

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PROFILE THEATRE • BRIGHT HALF LIFE

CAST & CREATIVE TEAM CHANTAL DEGROAT Vicky Chantal is honored to perform again in Profile's Tanya Barfield season. Working with this team of women has been transformative. Chantal performed a reading of Bright Half Life this summer with The Hansberry Project (Seattle). Training: Shakespeare & Co., Emerson College. She is a Third Rail Repertory company member. Credits: Seattle Rep (2017), Intiman, Third Rail Rep, Portland Center Stage, Artists Rep, Badass Theatre, Portland Playhouse, Clackamas Rep, NWCTC, Jewish Theatre Co. Educator/Actress: August Wilson Red Door Project, Portland Center Stage, and Exeter University (England). She is Artistic Director and activist of The Color of NOW. Representation: Arthouse Talent. www.chantaldegroat.com MAUREEN PORTER Erica Maureen is a Company Member of Third Rail Repertory Theatre where roles include Arphra Behn in Or, Maureen in The Beauty Queen of Leenane, Belinda in Noises Off, Marian in Sweet &; Sad and That Hopey Changey Thing, Lisa in The Wonderful World of Dissocia, Pam in The Gray Sisters, Eleanor in Dead Funny, and Mom in Number Three. Other local credits include Dark Ahab in [or, the whale] with Portland Experimental Theatre Ensemble, The Taming of the Shrew at Portland Shakespeare Project, Crooked at CoHo Theatre, No Exit and Betrayal at Imago. This is Maureen’s debut at Profile. REBECCA LINGAFELTER Director Rebecca is a local director, performer and educator. Directing credits include Peter and the Starcatcher (Portland Playhouse), Procedures for Saying No (PETE) Realistic Joneses (Third Rail), Tongues (Profile), Elective Affinities (Boom Arts), 448 Psychosis and As You Like it (Lewis & Clark). She is a company member at Third Rail Repertory Theatre and coartistic director of Portland Experimental Theatre Ensemble (PETE). Upcoming projects include co-directing The Angry Brigade (Third Rail Rep). Rebecca is an Assistant Professor of Theatre at Lewis & Clark College. Columbia University, MFA.

PETER KSANDER Scenic Design Peter is a scenographer and media artist whose stage design work has been presented both nationally and internationally. In 2008 he won an Obie award for the scenic design of Untitled Mars (this title may change), and in 2014 he won a Bessie award for the design of This Was the End. He holds a MFA from the California Institute of the Arts, is an Associate Professor at Reed College and is an associate company member with the Portland Experimental Theatre Ensemble. This his first show with Profile. MIRANDA K. HARDY Lighting Design Miranda is a Lighting Designer based in Portland. Previously with Profile she lit Master Harold and the Boys. She is an associate company member with PETE (Portland Experimental Theater Ensemble) designing lights for R3 [Drammy Award], The Three Sisters, All Well, [or, the whale], and Procedures For Saying No, designing scenery and lights for Song of the Dodo and Drowned Horse Tavern. She has worked with Laura Heit on her shadow/animation spectacular The Letting Go and Alicia Jo Rabin’s Kaddish For Bernie Madoff. Miranda has worked extensively in New York City, as well as nationally and internationally including four seasons as the resident Lighting Designer at Festival Di Due Mondi (Spoleto, IT). Miranda holds an MFA from the California Institute of the Arts. JENNY AMPERSAND Costume Design Jenny is a designer based in Portland OR. She is an associate artist with PETE (Portland Experimental Theatre Ensemble), Liminal and The Late Now. With PETE, she just completed The Journey Play Constellation. Other local credits include, costumes for Third Rail’s The Realistic Joneses, Oregon Children’s Theatre’s Miraculous Journey of Edward Tulane, Liminal’s 7deadly Sins (Drammy Award), scenery for PETE’s Enter THE NIGHT, Shaking the Tree’s A Doll’s House, Phame’s Up the Fall, and puppets for Strawberry Theatre Workshop’s This Land-Woody Guthrie. She received her BFA in Scenic and Costume Design from Cornish College of the Arts.

MARK VALADEZ Sound Design Mark is a sound designer who has made work in New York City, Seattle, Portland, San Francisco and Budapest. He is a proud member of Third Rail Repertory Theater and an associate artist with Portland Experimental Theatre Ensemble (PETE). Third Rail credits include: Midsummer; A Play with Songs, The Mystery of Irma Vep, Belleville, Or, The Realistic Joneses, Mr. Kolpert, The New Electric Ballroom, Annapurna, and The Nether; with PETE: R3, The Song of the Dodo, The Three Sisters, Enter the Night, Drowned Horse Tavern, All Well, [or, the whale], and Procedures for Saying No. D WESTERHOLM Stage Manager With Profile Theatre: Blue Door, The Call; 2015 Sarah Ruhl Season; 2014 Sam Shepard Season; The Road to Mecca. Other Portland stage management credits: Trevor, The Skin of Our Teeth (ASM), The Price (Artists Repertory Theatre); The Light in the Piazza (Portland Playhouse). Oregon Shakespeare Festival, Production Assistant: The Unfortunates (2013), A Midsummer Night’s Dream (2013), Troilus and Cressida (2012), The Very Merry Wives of Windsor, Iowa (2012), Julius Caesar (2011), The African Company Presents Richard III (2011). BA in Theatre Management from Western Washington University, MFA in Stage Management from Columbia University. Active member of Actor’s Equity Association. CHARLIE CAPPS Production Assistant Charlie graduated high-school from Arts and Communication Magnet Academy in 2015. He has taken part in the Summer Musical Intensive program for the past two years, designing scenery and stage managing for Once Upon A Mattress (2015) and Into The Woods (2016.) Since graduating, he took an internship at Artists Repertory Theatre as a stage management and scene shop intern where he worked on productions such as Mothers and Sons, We are Proud To Present..., and Grand Concourse. He was a member of the PATA Spotlight Award winning crew for The Skin Of Our Teeth. Most recently he was production manager on The Gun Show at CoHo Productions.

BRIGHT HALF LIFE • PROFILE THEATRE

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THANK YOU TO OUR GENEROUS DONORS EXECUTIVE PRODUCERS $10,000 & ABOVE Age & Gender in the Arts The Collins Foundation Anonymous The Kinsman Foundation Ronni Lacroute Meyer Memorial Trust James F. & Marion L. Miller Foundation Oregon Community Foundation Regional Arts & Culture Council, including support from the City of Portland, Multnomah County & the Arts In Education Access Fund The Shubert Foundation Dan & Priscilla Wieden Steve Young & Jane Fellows

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PRODUCING PARTNERS $1,000–$2,499 Michael Bloom & Audrey Zavell Melissa Bockwinkel Colleen Cain & Phillip Miller Robert & Janet Conklin Matthew Corwin & Brennen Randell Eileen DeSandre Dramatists Guild Fund Rich & Erika George+ Richard Hay Leslie Labbe Susan & Leonard Magazine Melissa Stewart & Don Merkt Phillips & Co. Richard & Mary Rosenberg Charitable Foundation Mayer & Janet Schwartz Mary Simeone Kathleen & Leigh Stephenson-Kuhn* Patrick Stupek+ Charlie & Darci Swindells Wieden+Kennedy

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ASSOCIATES $100–$499 Kay & Roy Abramowitz Jonathan & Randa Abramson Habiba Addo Linda Apperson Dana Bjarnason Rachel Bloom Karl & Linda Boekelheide Gerald Bockwinkel Erwin Boge Barbara Bolles Nita Brueggeman Jim & Karen Brunke David Burks Rita Charlesworth Vince & Valri Chiapetta Tim & Susan Cowles Carolyn Dale John & Ruth Davis Anonymous Carmen Egido & Abel Weinrib Edith & Williamson Fuller Bruce & Gwendolyn Graff Debra Godfrey Barbara GordonLickey Ulrich Hardt & Karen Johnson Dot Hearn Mike & Patsy Hester

This list acknowledges gifts given between October 1 2015–September 30, 2016

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DONORS UP TO $99 Elizabeth Anderson Tobias Andersen Karen Asbury Paul Avallone Naomi & Ron Bloom Barbara Bolles Christine Bourdette Mary Frances Bowers Linda Brownstein Priscilla Carlson Carol & Sy Chestler Larry Cobb Margaret Collins Roddy & Fran Daggett Deanne Doorlag Scott Diaz Lois Eaton Lindsay Galen Carolyn Gassaway Susan Gidding-Green Mary Glenn Malinn Haines Megan Harned Theresa Hayes Phyllis Heims Joan Hoffman Donald & Lynnette Houghton Clel Howard Nathan KesslerJeffrey Susan Johnson Francis Johnston Jessie Jonas Sydney Kennedy Anonymous Michaela Lipsey Kathy Marambe Jay Margulies Nancy Matthews Anne McLaughlin Kathryn Mclaughlin

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WHAT MUST IT HAVE BEEN LIKE TO BE AUGUST WILSON'S NEIGHBOR? from Lin-Manuel Miranda, creator of the hit Broadway musical Hamilton What must have it been like to be August Wilson’s neighbor? I think about that sometimes when I’m having morning coffee with Quiara. We live in the same building—a lucky circumstance that allows us to pop into each other’s homes for writing sessions or breaks or just catching up. She is funny and wise and brilliant—everything her plays reflect and more—she’s also a goofball. We laugh a lot.

And then I see or read her plays—these heartbreaking, stunning, alive works that tell Latino family stories with more unflinching honesty and beauty than anything we’ve ever seen--and I realize, she’s really doing it. Line by line, play by play, she is chronicling the interior life of our people. She reaches for all of our humanity, and gets it. Just as August Wilson went into his home and channeled the voices of his family, ancestors and community, Quiara finds the jazz and music in her people and gives us a brilliant, honest expression that could only have come from her. And then sometimes she takes a break and we have coffee. I am so lucky. I’m Quiara Alegría Hudes’ neighbor.

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SEASON SUBSCRIPTIONS TO THE 2017 QUIARA ALEGRÍA HUDES SEASON NOW ON SALE Visit profiletheatre.org or call the box office 503.242.0080

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TICKETS $250 EACH (limit of 100 will be sold) can be purchased at profiletheatre.org or by calling the box office at 503.242.0080 PROFILE THEATRE

2017 Quiara Alegría Hudes 2016 Tanya Barfield 2015 Sarah Ruhl 2014 Sam Shepard 2012–2013 Athol Fugard 2011–2012 15th Anniversary Season 2010–2011 Lee Blessing 2009–2010 Horton Foote 2008–2009 Neil Simon 2007–2008 John Guare 2006–2007 Wendy Wasserstein 2005–2006 Lanford Wilson 2004–2005 Terrence McNally 2003–2004 Romulus Linney 2002–2003 Edward Albee 2001–2002 Harold Pinter 2000–2001 Arthur Miller 1999–2000 Constance Congdon 1998–1999 Tennessee Williams 1997–1998 Arthur Kopit

PROFILE THEATRE

THE UNIQUE MISSION OF PROFILE THEATRE Profile Theatre’s mission is to produce a season of plays devoted to a single playwright, engaging with our community to explore that writer’s vision and influence on theatre and the world at large. We do this through large-scale professional productions, In Dialogue Series readings and lectures, and our vibrant education programs.

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Profile Theatre was founded in 1997 by Jane Unger with the mission of celebrating the playwright’s contribution to live theatre. Profile’s mission is to produce a season of plays devoted to a single playwright, engaging with our community to explore that writer’s vision and influence on theatre and the world at large.

Victor Mack in Tanya Barfield's Blue Door

The dramatists we profile have something significant to say about humankind in all its variety, complexity, humor, tragedy, anger and hope. They cast a light on the desires and demons that drive us to seek a better understanding of who we are, where we are going and why. As Profile moves into our third decade, we are excited to explore our mission by looking forward, featuring the work of contemporary playwrights who are creating the canon of tomorrow. With our 2016 season, Profile is thrilled to embark on our three year Initiative for Diversity and Inclusion. Through this initiative, we are intentionally considering playwrights whom, traditionally, our industry has not supported. We have committed to three years of presenting the work of female playwrights and/or playwrights of color. Currently, there is energized and passionate conversation happening in theatres throughout the country around the ideas of diversity and inclusion. With this initiative, Profile places itself not only at the center of that conversation, but also on the leading edge of change.

FOR THIS PRODUCTION PRODUCTION MANAGER: D Westerholm ASSISTANT DIRECTOR: Solveig Esteva ASL INTERPRETERS: Dot Hearn, Kassie Hughes BOARD OPERATOR: Ronan Kilkelly Production services provided by Artists Repertory Theatre

Actors’ Equity Association (AEA), founded in 1913, represents more than 50,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org

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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.

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NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

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

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

“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.

ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016

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NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

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

ublisher David Whitney) and utterly flat surfaces

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,

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

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.

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901A NW Davis St. | Portland, OR 97209

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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

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

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

Photo by Kyle Delamarter

AN ARTSLANDIA FEATURE

ARTSL ANDIA AT THE PERFORMANCE â&#x20AC;¢ NOV | DEC 2016

Imago Theatre’s

LOST IN THE WORLD OF THE AUTOMATO N by Brett Campbell

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

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.

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“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.

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Theater for All Ages with Song, Dance & Story

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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.

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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.

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1. Silent Night was written for this instrument.

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November 15 December 6 May 9

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

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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.

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

EDITOR-AT-L ARGE CONTINUED FROM PAGE 17

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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.