Wednesday, July 12, 2017

HART’S 2017 Page to Stage Intriguing Summer Fare

Picture by Carl Dahlqvist, shows (l - r) Les Ico, Ami Ericson,
Rachel Thomas, Skye McLaren Walton, and Kaitlynn Baugh
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By Tina Arth

One of the best things about live theater is that no two performances are exactly the same, so there’s always the prospect of getting new perspectives on the material each time you see a show. However, HART Theatre’s current offering, 36 Perfectly Appropriate Mealtime Conversations, takes this concept to a whole new level. Never heard of it? Not surprising – it’s brand new, this season’s winner of HART’s annual “Page to Stage” competition, which gives local playwrights a chance to see their work in full production. Author Brianna Barrett decided to explore the complex topic of gender roles in theater by writing a show about messy human relationships in which every character can be played by either a man or a woman, and doubled down by then having the core cast members play different roles in each performance. Depending on the evening (and thus the assignments of the various cast members), one key character could be a heterosexual transsexual, a gay transsexual, a heterosexual woman, or a lesbian. While the dialogue stays the same, the subtext varies wildly – as does the humor (it’s a very, very funny play).

It’s not easy to condense a series of 25 vignettes into an intellgible summary.  In brief, six core cast members (Terry, Morgan, Jessie, Alex, Cameron, and Parker) and two “Observers” appear in a series of brief meetings in bars, restaurants, and homes where they obsess over a variety of issues involving their attempts, as maturing Gen Ys and millennials, to achieve true adulthood and lasting satisfaction in their interpersonal relationships.  Only the observers (Les Ico and Ami Ericson) retain their roles throughout the run of the show (although there is still some gender-bending, in particular Ico’s truly spectacular appearance singing love ballads in a fetching wig).  There is one married couple, and their discussions about love, fidelity, and parenthood/adoption will take on dramatically new meaning with each separate pairing. Blaine Vincent III’s effect as lounge singer Jessie will be very different when a woman plays the role, just as the bodice of his fabulous red dress will undoubtedly look a lot different when filled out by actual breasts.

I hesitate to call out any specific performances, as future audiences will not be seeing the actors in the same roles I saw.  Kaitlynn Baugh’s tough talking Alex and Skye McLaren Walton’s fragile, insecure Cameron present an interesting take on friendship that will undoubtedly be transformed when played by pretty little Rachel Thomas or stolid, serious Cecelia Shroyer. Barrett’s script is incredibly witty, but the funniest lines may shift nightly depending on who’s playing whom. I found myself several times watching and listening on two levels, seeing and enjoying the current cast while imagining how the effect might change in future productions. It’s obviously not practical to see every possible iteration, but I definitely plan to attend at least one more performance just to experience the effect of the shifting roles.

Page to Stage productions are, to some extent, works in progress. Director Carl Dahlquist has done a nice job of wrangling the complex script into coherence, but the show still runs a little too long (2 hours, 45 minutes including intermission). The set is minimalist, and several minutes could have been shaved by just simplifying the scene changes, in particular by reducing the number of times the tables and door are moved around the stage. There are undoubtedly places where the script can be tightened up, and I’m confident that Barrett will take advantage of the HART run to evaluate the effectiveness of each vignette.

The show should probably be rated as at least PG 13, due to some mature themes and language. That said, it’s an intriguing, entertaining story that should resonate with adult audiences from any generation.


36 Perfectly Appropriate Mealtime Conversations is playing at the HART Theatre, 185 SE Washington, Hillsboro through July 23, with performances at 7:30 on Fridays and Saturdays and 2:00 on Sundays. 

Monday, July 3, 2017

Broadway Rose The Addams Family Fast-Paced and Fun



By Tina Arth

I have seen The Addams Family musical three times in the past few years – once as a youth production, once in community theater, and last Friday at Broadway Rose’s stunning professional staging.  Each version was lively and entertaining, each (predictably) well cast for the level of the company, and (less predictable by far) each presented me with a different vision of who is the real star of the show. The book (by Marshall Brickman and Rick Elice) and music/lyrics (by Andrew Lippa) leave ample room for the director and principals to play with the material, and Broadway Rose director Peggy Taphorn and cast are having a great deal of fun doing just that.

The story adheres to a familiar format for comic adaptations – two very different groups (in this case, the dark and eerie Addams clan and the disturbingly cheerful Middle-American Beineke family) are brought together by a Guess Who’s Coming To Dinner? type romantic mismatch. A twist on tradition is a key plot point – Gomez knows about daughter Wednesday’s engagement to the seemingly unsuitable Lucas Beineke, but swears not to tell Morticia, setting up the crisis of a man trapped between love for his wife and love for his daughter. The script is fraught with light-hearted tension and ultimately resolves in a series of classic “love conquers all” moments extending not only to the young couple but to both sets of parents (Gomez and Morticia Addams, Mal and Alice Beineke) and to the most unlikely of Lotharios, Uncle Fester.

Both the breadth and depth of talent on stage are truly impressive. The twelve Addams Ancestors, representing earlier generations of the family, provide a solid choral background, lively and athletic dance ensemble, and plenty of comic moments - Christopher Sweet’s ghostly conquistador is positively unforgettable. Emily Windler’s “Grandma” is really quite lovable in a stunted, twisted way, and she brings a razor-sharp wit to her work with Pugsley (Karsten George) in the “What If” scene. George shows a fine grasp of physical comedy in “Pulled,” and his vocals and timing are spot-on throughout. Isaac Lamb’s incurably romantic “Uncle Fester” moves from the campy “Fester’s Manifesto” (complete with ukulele) to the utterly enchanting “The Moon and Me” – a perfect example of this show’s ability to meld the absurd with genuinely lovely ballads.

Joe Theissen (Gomez) and LisaMarie Harrison (Morticia) get some of the show’s finest numbers – Theissen’s “Happy Sad” captures the spirit of any father dealing with the pride and heartbreak of a growing daughter, and he conveys his passion for Morticia with just the right note of Latin lover in numbers like “Live Before We Die.” Like the rest of the Addams clan, Harrison”s “Morticia” is playfully dark, but she reveals her soft underbelly in flashes of maternal devotion and wifely love that transcend mere passion. At her lowest moment, Harrison reminds us subtly of Tevye’s conundrum, then (with the help of the Ancestors) does a spectacular job of cheering herself up in the classically Broadway-style “Just Around the Corner.” Molly Duddleston is charming – perhaps a little too much so – as Wednesday Addams. Her voice is lovely, but she’s just too cute to completely sell the hostile, depressed side of her character, giving us a bit too much ingénue and not quite enough Goth.

The role of Alice Beineke was a bit of a throwaway in the first two Addams Family productions I saw, but Amy Jo Halliday quite simply steals the show at Broadway Rose.  Her trip across the tabletop in “Waiting” (so reminiscent of Bye Bye Birdie’s Rose Alvarez) is an absolute showstopper – nothing less than the full ensemble rendition of “Full Disclosure” could have followed it to end Act I. The combination of her vocal power and utter lack of inhibition sets a dauntingly high bar for the rest of the cast, moving the show from “really fun” to absolute dynamite.

Alan D. Lytle and his orchestra keep the show moving at a rapid pace, and the elaborate sets are engineered to eliminate even slight delays for scene changes.  Director Taphorn has injected the script with several crowd-pleasing contemporary quips, and her choreography is dynamic, precise and imaginative, particularly in ensemble numbers with the Ancestors. Broadway Rose’s first big summer offering for 2017 is well worth a trip to Tigard for fine acting, great vocals, and a full evening of laughter.


Broadway Rose’s The Addams Family runs through July 23d at Tigard High School’s Deb Fennell Auditorium.

Sunday, June 25, 2017

Experience Theatre Project Whips Up a Steampunk Tempest

Robert Amico (Ferdinand) and Nicole Richwalsky (Miranda)
Casey Campbell Photography


By Tina Arth

Beaverton’s “Experience Theatre Project” is a local leader in the movement to bring new audiences to the works of William Shakespeare by offering free or low-cost productions to the broadest possible audience. In keeping with this, their current staging of The Tempest has a fun steampunk style, is offered outdoors (at The Round in Beaverton) with no set admission fee ($10 donation suggested, $15 for reserved seating with a drink and dessert), and provides both sign language and Spanish interpreters. Director Jen Waters has done a great job of integrating the audience into the show, as the cast frequently moves through the seating areas and occasionally interacts directly with individual audience members. All of this makes for an enjoyable, accessible experience that will captivate adults and their kiddos. Of course the youngsters may not understand everything (realistically, few of the adults will follow every nuance!), but the movement, costumes, clowning and broad dumb show are enough to give the broad outlines of the story and keep everyone engaged.

Unless you’re a real Shakespeare fanatic, I recommend that you read the show synopsis in the program before the performance begins – a crutch I was denied since I attended the dress rehearsal. An even briefer guide: Alonso (King of Naples) and friends are shipwrecked by a huge storm, and all aboard are tossed into the sea. They arrive safely (but missing Alonso’s son Ferdinand) on an apparently deserted island. The island is actually inhabited by the exiled Prospero (former Duke of Milan), his daughter Miranda, and the half-wild native, Caliban, and several spirits. Ferdinand, who has landed on another part of the island from the rest, encounters Miranda – love at first sight! Prospero’s chief spirit/slave, Ariel, desperately wants his freedom, and Prospero offers it in return for a few small favors (primarily leading Alonso and his party to Prospero). The court jester, Trinculo, and Stephano the butler form a drunken alliance with Caliban, and vow to usurp Prospero as leader of the island.  Prospero agrees to allow Miranda and Ferdinand to marry, Ariel foils the evil plot by Trinculo/Stephano/Caliban, Alonso and his party find Prospero and are thrilled to find Ferdinand alive and betrothed, Ariel is released from bondage, and the (miraculously intact) ship carries all of the good folks home.

One great strength of the production is its physicality – the amazing simulation of the tempest by the storm-wracked passengers, Sam Schultz’s crab-like crawl as Caliban, Sullivan Mackintosh’s bawdy, staggering acrobatics as Trinculo, and Charles Grant’s leaping, soaring Ariel. Greg Barrett paints the drunken Stephano with a broad brush, and his magic trick is a real audience pleaser.  Schultz and Grant are particularly effective at creating the aura of magic and mystery essential to the tale.

The loving couple (Nicole Richwalsky as Miranda, Robert Amico as Ferdinand) express their infatuation so clearly that it doesn't matter if a few lines of dialogue are drowned out by passing trains (always a risk at the Round), and Richwalsky injects the right notes of childish, wide-eyed innocence into the role. Bill Bernsohn’s portrayal of the loving father conveys his guilt at depriving his daughter of a normal life; he also segues nicely from seeking revenge to forgiving his old rivals.
Alisa Stewart’s costumes are quite stunning – in particular, Ariel’s wings and Caliban’s terrifying mask, as well as the fantastical makeup designs on these key characters. The steampunk theme is carried out effectively on the set with a huge machine resembling a giant, mechanized, steam-belching teapot.

As mentioned above, passing trains (and ambient noise from outdoor seating at nearby restaurants) sometimes interferes with dialogue, but the production really doesn't suffer much from those obstacles. Only the reserved seating offers chairs, so I’d recommend bringing a portable camp chair if two hours on concrete or grass doesn't sound appealing. The weather may be very hot at the Sunday matinees – wear sunscreen and a hat!


Experience Theatre Project’s The Tempest runs at the Round at Beaverton through Saturday, July 8th with performances at 7:30 Fridays and Saturday, 2:00 pm on Sundays. There will be a special show on Thursday, July 6 at 7:30.  For reserved seating, go to www.experiencept.org.

Wednesday, June 14, 2017

Believe the Rumors About Twilight’s Latest



By Tina Arth

It’s hard to go wrong with Neil Simon’s plays, but even the best script, in the wrong hands, can turn witty farce into irritating buffoonery. Rumors makes no pretense at deep social meaning, and has unapologetically slapstick elements that open the door to chaotic overacting – but Director Maury Evans and his brilliant cast have crafted Twilight Theater Company’s production of Rumors into, without question, the funniest show I’ve seen this year.

Laura Myers and Richard Barr
The story takes place in the living room of New York City Vice-Mayor Charles Brock and his wife Myra, who are supposed to be hosting an elegant party to celebrate their 10th anniversary.  Missing are Charles (unseen upstairs, bleeding from an apparent suicide attempt gone awry), his wife Myra, the couple’s household help, and all of the expected trappings of a dinner party, including the food (other than a well-sealed bag of pretzels and a well-stocked bar). In classic drawing-room comedy style, the first arrivals (Charles’ lawyer Ken and his wife Chris) madly endeavor to conceal the situation from the next three couples, hoping to avoid a scandal. As new people gradually arrive the cast makes liberal use of five doors – a sixth is curiously ignored. Slowly, the other couples learn bits and pieces of the story, adding their own interpretations and rumors to a tale that grows increasingly complex and culminates in the utterly absurd version recounted to the police.

Despite the absence of in-depth character development in the script, each actor quickly develops a distinct personal style that defines the cast member’s social status, personal neuroses, and relationship to the others.  Evans’ decision to cast Greg Saum as Cookie, the flamboyantly zaftig cooking show host, was inspired – the contrast between the over-the-top Cookie and her worshipful but introverted psychiatrist husband Ernie (nicely underplayed by Andy Roberts) sets up some of the show’s best moments.  Another power couple, Glenn (Ian Leiner) and Cassie (Amanda Anderson) bickers incessantly, primarily about Glenn’s focus on every woman he sees except his wife. Leiner finds a fine balance between button-down politician and lecher, using his eyes to tell a story otherwise denied, and Anderson’s shift from neglected harpy to seductress is hilariously convincing.

Rob Harris gives “Ken” a bug-eyed, barely controlled hysteria, his frenetic hand movements telegraphing the frenzy bubbling just below the surface. Alicia Turvin (as Ken’s wife Chris, also a lawyer) is utterly flustered, expressing her anxiety through her all-consuming need for a forbidden cigarette to calm her nerves. The final couple, Lenny and Clair (Richard Barr and Laura Myers) anchor the show with their sterling performances. Myers carefully negotiates the challenge of getting progressively drunker throughout the evening without becoming sloppy – her diction, bearing, and gossipy motor mouth remain consistent as she steadily downs a series of drinks (many intended for other characters). Barr is a classic candidate for anger management, always on the brink of an explosion but never venturing too far, until his spectacular final monologue. This masterpiece of comic timing left the audience, although weak with laughter, strong enough for the solid round of applause he so richly deserved.

Scott Miler’s set design functions like another character, immediately clueing the audience in to the cleanly elegant ambience of the era and locale while providing (in a remarkably small space) the levels and portals necessary for the show’s complex physical comedy, and Chris Byrne’s costumes skillfully complement each character’s personal style.

Nothing I write can begin to capture either the comedy on stage or the audience’s robust reaction. If you share my conviction that laughter is particularly essential in trying times, then this is one of those shows you’ve just got to see – perhaps more than once!


Twilight Theater Company’s Rumors is playing at the Performing Arts Theater, 7515 N. Brandon Avenue, Portland through Sunday, June 25th with performances at 8 P.M. Thursday, Friday and Saturday and 3:00 P.M. Sunday. The Thursday, June 15th performance is a special fundraiser for the Kenton Business Association’s “Paint Paul” campaign.

Wednesday, June 7, 2017

TITG’s Earnest Effort Pays Off

 Lindsay Partain, Anne Kennedy, Mark Putnam, and Tonja Schreiber

Photo by Jennifer McFarling


By Tina Arth

Some classic plays, no matter how engaging, can grow stale with endless repetition.  120 + years after its debut, this is still not an issue with Oscar Wilde’s incessantly ironic, tightly written The Importance of Being Earnest. While the original play is set in late Victorian London, modern directors frequently place it in different milieus – in recent years I have seen it done in the post-Civil War American South, and (in Theatre in the Grove’s current production) back in London, but in the 1930s. Director Jess Reed and her cast (despite a few opening night line-bobbles) show how seamlessly the show can move from era to era, place to place - a testament to the universal relevance and appeal of this superb farce.

 Wilde acknowledges with his subtitle: A Trivial Comedy for Serious People, that the story is quite silly. Aristocratic bachelor Algernon languishes in a decadent life with his best friend Ernest, until he learns a shocking secret: both he and Ernest are leading double lives – Algernon frequently flees London to visit a fictitious ailing friend, “Bunbury”, while Ernest is really the upstanding Hertfordshire gentleman Jack Worthing, guardian to the lovely Cecily. Immediately intrigued, Algernon schemes to meet the girl. Jack, meanwhile, is in love with the aristocratic Gwendolen, who shares his passion but believes him to be Ernest. Add Gwendolyn’s tightly wound mother, Lady Bracknell (who is also Algernon’s aunt) to anchor the plot, and Wilde’s wit is launched on all of the foibles of an empty upper class.

The unusual decision to cast a woman (Anne Kennedy) in the role of Algernon really works. Physically, Kennedy’s fantastic hairdo and tightly stuffed suits support the illusion, and her lines are spoken in a gender-free vocal register. However, it’s really Kennedy’s delivery that sells the role, and there’s something really appealing about watching this woman play the part of the jaded wastrel. Her comic timing is spot on, and she does a nice job with the accent. Mark Putnam (as Jack/Ernest) is a perfect foil – upright, dry, acerbic and even avuncular at times. While Kennedy is frequently sprawled on any available couch (inhaling every muffin in sight), Putnam stands ramrod straight, and delivers even his funniest lines with a slightly fussy gravitas.

Tonja Schreiber’s “Gwendolen” is forthright and brassy – there’s more than a touch of her mother in this determined young lady. She contrasts nicely with Lindsay Partain’s “Cecily” – a bubbling, enthusiastic ingénue eager to trade her sheltered life for a passionate alliance with Algernon. And then there’s Pat Lach’s “Lady Bracknell” – a ferocious social doyenne whose humble origins are no barrier to her savage snobbery. Her crisp delivery, upright carriage and amazing hats all reinforce her ironically self-righteous embrace of social conventions.

James Grimes’ set design is lovely, and really captures the Art Deco feel necessary to create the feel of the 1930s. Flori Lima-Steele’s costumes (especially the hats mentioned above) further enhance the period feel and define each of the characters.

Director Reed, her production team, and cast have crafted a really funny, very fresh production of Wilde’s classic that should appeal to all fans of social commentary cloaked in razor-sharp wit.


The Importance of Being Earnest is playing at Theatre in the Grove, 2028 Pacific Avenue, Forest Grove through June 18th, with performances Friday and Saturday at 7:30 p.m. and Sunday at 2:30 p.m.

Monday, May 29, 2017

Crowds Should Roar at HART’S Greasepaint

Urchins' ensemble. Front row: Aubrey McLain, Lily Henderson, William Ferguson.
Back row: Kennedy Raphelt, Rylie Elizabeth Bartell, Orion Duncan, Sarah Felder


By Tina Arth

History tells us that The Roar of the Greasepaint, the Smell of the Crowd is an allegorical tale from the 1960s about the inequalities of the British class system.  Despite evidence to the contrary, including my own memory of several of the songs, a part of me insists that this quirky little show was written in 2017 to shine the piercing light of absurd comedy on the current scene in Washington D.C. Co-authors Leslie Bricusse and Anthony Newley have captured with unerring prescience key themes in 2017 America, and I suspect that this rarely performed musical will see a renaissance in the coming months and years. HART Theatre should be proud to be leading the charge.

While the story is pretty much indescribable (you’ve really got to be there), some exposition may help. On a starkly minimalist set, two men (the aristocratic Sir and the subjugated Cocky) are playing the game of life (literally – there is a game board painted on the stage floor).  The game is rigged to reflect a societal perversion of the golden rule  - “he who has the gold makes the rules.”  Eagerly supported by a group of ragtag urchins, Sir wins every game without ever lifting a finger. It’s always Cocky’s turn, and every move he makes is wrong. The pattern is disrupted only with the arrival of The Stranger (described in the original play as “The Negro”), a newcomer who functions outside of the rigid constructs of the game, makes up his own rules, declares himself the winner, and cheerfully wanders off.  Sir, Cocky, and the rest are left to puzzle out how to respond to this revolutionary tear in their social fabric.  The ambiguity of the show’s conclusion provides no easy answers, but at least opens the door for hope that today’s often-maligned social justice warriors may be tomorrow’s victors. All of this is delivered with a liberal dose of wit, really fun choreography, and some amazing songs including classics like “Who Can I Turn To” and “A Wonderful Day Like Today” that take on whole new meaning in the context of the show.

Fifteen year-old Lily Henderson does a fine job in her key role as Sir’s sidekick “The Kid” – both the scorekeeper and the narrator, she enthusiastically captures the paradox of the lower-class character working against her own interests.  The rest of the urchins sparkle with their physical agility, and they provide a powerful vocal ensemble to back the show’s biggest numbers. Prince AV’s “The Stranger” is a real find, with the trained voice to absolutely nail one of the show’s biggest solos, “Feeling Good” (a standard long before anyone ever heard of Michael Buble). Kaitlynn Baugh is lovely and winningly naïve in her part of “My First Love Song,” but it is her silent despair when claimed as one of Sir’s many prizes that really catches the audience.

Finally there are the two leads – Stan Yeend (“Sir”) and James Grimes (“Cocky”). Both hit just the right notes for their characters, injecting their songs with both power and personality while avoiding either distracting British accents or cartoonish melodrama. Playing it straight serves to emphasize that, while the story may be an allegory, it’s just not that far off from contemporary reality.  Yeend is literally larger than life, and he manages to convince us that he is really puzzled by Cocky’s petty discontents and rebellions – in Sir’s world, best expressed in “A Wonderful Day,” the status quo is just fine, and “it wasn’t by chance that we happened to be where we are.”  Most of Grimes’ songs, despite some wide octave shifts, still fit neatly in the center of his vocal range, allowing him to give numbers like “Who Can I Turn To” a poignant dignity. I was equally impressed with Grimes’ acting – he moves from craven to eager, suspicious to optimistic, and despairing to hopeful with ease. The character’s sporadic limp, the result of a genuine injury, manages to give Cocky an extra dose of pain and pathos that works quite well, although one hopes that he’ll have recovered by the second week.

Three unseen, but not unsung heroes are musicians Ryan DeHaven, Glen Libonati, and Amy Katrina Bryan. Their flawless work proves once again that the basic keyboard, bass, and drums can deliver even the most challenging score in an intimate setting. Add in Sandy Libonati’s solid vocal direction, a top-notch technical crew (special props to Natasha Cimmyotti’s follow spots), Linda Anderson’s athletic choreography, and of course Glenn York’s tight, restrained direction and the product is a show well worth seeing.


The Roar of the Greasepaint, the Smell of the Crowd is playing at the HART Theatre, 185 SE Washington, Hillsboro through June 18th, with performances at 7:30 on Fridays and Saturdays and 2:00 on Sundays. 

Thursday, May 11, 2017

Many Shades of Meaning in Anatomy of Gray

Catrionia Johnston, Aaron Morrow, Ted Schroeder, John Knowles, and Pat Romans


By Tina Arth

Mask & Mirror Community Theatre’s selection process in the last couple of years has yielded some real gems – and their current show, Anatomy of Gray, is definitely a rare jewel. Jim Leonard Jr.’s 2006 play is funny, touching, and thought provoking – one of those works that lingers, quietly revealing new facets long after the final curtain. Director Sarah Ominski and her cast have done a fine job with this nuanced play, allowing the actors and audience to have an enormous amount of fun without sacrificing the poignant and sometimes painful elements of this tale of love, loss, and community.

The opening scene is comfortably familiar – young Junie Muldoon, trapped in the tiny 19th century hamlet of Gray, Indiana, begins with a monologue about boring life in this boring town, immediately followed by her father’s funeral. Shortly after she writes an anguished letter to God asking for a doctor “so that nobody will ever have to die again” a massive storm arrives – and any pretense of reality goes on the back burner. The first clue is when Junie tears across the stage crying out for her lost dog – shades of Toto – followed by a huge twister that brings the mysterious Galen Gray crashing down in his balloon. Obviously, at some level we’re not in Indiana anymore.
The xenophobic Pastor Wingfield is suspicious about the newcomer, who conveniently turns out to be a doctor, and the good pastor’s suspicions are inflamed by the appearance of mysterious and deadly lesions on some of the locals. Ultimately only Dr. Gray, Junie, and Junie’s hapless suitor, the soda-pop swilling Homer, are free of infection.  A combination of hometown wit, physical comedy, and well-played pathos keeps the audience engaged as we gradually see parallels between the events in Gray and the AIDS epidemic in the 1980s.

There are several great supporting roles – I particularly liked Steve Horton’s guitar playing. Donna Haub’s crisp take on Tiny Wingfield and Ted Schroeder’s narrow-minded enthusiasm as Pastor Wingfield. However, the show really pivots on the performances of Aaron Morrow (Galen P. Gray), Caitriona Johnston (June Muldoon), Renae Iverson (Rebekah Muldoon), and Robbie Estabrooke (Homer). Estabrooke is perfectly cast as the awkward, love-struck suitor – his earnest overtures are just what I’d expect from a young man of that time and place. Iverson gives her performance a kind of timeless depth and enlightened sensitivity, and she manages to play the martyr without pathos or melodrama.

Morrow gets some of the best material, especially in the realm of physical comedy, and makes the most of it without ever seeming silly – he delivers his lines with a solid intelligence and honesty that allows his character to emerge organically.  Johnston’s “Junie” is a nice blend of innocence, longing, and precociousness, and she has the audience on her side from the moment the lights come up.

Speaking of lights, Brian Ollom’s work as Technical Director plus light and sound designer and operator plays an enormous role. The dreamlike nature that reinforces the play’s allegorical intent is expressed almost completely with lighting, as set and props are starkly minimal. The play moves from farm to graveyard, home to river with not much more than a few boxes; it is Ollom’s lighting that really sets each scene (and his storm is authentically terrifying in its intensity). Viola Pruitt’s costumes help to anchor the show in its time period; despite its thematic progressiveness, we always know that on one level we are still in a 19th century farm town.

Anatomy of Gray is not a show you’re likely to see again for quite awhile, and this production will definitely enhance your understanding of how theater can tell multiple stories simultaneously. Ominski and her team have worked long, hard, and successfully to bring the play to local audiences, and they deserve a run of full-houses.


Mask & Mirror’s Anatomy of Gray is playing at “The Stage” at Calvin Church, 10445 SW Canterbury Lane, Tigard through May 21st, with shows at 7:30 p.m. Fridays and Saturdays and 2:00 p.m. on Sundays.