GUYS AND DOLLS Scores Its Point At Theater in the Grove

Jennifer Yamashiro and Michael Rouches

By Tina Arth and Darrell Baker

 

Nobody ever accused Theatre in the Grove of being afraid to tackle the tough ones, and the current production of Guys and Dolls (like their last play, August In Osage County) clearly illustrates this point. The large cast, intricate vocal harmonies, tricky timing, complex dance numbers, and demanding speech patterns make this show more challenging that its pre-Lloyd Webber origins might predict. Director Darren Hurley has assembled a fine cast, punctuated by some true standout performances, to bring one of our favorite shows to the Forest Grove audience.

Set in the early 1950s, Guys and Dolls presents a cartoonish tribute to some of New York City’s seedier inhabitants (cheesy nightclub dancers, gamblers, gangsters, and crooked cops) juxtaposed against a team of floundering missionaries desperate to draw sinners to their revival meetings at the “Save A Soul” mission. The two populations (and story lines) mesh when floating crap game organizer Nathan Detroit (Michael Rouches) bets inveterate gambler Sky Masterson (James Grimes) that he cannot get “Mission Doll” Sarah Brown (Carly Wasserstein) to accompany him to Havana. Through a series of misadventures, the gamblers end up in the mission twice – first to shoot craps, and later as somewhat repentant sinners.



Brandon Weaver, Michael Rouches,
and Justin Canfield

Of the two lead couples, Sky and Sarah are always at a severe disadvantage when compared to Nathan and his perennial fiancé, Hot Box star Miss Adelaide (Jennifer Yamashiro). Nathan and Adelaide get almost all of the best comedy lines and songs, and Yamashiro and Rouches pitilessly exploit this advantage with their unbelievable performances.  Neither actor misses the opportunity to shamelessly milk a line, gesture, nuance, or scene. The timing, vocals, and pathos of “Sue Me” exemplify the genius of this pairing, and “Adelaide’s Lament “ is a thing of beauty. Another show highlight is “Marry the Man Today,” a number that gives Wasserstein a chance to shine, dumping her prim persona as she and Yamashiro conspire to ensnare their respective beaus.  Wasserstein’s beautiful soprano blends well with Grimes’ “Broadway Baritone” in numbers like “My Time of Day/I’ve Never Been in Love Before.”



Speaking of shameless milking, Brandon Weaver’s portrayal of Detroit’s sidekick Nicely Nicely Johnson is a masterpiece – he never tries to steal a scene, yet any scene he’s in is immeasurably enhanced by his presence. From the opening number, “Fugue for Tinhorns,” through his quirky “Sit Down, You’re Rockin’ the Boat,” his powerful and lovely tenor voice shapes many of the show’s best numbers.

Guys and Dolls requires a solid male vocal ensemble, and Hurley’s cast lives up to the challenge. Justin Canfield does double duty on this score; as vocal director he has fine-tuned the chorus, and as Benny Southstreet he lends his strong voice to several challenging numbers.

We are puzzled by the decision to put the orchestra in the pit, rather than on stage as if often done at TITG. The audience is deprived of the opportunity to watch a fine group of musicians, whose presence would have added an extra spark to the Hot Box and Havana scenes. In addition, the show’s dance numbers are somewhat constrained by the need to work around two large holes in the stage, and we found ourselves occasionally distracted by the fear that a cast member might (as in the vernacular of the show) “take a dive.”  In addition, choreography for the “Luck Be A Lady” ensemble and the talented and nimble Hot Box Dancers could have been more fluid had they been working on a solid stage.

Zachary Centers’ set design is simple but attractive, and cleverly engineered to allow for frequent and rapid scene changes.  The sound was flawless – no opening night audio glitches – as was the lighting.  

TITG is fortunate to have brought director Hurley back into the fold; the technical and artistic quality of his recent productions have been well-received by Washington County theater-goers, who are lucky to have had a community theater like TITG in their midst for over 40 years.

Guys and Dolls is playing at Theatre in the Grove, 2028 Pacific Avenue, Forest Grove through May 11, with performances Friday and Saturday at 7:30 p.m. and Sunday at 2:30 p.m.

 

Summer Comes Early With Broadway Rose’s Bikinis

 

By Tina Arth and Darrell Baker

 

Broadway Rose General Manager Dan Murphy freely admits that at least once each season this venerable musical theater troupe takes on a light-hearted, fun show that is more concert than drama – in the vein of Jersey Boys or Forever Plaid. The current production of The Bikinis, A New Musical Beach Party is a clear example, and yet authors Ray Roderick and Jay Hindman sneak in a few surprising moments that give the audience a glimpse of the world beyond the antics of Frankie Avalon and Annette Funicello’s Beach Blanket Bingo.

The storyline is appropriately thin, befitting what is essentially a musical review. In 1964, four bikini-clad girls win the Belmar Beach Talent Contest, and become The Bikinis, one-hit wonders of the Jersey shore. After several years playing every birthday party, wedding, bar mitzvah, and mall opening in the greater Paramus area, the group inevitably breaks up, and the four young women go their separate ways. Fast forward to 1999, when a condo developer is offering the residents of the Sandy Shores Mobile Home Beach Resort, including group member Annie, $250,000 each to sell out. The Bikinis reunite for one concert to support the trailer park residents as they prepare to vote on the developer’s offer (fiercely opposed by erstwhile Bikini and park resident Annie, fiercely supported by her sister and fellow singer Jodi). How does the vote come out? You’ll have to see the show – it’s a real sandy cliffhanger! 

Of course, this is Broadway Rose, so the audience is treated to four superb vocalists (Laurie Campbell-Leslie, Lisamarie Harrison, Sharon Maroney, and Emily Sahler) supported by four hot musicians (Jeffrey Childs, Gary Irvine, Justin Jude Carroll, and Fletcher Nemeth). The beautiful solo performances and smooth, powerful harmonies evoke the best of the ‘60s girl-group era, illustrate the late ‘60s transition to more socially conscious, hippie-driven themes, and end with popular music’s (from our perspective, tragic) devolution to disco.  Despite the fact that the Bikinis no longer sport their teenage beach bodies (and are, happily, clad in less revealing attire) the four women not only retain their vocal chops, they also nimbly and playfully master the choreography of long-lost dance moves like The Swim, The Twist, The Pony, and The Mashed Potato (we even think we saw a trace of The Jerk!).

Of the 30+ musical numbers, special highlights include “Under the Boardwalk”, “These Boots are Made for Walkin’”(a hysterical send-up of a song we love to hate), “Ain’t No Mountain High Enough,” “Look What They’ve Done to My Song, Ma” and “When Will I Be Loved.” However, the strongest moments in the show revolve around the second-act Vietnam era pictorial montage and associated songs. The poignant rendition of Bobby Darin’s “Simple Song of Freedom” with its accompanying narrative gives the audience a frisson of nostalgia for deep wounds and innocence lost, while “Dedicated to the One I Love” (against a visual background of soldiers and their loved ones) brought the opening night audience near tears and captured the most enthusiastic applause of the evening.

The beautiful set (who woulda thought a trailer park could be pretty?), clever lighting, seamless special video effects, and flawless sound combine to support the concert-like feel of the evening. Director Jacob Toth and Musical Director Jeffrey Childs make the most of the amazing talent at their disposal, giving the audience exactly what it wants – a fun and sometimes wistful journey into a cherished past.

The Bikinis is playing at the Broadway Rose New Stage, 12850 SW Grant Avenue, Tigard through May 18^th.  Date, time, and ticket information is available at the website, www.broadwayrose.org.

 

 

HART Brings Is He Dead? Back To Life

From left to right: Amanda Clark, Jan Rosenthal, Justin Campbell,
Nick Hamilton, Ilana Roder, Laurence Cox, Devon Roberts,
and Sarah Keyes Chang. Courtesy of HART Theatre.

 

By Tina Arth and Darrell Baker

 

If the world ever needed more Mark Twain, surely the time is now! For a few hours last Friday missing airplanes, recently deceased hate peddlers, and conspiracy theorists of all stripes receded into the background as HART Theatre’s production of Is He Dead? conducted us headlong into the world of French farce. Director Paul Roder, Assistant Director Tyson Redifer, and their cast succeeded in doing the one thing we demand of comedy – they made us laugh.
 

The show’s origins are a bit muddled – Twain wrote the original in 1898, but it did not see the light of day until a diligent Twain scholar unearthed the manuscript over 100 years later. Playwright David Ives simplified the script, adapting it for the modern audience, and in 2007 it made its Broadway debut.

 

Is He Dead? is brimming with the tried and true elements of traditional farce. Starving artist Jean-Francois Millet and his protégées, faced with financial ruin at the hands of greedy art dealer Bastien Andres, fake Millet’s death to inflate the value of his paintings. Enter: cross-dressing, as Millet dons the persona and costumes of his bereaved (if nonexistent) twin sister, the widow Daisy Tillou. Doors slam, disguises abound, confusion rules the day, at the end of which all is revealed and goodness triumphs over evil.
 

The show is anchored by the four artists – American Agamemnon “Chicago” Buckner (Nick Hamilton), German Hans “Dutchy” von Bismarck (Laurence Cox), Irishman Phelim O’Shaughnessy (Justin Campbell), and their fearless leader Jean-Francois Millet (Devon Roberts). While each plays his role to consistently humorous effect, it is only when Roberts emerges in drag that the audience shifts from mild chuckles to belly laughs.  The comic level climbs not just at the absurdity of the Widow Tillou, but at the antics of his (her?) three buddies as they offer hands on instruction in the feminine arts.  Roberts is simply extraordinary, especially when he begins to believe his own shtick, reveling and preening coyly in response to the amorous attentions of his suitors.

 

A key subplot is introduced by the trio of Papa Leroux (Aaron Morrow) and his two daughters, Marie (Sarah Keyes Chang) and Cecile (Amanda Clark).  Chang plays the classic ingénue – sweet, lovely, and fragile. Clark’s best moments come early; her amazingly elastic facial expressions provide hilarious contrast to the relatively somber tone of the first few scenes. The opposite is true of Morrow, whose role really takes off in Act II when he moves from desperate old man to ardent, if unselective, lecher.

 

Dave Anctil makes his first ever stage appearance as the evil Bastien Andres, and brings admirable villainy to the role. Rian Turner plays three parts, but it is as the stereotypically effete British art buyer Basil Thorpe that his wheezing, nasal, supercilious performance really shines.

 

Special thanks to the costume team of Mary Gow, Kay Denlow, Karen Roder, and Kayli Gow and makeup designer Kahela Fickle whose work faithfully captures the period and locale even when dealing with the gender-bending demands of the script.

 

Is He Dead? is so funny that we are looking forward to seeing it again at HART’s April 5^th fundraiser, “HART Laughs at Art.” Comedy lovers should not miss this wonderful production – you may have to wait another 100+ years before it is back on the scene!

 

Is He Dead? is playing at the HART Theatre, 185 SE Washington, Hillsboro through Sunday, April 6^th, with performances Friday and Saturday at 7:30 p.m. and Sunday at 2:00 p.m. The April 5^th performance is open only attendees of the special fundraiser.

 

 

 

LEAR: Still Too Much Baggage?



Kevin Connell as Lear, Benjamin Farmer as Perillus, Stephanie Leppert
as Cordelia, Rebecca Ridenour as Goneril and Jessi Walters as Regan, photo
courtesy of Casey Campbell Photography

 

By Tina Arth and Darrell Baker

 

The North American premier production of Lear by Bag & Baggage is a somewhat radical adaptation of Shakespeare’s renowned tragedy, King Lear, first performed a decade ago in Glasgow, Scotland.  Ashland regulars may disagree, but from our perspective Artistic Director Scott Palmer has done the world a great service by stripping the Bard’s work down from 20 characters (not counting servants, knights, and assorted hangers-on) to the spare cast of 5 currently treading the boards at Hillsboro’s Venetian Theatre. Even more commendable is his determination to strip away innumerable sub-plots and intrigues that may have been of interest to an Elizabethan audience, but serve today only to obscure the story’s central themes.

Kevin Connell as Lear, Stephanie Leppert as Cordelia and Rebecca
Ridenour as Goneril, photo courtesy of Casey Campbell Photography

Our only real complaint is that Palmer did not go far enough. The story he tells, which is much less convoluted than the most famous of Shakespeare’s versions, incorporates elements of several different versions of the Lear (Leir) story.  In synthesizing the various sources, while retaining the Elizabethan language, Palmer occasionally lost us – did Perillus (a character from Leir, roughly analogous to the Earl of Kent in Shakespeare’s version) direct Lear to Dover to rendezvous with the King of France, or to hurl himself off the White Cliffs? Were both Cordelia and Perillus at various times donning masks to disguise themselves (even though Perillus had not, to all appearances, been banished)? We, (and perhaps other clueless audience members) would have benefited from a bit of additional expository dialogue to answer questions like these.  This strategy worked to marvelous effect in Palmer’s adaptation of Julius Caesar last summer, and we really missed his strategic insertions.

That said, the Bag and Baggage production is a powerhouse of innovative, yet traditional theater. The set is simple and beautiful – diaphanous, colorful hanging shreds of curtain evoking the elegance and decay of Lear’s kingdom. The lighting design similarly accents the tale – at times creating a castle interior, at other times an eerie, storm-tossed heath. Both set and lighting design help to keep the story moving – rather than waiting through prolonged, dark scene changes, the audience is allowed to focus on the story and use its imagination to create the appropriate background for each scene. The original musical score, performed live by composer Tylor Neist, subtly enhances the show’s most dramatic moments without unduly distracting the audience’s attention.

Jessi Walters as Regan, Benjamin Farmer as Perillus, Kevin Connell as
Lear, Stephanie Leppert as Cordelia and Rebecca Ridenour as Goneril, photo
courtesy of Casey Campbell Photography

The show’s greatest asset is the exceptional quality of the cast. Despite our occasional confusion about minor textual details, the play’s themes are made crystal clear by the five actors. Kevin Connell (“Lear”) delivers a moving performance as he descends from arrogant familial and royal despot to pathetic, broken madman. Despite the uniformly intense emotional level of the role, he modulates his delivery enough to avoid the sins of overacting. Rebecca Ridenour is convincing as the hypocritical and devious, but ultimately repentant, eldest daughter Goneril – she demonstrates sincere horror when sister Regan (Jessi Walters) violently disfigures Perillus. Walters is every father’s nightmare – greedy, vicious, and completely heartless. She uses her powerful voice and stark facial expressions to convey the unfathomable evil of her character. Stephanie Leppert (youngest daughter Cordelia) combines sweetness, honesty, loyalty, and self-confidence to portray a young woman of unparalleled strength and courage. Like Cordelia, Lear’s manservant Perillus (Benjamin Farmer) clearly has his master’s best interests at heart throughout; ironically, it is traitorous daughter Regan who punishes him for his alleged treason. Both Farmer and Leppert bring skillfully nuanced delivery to their emotionally complex roles.

Once again, Bag & Baggage is bringing challenging and groundbreaking theater to the Venetian’s stage. While not perfect, the show provides a compelling and provocative evening of intense and beautifully staged drama.

Bag & Baggage’s Lear is playing at Hillsboro’s Venetian Theatre, 253 E. Main Street, through March 23, with performances Thursdays, Fridays and Saturdays at 7:30 pm and Sundays at 2:00 pm.

 

Latkes and Love at Beaverton Civic Theatre

Jessica Reed and Seth Haas

 

By Tina Arth and Darrell Baker

 

People go to the theater for many different reasons. After a kind of tough week, we went last Saturday in search of a pleasant, entertaining evening; BCT’s production of  Crossing Delancey delivered that and more. Author Susan Sandler’s story about Isabelle (“Izzy”), a nice Jewish girl finding love in New York City, is a gentle romantic comedy that earns more chuckles than belly laughs, but leaves its audience with a warm glow.

BCT is known for its ingenious, functional use of space. Set designer Alex Woodard’s creation makes the most of the limited space available, using a vertically placed bench to separate the bookstore (Izzy’s workplace) from her grandmother Bubbie’s kitchen. Move the bench to a horizontal position and voila! – it becomes a third location, allowing the action to move without interruption.  The kitchen set is particularly attractive and engaging, with its accurate reproduction of everybody’s Bubbie’s kitchen – right down to the old gas stove and grandmotherly refrigerator magnets.

Director Stan Yeend makes an impressive directorial debut at BCT, eliciting fine performances from his five-person cast. Jessica Reed (“Izzy”) gives a bright and believable interpretation to a complex lead role. She moves easily from a stereotypical modern city girl, proudly rejecting the cultural clichés of her East side origins, to a grounded woman who finds happiness when she strips away her superficial illusions and delusions.

Valarie Griffiths Brown and Adam Caniparoli

Lauren Bronson (“Bubbie”) is a wonderful character actress who creates a classic Jewish grandmother; typical but not clichéd. She projects a warmth that quickly shifts to sharp determination when obstacles arise – a quiet steamroller who will not be deterred. Her friend and co-conspirator Hanna (played by Valarie Griffiths Brown) embraces her inner matchmaker with the same enthusiasm she brings to a plate full of kugel. She is loud and brash, with the subtlety of a used-car salesman – and she is very, very funny.

The play’s two men are polar opposites, and Adam Caniparoli (“Sam” the pickle salesman) and Seth Haas (“Tyler” the Great Author) skillfully embody their roles.

Caniparoli is exceptionally multidimensional – pragmatic, philosophical, thoughtful, educated, and overwhelmingly likeable. We hope to see more of this talented young actor on Westside stages. Versatile BCT veteran Haas is equally effective, if much less likeable, as a man with but one dimension – his own ego. His smarmy affect opens Izzy’s eyes to the importance of real character – as Sondheim once said, “Nice is different from good.”

Lisa Bodry’s lighting design is an essential component of the show, defining areas and moods and utilizing a carefully placed spotlight (nice job, Tonja Schreiber!) to allow Izzy to occasionally break the third wall and chat companionably with the audience. 

Crossing Delancey is chicken soup to the theater lover’s soul, yet carries an unexpected depth that lingers long after the evening ends. So see it bubelah, you’ll be glad you did!

Beaverton Civic Theatre’s production of Crossing Delancey plays at the Beaverton Civic Library Auditorium through Saturday, March 15^th with performances at 7:30 p.m. on Friday and Saturday and a Sunday matinee at 2:00 p.m. on March 9^th.

 

TITG Brings Osage County to the Grove

Michael Rouches and Jeananne Kelsey

By Tina Arth and Darrell Baker

As the Wall Street Journal noted in a recent article, Theatre in the Grove is taking a rather large risk by offering as big and provocative a show as August: Osage County in Forest Grove. This is not exactly a family-friendly community theater offering – over three hours of jarring drama laced with copious doses of vulgar language and unbelievably vile behavior. It’s an intensely disturbing play, and despite the frequent (dark) humor, the evening left us emotionally drained and pathetically eager to hurry home to the uncomplicated adoration of our dogs. This reaction is not an indictment of the production, but recognition of the powerful performances we had just seen.

Any attempt to neatly summarize the plot would be wasted – there’s enough drama and trauma in the play’s tale of the Westons, a thoroughly dysfunctional Oklahoma family, to fill a season of General Hospital. The events take place in the course of a few weeks in the large Weston homestead, where the entire clan assembles to deal with the disappearance (and ultimately, suicide) of the family’s alcoholic patriarch, Beverly Weston. Over the course of the play, the dialogue and action lead us through decades of drug abuse, alcoholism, molestation, infidelity, incest, blackmail, and emotional cruelty, leaving a group of twisted victims who eventually, frantically scrabble to escape the family home.

The role of Violet Weston (Pruella Centers), the pill-poppin’ manipulative momma of the clan, defines and dominates the entire show. From the moment that Centers appears, stumbling and mumbling down the staircase like Gloria Swanson in Sunset Boulevard, she doesn’t merely steal scenes, she owns them. As the show evolves, she strips away the overtones of pathos to reveal herself as a great, lurking spider who uses her web (the entire house) to ensnare and humiliate all who enter.

Of course, Centers is not alone on the stage – she is surrounded by a stunning group of actors who, even on preview night, did not miss a beat, a line, or a nuance.  With a cast of 13 seasoned performers, neither space nor the availability of appropriate adjectives allows us to recognize all of them.  However, a few people demand special notice. Carly Wasserstein (as Johnna Monevata, the Native American housekeeper) projects a calm, grounded persona that provides welcome relief from the mangled psyches that surround her. She reminds the audience that there is another world outside the Weston web, and she brings a little sanity into the household. Jeananne Kelsey (as Violet’s 14-year-old granddaughter Jean) and Michael Rouches (as the sleazily pedophilic fiancé of one of the Weston daughters) add fuel to the family bonfire in two disturbingly believable scenes. Rouches radiates unctuous charm layered thinly over his character’s predatory nature, and Kelsey beautifully captures the clueless adolescent spaciness of her role.

 

Director, set and sound designer Zachary Centers is the (literal and figurative) architect whose vision has brought August: Osage County to Theater in the Grove.  His spectacular set creates the elaborate Petri dish in which the Weston family pathology flourishes, and his brilliant casting decisions provide the necessary fodder.

Obviously, this show is not for everybody. Persons of delicate sensibilities are well advised to steer clear of the strong language and stronger stories of Osage County – smelling salts and fainting couches are not provided.  However, audiences open to a thought-provoking, gut wrenching evening of dark humor and darker themes should flock to the production.

August: Osage County runs at Forest Grove’s Theatre in the Grove through Sunday, March 16^th with performances at 7:30 p.m. on Friday and Saturday and 2:30 p.m. on Sunday.

 

It’s a Dog’s Life at Mask & Mirror

Sylvia -Amelia Morgan-Rothschild; Greg-Michael
Allen; Kate-Phyllis Fort

 

By Tina Arth and Darrell Baker

As reviewers, we never cease to marvel at the talent that is found on even the smallest of Washington County’s stages. This was driven home to us Saturday night with Mask & Mirror’s hilarious production of Sylvia. Director Gary Roman has drawn a group of fine actors to “The Stage” at Tigard’s Calvin Church, and the opening night audience clearly appreciated this great team effort.

Author A. R. Gurney’s basic story is not terribly new or terribly complicated. A middle-aged couple (Phyllis and Greg) with empty-nest syndrome work through their respective mid-life crises – Kate by pursuing a lofty and rewarding career, Greg by abandoning a corporate job that he finds increasingly meaningless, instead seeking to get “back to nature.” Greg finds an abandoned dog (Sylvia) in the park, and brings her home to their New York City apartment. Kate is not amused – although not a dog-hater, she has been looking forward to a nice, clean adult world for the post-mommy phase of her life. The story revolves around Sylvia’s impact – first in tearing Greg and Kate apart, ultimately in bringing them back together.

Sylvia -Amelia Morgan-Rothschild; Greg-Michael Allen

W. C. Fields once warned fellow thespians never to share a stage with dogs or children (scene-stealers all), and although Sylvia is played by a human (Amelia Morgan-Rothschild), she poses the same threat. This relative newcomer to the Portland area is one of the finest actresses we have seen in recent years – her performance is agile, cute, brash, powerful, and mercurial, and she manages the frequent transitions from almost human to utterly dog with aplomb.  An added bonus is the few brief moments of a cappella work that give the audience a hint of her marvelous singing voice.

Luckily, the rest of the cast members carry their own weight quite nicely. Michael Allen and Phyllis Fort give solid performances as Greg and Kate. While Greg is clearly enamored of his lively new companion, he makes it equally clear that he really cares about Kate, despite her inability to accept his changing needs. Allen creates a likeable guy who captures the audience’s sympathy for his plight – trapped between two women, and wanting to keep both in his life. Fort has the greater challenge, at least in a room full of dog-lovers. She can be, as Sylvia points out, something of a bitch (ironic, eh?), and her relentless campaign to drive Sylvia out of their lives wins her no brownie points. However, her finest moment in the show is the one where she wins back the audience while obsessively searching for Sylvia’s red ball. In this scene, she believably reconnects with the maternal side that seemed to have vanished from her life.

The other members of the tiny cast include Diana LoVerso, who shines in her tiny role as Phyllis, Kate’s college friend - we hope to have the chance to see her do more. Tom, a man in the dog park who philosophizes about the importance of spaying Sylvia (but would never consider neutering his manly Bowser) is played by a woman, G. Moshovsky, who brings a convincing machismo to her sexist role. Continuing this gender-bending trend is B. Hare as Leslie, the marriage counselor. While Hare is male, the character is deliberately ambiguous about his/her gender, asking clients to assign gender based on their own preconceptions. Hare’s few minutes on stage effectively summarize the play’s broader themes about how gender roles can shift (with or without the services of a good veterinarian!).

Sylvia -Amelia Morgan-Rothschild; Greg-Michael
Allen; Kate-Phyllis Fort; Phyllis-Diana LoVerso

The humans’ costumes, while appropriate, are basically just clothes (although Leslie’s is gaudily sexless).  Sylvia, however, is nothing short of spectacular in her various incarnations, from tattered street-dog to post-grooming, prancing diva. The set is basic, but functional – a simple living room, a bench, and the New York skyline, all surrounded by U-shaped seating that brings the audience within a few feet of the action. The lighting supports the show’s shifting moods, especially at the end (dog-lovers, bring your hankies).

To honor Sylvia’s animal-loving themes, Mask & Mirror has identified five animal welfare groups (Animal Aid, Fences for Fido, Indigo Rescue, Oregon Dachshund Rescue, and Pacific Pug Rescue) as beneficiaries. The theater will donate $1.00 for each attendee who mentions one of these great non-profits when tickets are sold.

Sylvia runs through Sunday, March 16^th at Calvin Church, 10445 SW Canterbury Lane, Tigard with performances at 7:30 p.m. on Saturdays and 2:00 p.m. on Sundays.