Monsters in the Grove

Zachary Centers as Igor.

By Tina Arth and Darrell Baker

A darkened stage – lights come up on two giant (dare we say “magnificent”) knockers at Theatre in the Grove’s Halloween extravaganza, The New Mel Brooks Musical Young Frankenstein. The locale (New Transylvania) and iconic characters (drawn from the brilliantly written and cast original movie Young Frankenstein) are a natural for an audience seeking live theater in the spooky season.

For those readers not familiar with the classic monster movie genre, a little background is in order. From 1930 to 1946, Universal Pictures released a series of movies that came to define the American public’s view of monsters – Frankenstein, Bride of Frankenstein, The Wolfman, The Mummy, Dracula, and many more. In 1974, Mel Brooks and Gene Wilder co-authored Young Frankenstein, a loving parody of pretty much every black and white monster movie Universal Pictures ever made. The film starred Gene Wilder, Madeline Kahn, Marty Feldman, Peter Boyle, Teri Garr, Cloris Leachman, Kenneth Mars – truly, a galaxy of the finest film comedians – leaving many big shoes to fill. In 2004, Mel Brooks (notably, without Gene Wilder) turned the movie into a Big Broadway Musical, chock full of huge production numbers, derivative songs, and (happily) lots of the best shtick from the movie.

The TITG production, while ragged in some of the large ensemble numbers, does a generally magnificent job of filling many of the “biggest shoes” from the movie cast. Stevo Clay, in particular, positively channels Gene Wilder’s portrayal of Victor Frankenstein, without sacrificing the small touches that make the part his own. He slips smoothly from the supercilious nerd professor (Dr. “Fronkensteen”) to a hysterical pudding of a man, and ultimately to the confident and triumphant Dr. Frankenstein, and loses none of the comic genius of the original movie role. Jodi Coffman also draws heavily on Madeline Kahn’s portrayal of Victor’s fiancée, Elizabeth Benning. Her “don’t touch me” attitude is conveyed quite effectively, and does not require the “Please Don’t Touch Me” production number to express her character. Coffman particularly sparkles in the love scene with the monster, Ron Hansen, and the song “Deep Love” is one of the few musical numbers that really adds anything to the production.

Ron Hansen gives the surprise standout performance of the evening. Once the monster becomes somewhat sentient, his expressive eyes and mouth seem to take on a life of their own, the intelligence and humor belying the rotting green flesh of his face. Carly Wasserstein, as the sexy lab assistant Inga, is playfully seductive and yodels like a pro (who DOES that?). She also maintains her German accent with greater precision than any of the other characters, cementing a lovely performance.

The multi-talented Centers clan (Zachary as Igor, Pruella as Frau Blucher) contribute many of the evening’s funniest moments; they are the bearers of two of the show’s most beloved running gags (“What Hump?” and the recurrent neighing of the horses whenever they hear the words “Frau Blucher”). As with the earlier “Please Don’t Touch Me,” the production number “He Vas My Boyfriend” is unnecessary – the original line is funniest when first uttered by Frau Blucher, and should have been allowed to stand alone.

The set is somewhat Spartan at first, but the laboratory scenes are a real highlight – lots of ‘30s style high-tech equipment with flashing lights and a perfectly weighted rising platform that nicely reproduces both the Universal sets and the Young Frankenstein parody. It would have been nice to have had the hut scene with the Hermit centered on the stage so that the entire audience could fully appreciate the delicate dance with hot soup.

While by no means a perfect show, TITG’s Young Frankenstein is a great way to spend a pre-Halloween evening laughing with fellow monster fans. Because of mature themes and language, it is not appropriate for younger children.

The New Mel Brooks Musical Young Frankenstein runs through November 3 at Theatre in the Grove, 2028 Pacific Avenue, Forest Grove. Performance are at 7:30 pm October 25, 26, 31 and November 1, 2; 2:30 matinees are offered October 20 and 27.

Stevo Clay (right) as Frederick.

B&B presents an "ambitious" Gatsby

The Great Gatsby-Ty Boice as Gatsby-Cassie Greer as Daisy -
courtesy Casey Campbell Photography

 

By Tina Arth and Darrell Baker

 

Bag and Baggage Theatre artistic director Scott Palmer can never be accused of taking the easy road, as he clearly demonstrates in his ambitious production of The Great Gatsby (adapted by Simon Levy from F. Scott Fitzgerald’s iconic novel). The production itself is beautiful, and the acting generally superb. However, the necessarily condensed format of live theater does not allow for a complete exploration of the story’s characters and themes; the show may appeal most to an audience already familiar with (and fond of) the novel.



The Great Gatsby-Ian Armstrong as Nick
- courtesy Casey Campbell Photograhy



In order to cram the meat of Gatsby into two acts, Levy tells a somewhat expository, disjointed, and episodic tale. Much of it is related by young Midwesterner Nick Carroway, off to make his fortune in post-WWI New York, who falls in with an extraordinarily vapid crowd of obscenely monied wastrels on Long Island. Nick reunites his alluring but morally vacant cousin, Daisy Buchanan, with the mysterious Jay Gatsby (nee Jimmy Gatz), her pre-war Great Love who was thrown over for the incredibly wealthy Tom Buchanan. While Tom makes little effort to hide his own serial infidelity, he is less understanding when it comes to Daisy’s transgressions. Ultimately, everyone suffers – Tom’s latest lover Myrtle killed in a hit and run accident by Daisy, Gatsby shot to death by Myrtle’s jealous if misinformed husband George, a disillusioned Nick who flees back to the relatively moral high ground of the Midwest – everyone, that is, except Daisy and Tom, who (in Fitzgerald’s words) “let other people clean up the mess they had made.”

From her first moment on stage, Cassie Greer (Daisy) creates a genuinely loathsome character. Her deliberately languid poses and delivery dripping with aristocratic ennui paint a clear picture of a hollow, completely self-absorbed and utterly useless human being. Colin Wood (Tom Buchanan) is equally loathsome; Wood’s burly physique and larger-than-life arrogance perfectly convey Tom’s entitled, alpha-male, competitive, white supremacist persona.

The Great Gatsby-Cassie Greer as Daisy-Colin Wood as Tom
-courtesy Casey Campbell Photography

Perhaps the trickiest role is that of Nick Carraway (Ian Armstrong) because it is neither black nor white – neither victim nor oppressor, neither rich nor poor.  Armstrong manages to convey Carraway’s ambiguous relationship to his cousin and her crew – simultaneously attracted, puzzled, and repelled by the lives they lead; eager to be accepted and yet hesitant, and ultimately unwilling, to buy in to their decadence.

And then there’s Gatsby (Ty Boice). Boice clearly expresses Gatsby’s superficial charm and the hollowness of the Golden Boy character Gatsby has invented for himself. However, he misses the mark a little by underplaying Gatsby’s other side – the real Jimmy Gatz that he occasionally reveals to Nick - the wartime buddy and regular guy. This may be as much a function of the script as the actor.

Ironically, the only unambiguously innocent character is murderer George Wilson (Adam Syron). Syron does a fine job of portraying a baffled working-class victim of his wife’s infidelity and Buchanan’s coldly mocking false promises. Despite the character’s obsequious and sometimes desperate sniveling, Syron earns the audience’s sympathy and (by killing Gatsby) respect for standing up for himself.

Costume designer Melissa Heller has created beautiful, period-appropriate costumes that capture the tawdry glitz of the early ‘20s. The minimalist set sketches the opulence of the setting, and the dock built out into the audience is a clever touch that nicely supports the illusion of unseen bay-front mansions.

The Great Gatsby runs through Sunday, October 20^th with shows Thursday, Friday, and Saturday at 7:30 and Sunday matinees at 2:00. All performances are at the VenetianTheatre, 253 E. Main Street, Hillsboro.

 

The Crucible at BCT

Cast members of "The Crucible" at Beaverton Civic Theatre

By Tina Arth and Darrell Baker

Witch-hunts. They form a recurrent theme throughout recorded history. Like it or not, the potential exists in all cultures for an outbreak of “endemic persecutory mania,” where a society suffering from mass paranoia turns upon itself. Arthur Miller’s classic play The Crucible, while written in direct response to the political “witch-hunts” of the McCarthy era, is as pertinent and potent today as it was over sixty years ago.

Kira Batcheller as Abigail

In Beaverton Civic Theatre’s current production of The Crucible, director Doreen Lundberg demonstrates a penetrating comprehension of Miller’s essential themes. In a show where the actors too frequently go over the top, but rarely plumb the depths of their characters, Lundberg elicits restrained but powerful performances from her 21-member cast.

The play is based on the actual Salem witch trials of the late 17^th century, when over a six-month period 19 “witches” were hanged (and one reluctant witness pressed to death) on the basis of evidence from a group of hysterical young girls. In Miller’s version the girls’ afflictions are orchestrated by 17-year-old Abigail Williams, the jealous and delusional ex-lover of farmer John Proctor, in order to get rid Proctor’s wife Elizabeth. Ironically, Elizabeth (and her unborn child) survive the ordeal, while John Proctor hangs.

The story opens with the Rev. Samuel Parris (Aaron Morrow), Abigail’s uncle, bemoaning his fate while sitting at the bedside of his nearly catatonic daughter Betty (Addison Groendes). Over the course of the play, Morrow convincingly takes his character from the self-centered and self-pitying accuser to the recalcitrant and broken man who, too-late, faces his culpability for the horrors visited on Salem.  Like Parris, Ann and Thomas Putnam (James Bass and Valarie Griffiths Brown) have a daughter who appears to be afflicted. Brown effectively conveys Ann Putnam’s despair (having lost seven children she cannot bear to lose another) and anger at the pious midwife Rebecca Nurse (Virginia Kincaid), who is mother to eleven and has never lost a child.

Kraig Williams as Rev. John Hale

Kraig Williams is simply brilliant in the role of the Rev. John Hale, the scholarly witch hunter brought to Salem by Parris to investigate the bizarre and frightening behavior of the “afflicted” girls. His original goal is to discover and expel the devil from the community – but by the end he finds that the real evil is in the court itself, and that he has no power to stop this destructive machine. His transition from true believer to shattered doubter is a moving testimonial to the play’s deepest themes.

John and Elizabeth Proctor (Seth Haas and Letitia Maskell) are the driving forces propelling the play to its tragic conclusion. Seth Haas brings a subtlety to his role that may be unexpected to fans of Daniel Day Lewis’ angry performance in the movie version. Haas finds in Proctor’s character a maturity and thoughtfulness that elicits sympathy without histrionics.  The modern audience has no trouble relating to Haas’ believable performance as a complex, flawed, but essentially good man. Letitia Maskell’s interpretation of Elizabeth Proctor’s tortured position matches Haas’ performance in its integrity and intensity.  Elizabeth’s shame, fear, and anguish flow from her husband’s infidelity, and Maskell shows a steely tenderness that captures every nuance of the role.

Steve Holgate as Governor Danforth

The strength of this production is, in part, in the restraint shown by the actors – and this is nowhere more clearly illustrated than by the afflicted girls. In place of unbridled (and potentially comic) hysteria, the audience sees a much eerier and colder Stepford Wives/Village of the Damned ensemble under the thumb of the truly evil Abigail Williams (Kira Batcheller).  Of this group, only Mary Warren (Marina Neal) ever attempts to reveal the girls’ duplicity. Neal brings real emotional depth to the dramatic shifts in her character.

W. Paul Brewster provides a few moments of dark comic relief in the role of Giles Corey, whose stubborn individuality leads to his ultimate demise (he is the lucky fellow who gets pressed to death).  We cannot ignore the almost-diabolical duo of self-righteous judges (Steve Holgate as Governor Danforth and Chris White as Judge Hathorne). White’s eagerness to “hang ‘em high” contrasts, but ultimately complements, Holgate’s pretentious vision of even-handed but inhumane “justice.”

Set designer Alex Woodard and the construction crew have produced a beautiful backdrop for the play’s events that captures the stark simplicity of the Puritan era. Scene changes are efficient and swift, a welcome feature in a long play.

BCT’s excellent production of The Crucible deserves as full and appreciative a house at every performance as it had on opening night.

The Crucible is playing through October 13th at the Beaverton City Library auditorium. Performances are at 8:00 p.m. on Friday and Saturday, 2:00 p.m. on Sunday.

 

LUCKY STIFF Knocks ‘Em Dead at Broadway Rose

 

By Tina Arth and Darrell Baker

 

Broadway Rose’s current show, Lucky Stiff, is the first product of a highly successful collaboration between lyricist Lynn Ahrens and composer Stephen Flaherty (Once on This Island, Ragtime, Seussical). It is an absurdist murder farce – sort of “comedy of errors” meets “Dashiell Hammett” – but with lots of singing and a fair amount of dancing. Luckily for the audience, Broadway Rose never does anything by half-measures, and the quality of this production transforms what could be two hours of formulaic fluff into a great evening of entertainment.

The story itself is predictably convoluted and nonsensical. Harry Witherspoon, a downtrodden, dog-hating British shoe salesman, inherits six million dollars from his long-lost American uncle, Tony Hendon – but there are strings attached. In order to claim his inheritance, Harry must treat Uncle Tony’s embalmed corpse to a weeklong vacation in Monte Carlo – gambling, sky- and scuba-diving, the works! Should Harry fail, Uncle Tony’s millions will go to the Universal Dog Home of Brooklyn.  Harry’s efforts to fulfill Uncle Tony’s wishes are countered by the machinations of Tony’s lover, Rita LaPorta, and by Universal Dog Rescuer Annabel Glick. Suffice it to say that things get complicated.
 

Robert Winstead brings his extensive experience as a vocalist and a comic to the role of Harry Witherspoon. His English accent is convincing, and his marvelously expressive face clearly conveys both the pathos and the determination of his character. Winstead sings on more than half of the show’s songs, and his solid vocal performance buttresses several fine ensemble numbers. His duets with the lovely soprano Ecaterina Lynn (“Annabel Glick”) are especially effective  - comic or poignant as the story demands. Lynn’s earnest, dog-loving fanaticism is a perfect foil for Winstead’s befuddlement, and the two share many of Lucky Stiff’s funniest moments – especially in the brilliantly staged bedroom/dream sequence.
 

Amy Jo Halliday brings a frenetic bimboism to the part of Rita LaPorta, Uncle Tony’s extraordinarily classless half-blind lover (she refuses to wear her glasses) and accidental murderer.  Her over-the-top character is matched by the power of her brassy vocals, and she knows just how far she can push the role. David Smidebush displays remarkable physical fluidity throughout; his spectacular tap dancing helps to make “Harry’s Nightmare,” a captivating bit of stage magic and choreography, the high point of the show. 
 

Other noteworthy performances include Darren Hurley’s turn as the lounge-lizard/maître d’hotel/singing nun/Arab and Catherine Bridge’s portrayal of Dominique, part b-girl, part Spanish dancer, all femme fatale.  The ensemble, as expected with any Broadway Rose production, is flawless. Music director/conductor/pianist Alan D. Lytle once again brings vocal and instrumental magic to the New Stage.
 

Director/choreographer Dan Murphy presents what may be the cleverest staging of any show we have seen in recent years.  In addition to the above-mentioned bedroom/dream sequence, the series of vignettes showing Witherspoon, Uncle Tony, and Annabel parachuting, scuba diving, and fishing their way across the stage keeps the audience in stitches.  Lucky Stiff may not be terribly profound, but this production provides high quality musical theater and immerses its audience in an evening of beguiling entertainment.
 

Lucky Stiff is playing at Broadway Rose’s New Stage, 12850 SW Grant Avenue, Tigard through October 13^th.

 

 

 

The Fantasticks – Simply Wonderful!

 

 

By Tina Arth and Darrell Baker

 

In a world where even a modest community theater offering can cost thousands to produce, it is nice to know that a minimalist show like The Fantasticks still speaks to audiences, as it has since its initial 42-year, 17,162 performance off-Broadway run. The power of the show, when properly done, is in the simple story and the tiny band of actors who tell the tale. H.A.R.T. Theatre, under the direction of Glen York, brings just such a Fantasticks to the Hillsboro stage.

The program sets the scene; even before the actors appear, we read that the setting is “Time: A little while ago” and “Place: On stage.”  Two boxes, a bench, a ladder, a crudely framed platform, some sticks, a fine pianist (Linda Smith), and the omnipresent Mute (Heather Sutherland) replace the full pantheon of sets, special effects, and orchestra that normally clutter up more lavish shows.

The 1960 musical by Harvey Schmidt and Tom Jones is loosely based on “Les Romanesques,” a play by Edmund Rostand of Cyrano fame. The story is as simple as the set, and makes no more pretense at realism. A boy, a girl, two fathers, a wall (good job, Heather!), and a (literally) fantastic trio of faux villains tell the tale of young love denied, realized, forsaken, and reborn – all this in under two hours with songs!

Jake Beaver (The Narrator, El Gallo) anchors the small but mighty cast with an impressive combination of timing, physical comedy, tongue-in-cheek delivery, and surprisingly sensitive vocals.  Matt Rowning and Sarah Thornton are effective in their portrayals of Matt (The Boy) and Luisa (The Girl). Rowning brings a charmingly nerdy touch to the role that makes his turn as a hero particularly funny.   In a less balanced cast, Thornton would simply steal the show.  She has a lovely and powerful voice and well-honed comic timing; her wide-eyed innocence does little to prepare us for the fiercely independent woman who emerges in Act II.

Stan Yeend and Nick Hamilton as the fathers are triple threats – their voices blend beautifully, the dance numbers are beyond hilarious, and they deliver their lines with understated comic subtlety.  While “Try to Remember” is the best-known song from the show, Hamilton and Yeend make “Plant a Radish” the most memorable number in H.A.R.T.’s production.

Blatant comic relief is provided by two of the funniest guys we’ve seen this year – William Wilson (The Old Actor) and Seth Rue (The Man Who Dies).  This mismatched duo brings the unmatchable flair of two-bit overactors to roles that demand unrestrained physical comedy.

Solo, duet, and ensemble numbers all display the sure hand of vocal director Alice Dalrymple, who makes the most of an already talented group of singers. Maria White’s quirky costumes cast a complementary aura of surrealism that supports the director’s vision.

 

If you’ve never seen The Fantasticks, H.A.R.T.’s production is a great introduction. If you know and love the show, you don’t want to miss this marvelously intimate offering of a theatrical icon.

The Fanstasticks runs through Sunday, September 22 with performances at 7:30 p.m. on Fridays and Saturdays and 2:00 p.m. on Sundays at H.A.R.T. Theater, 185 S.E.Washington, Hillsboro.

 

 

Theatre in the Grove’s C.A.S.T. Plays A Fine Fiddler, Jr.

 

By Tina Arth and Darrell Baker

 

Fiddler on the Roof is one of our favorite musicals (Darrell has cast recording in eight different languages!), and we were a little nervous about how such a dense and sophisticated show would translate to the conventions of the “Jr.” format, usually reserved for shows with a very young cast and aimed at an equally young audience. However, Theatre in the Grove’s C.A.S.T. (Children’s After School Theatre) production proves our fears unfounded. The teen ensemble, directed by Jeanna Van Dyke and vocal director Ashleigh Zijdemans, captures the spirit and emotional impact of the original story, and the cleverly edited script retains all of the show’s powerful themes and characters.

In less than ninety minutes, Fiddler, Jr. deals with prejudice, religious freedom, women’s rights, love, class warfare, the tension between tradition and progress – all topics as current today as they were when the Harnick and Bock show made its Broadway debut in 1964. Set in the tiny Russian village of Anatevka in 1905, the story revolves around Tevye, a poor Jewish milkman, his wife Golde, and their five daughters.  By the closing number, the Jewish villagers have been driven out by the Cossacks, three of Tevye’s daughters have picked their own spouses without the assistance of matchmaker Yente, and the remaining family members are headed off to America to live with an unsuspecting uncle.

Jer Stephens (Tevye) provides a firm anchor for the show, acting as both lead and Greek chorus as he navigates and narrates the key moments. He brings a mature dramatic sensibility, comedic precision, and a solid singing voice to the role. The relationship between Stephens and Mikayla Wallace (Golde) works beautifully - while she is technically subservient to her husband, Golde tries to rule the family with an iron hand, but is constantly undercut by her husband’s romanticism and indecision. Mikayla’s lovely voice adds a lot, especially in the touching “Do You Love Me?”

The three oldest daughters (Crystal White as Tzeitel, Brea Grimes as Hodel, and Brenna Fitzgearld as Chava) provide charming solo voices and harmonies, and they do a great job of conveying their growing resistance to traditional notions of arranged marriage. Among the rest  of the cast, Jack Thias (Motel the Tailor) particularly shines – he is poignant and believable as Tzeitel’s timid suitor, emboldened by love.

Unlike many productions we have seen, this cast has a real Fiddler (Adam Borrego), and he is both a good musician and an integral part of the show.

The full cast of 31 actors provides a strong ensemble, with beautiful harmonies and intricate choreography. A highlight of any Fiddler is the bottle dance, and this cast really nails it – no Velcro or magnets hiding in the hats, just lots of practice, athleticism, and talent. Ashleigh Zijdemans’  skill as a choreographer will be missed, as she is leaving for work in San Francisco – and this production is a great send-off for this TITG mainstay.

The all-teen crew tackles the complexity of prerecorded music, delivering crisp sound that does not overwhelm cast voices. The beautiful set is simple enough that set changes are fast and seamless, complemented by the intricate and effective lighting.

Theater education, oft missing from today’s schools, is still crucial – and the C.A.S.T. program does a spectacular job of bringing local youth to the stage. At only $5.00/ticket, this is the best game in town, and we hope that the entire Forest Grove community shows this production the support it merits.

Fiddler on the Roof, Jr. runs through Sunday, August 25^th at Forest Grove’s Theatre in the Grove with shows at 7:00 pm on Thursday, Friday, and Saturday and 2:30 pm on Sunday.

Doolittle and Company Do A Lot at Broadway Rose

 

 

By Tina Arth and Darrell Baker

 

My Fair Lady is indisputably one of the best English language musicals ever written – not surprising given its Shavian antecedents. Story aside, the music has permeated our culture for over 50 years, and even people who have never seen it on stage or screen are likely to recognize such enduring songs as “On the Street Where You Live” and “Wouldn’t It Be Loverly.”



Because it is a long, complex endeavor that demands an exacting blend of singing, dancing, acting (oh, those English accents!) and multiple elaborate sets, the show is not performed as often as it deserves to be. It’s bloomin’ loverly that Broadway Rose has the financial backing, theater, talent base, organizational structure, orchestra and community support to pull it off with such aplomb.



Jazmin Gorsline as Eliza Doolittle.

As with the songs, most theater lovers are familiar with the story of Eliza Doolittle, a Cockney flower seller plucked from the gutter by misogynist Henry Higgins and his linguist colleague, Col. Pickering.  Higgins’ boastful claim is that he will, in six months, transform Eliza’s dreadful diction and syntax so dramatically that he can pass her off as at least a duchess or, even more demanding, a lady’s maid.

Actor Kevin Connell skillfully navigates the tricky waters of Henry Higgins’ less-than-loveable personality.  He is loud, self-centered, supercilious, and pedantic but still displays moments of charm that allow us to partially overlook his multitudinous character flaws – in part on the strength of his singing. Darius Pierce (Col. Pickering) serves as a compelling sounding board – perhaps as brilliant as his colleague, but a much nicer fellow. His performance is gently effective – he is Dr. Watson to Higgins’ Sherlock Holmes.

The object of all of this linguistic expertise, of course, is Eliza Doolittle – without a powerhouse Eliza, there is no show. Jazmin Gorsline, having played the role in three previous productions, brings a wealth of experience to her part – and it really shows. She is a superb vocalist, her accent(s) are unerring, even when the script calls for rapid-fire shifts, and she develops a captivating personality as the show progresses.

Broadway Rose mainstay Dan Murphy plays Eliza’s father, the irascibly philosophical Alfred P. Doolittle. Murphy displays remarkable vocal and terpsichorean agility in two demanding song and dance numbers, and the clanking tankards maneuver in “Get Me To the Church On Time” is a real showstopper. Henry Higgins’ mother, played with surgical precision by Pat Lach, gets the biggest laughs of the evening. Her accent, timing, and oh-so-veddy British demeanor mine every line for its full comic potential.

Blake Cranston portrays ingénue Freddy Eynsford-Hill as a deer in the headlights – so enamored of Eliza that he can’t think straight. His clear tenor voice gives poignancy to “On the Street Where You Live.” Housekeeper Mrs. Pearce, played by Paige Jones, serves as a confident and subtly spunky adversary, quietly defending Eliza from Higgins’ worst verbal and emotional abuse despite her “subservient” status.

As always, the Broadway Rose ensemble is excellent – time and again, group vocals build from small beginnings to powerful crescendos. Choreographer Jacob Toth has clearly worked his cast hard, and the dance numbers are sharply captivating. Music director Alan D. Lytle and his eleven-piece orchestra tackle the complex score with an enthusiastic precision that belies the troupe’s modest size.

As mentioned above, My Fair Lady is a long show – with intermission, this production runs about three hours. We are delighted that Director Sharon Maroney did not succumb to the temptation to trim the show or rush the pacing – she allows her actors the time to explore their characters and fully develop key scenes. It may be years before a top-notch production of My Fair Lady plays again in the metro area, and we strongly recommend that musical fans take advantage of the opportunity to see this marvelous show during this run.

The Broadway Rose production of My Fair Lady runs through Sunday, August 18^th at the Deb Fennell Auditorium in Tigard.