SPOON RIVER – Take Time to Explore the Depths

Shown in picture (left to right): Cindy Swager, Robbie Estabrook, Debbie Davis, Steve Pitzer, Sarah Kollars,and Chuck Weed. Picture by Tyson Redifer.

By Tina Arth and Darrell Baker

Every once in awhile it is comforting to be reminded that sin, corruption, and hypocrisy are not recent creations of a godless, materialistic present that has somehow eluded the timeless virtues of classic traditional values. Way back in 1915 Edgar Lee Masters wrote the original Spoon River Anthology, adapting a unique narrative structure in service of the occasionally depressing but eternal truth that small towns often breed small minds; people who live their lives with more concern for propriety than joy end up buried on the same hill as those who fully embrace life – but they have a lot less fun getting there.

Charles Aidman’s 1963 theatrical adaptation of Spoon River is, like the original book, a gloomily captivating glimpse of 19^th century Americana, and the version presented by HART co-directors Paul Roder and Tyson Redifer faithfully captures the grim ambience of both Aidman’s and Masters’ vision. While the lighting, music, and graveyard setting all help to create the necessary mood, it is the six-person core cast that really brings the show’s eerie tone to life.

The dramatically abridged HART production does not include all of the songs and other material from the Broadway original, but it does include brief segments of original music by bassist Chris Ronek and fiddler Tamera Snelling.  Redifer and Roder have selected a very talented cast, and their choices for which actors populate each of the dozens of separate tableaus ensures steady quality across the performances. Core actors Chuck Weed, Cindy Swager, Steve Pitzel, Debbie Davis, Robbie Estabrook, and Sarah Kollars easily shift from character to character, often quietly modifying their personas along with their wardrobes upstage while other actors are momentarily the center of attention. Musical numbers are handled primarily by two extraordinarily gifted singers and actors, Estabrook and Kollars, whose rendition of  “Drunk As I Could Be” is both a musical and a comic highlight of the show. 

Light Board Operator Libby Solheim does a masterful job of implementing Peter Stein’s clever lighting design. Without a single set change, the audience is able to follow the cast through the show’s many vignettes and imputed locales. The live and prerecorded music work well together, providing a consistent soundtrack to create the necessary mood. On opening night there were a few places where the canned music was a bit too loud, and the actors’ lines consequently muddied – but this can easily be fixed.

Unless audience members enter the theater already thoroughly familiar with Spoon River Anthology, the show will require some contemplation. Be prepared to enjoy the production while you are there, but to see your appreciation grow over time as you think about what you have seen. Roder, Redifer and company have succeeded in plumbing the depths of Masters’ and Aidman’s complex and challenging narrative.

Hillsboro Artists’ Regional Theatre (HART) presents Spoon River Anthology through Sunday, March 1, with performance Friday and Saturday at 7:30 p.m. and Sunday matinees at 2:00 p.m.

KANDER AND EBB – CHICAGO AND CABARET JUST THE TIP OF THE ICEBERG

By Tina Arth and Darrell Baker

Broadway Rose general manager/director Dan Murphy is a self-proclaimed lover of revues, as any look at past seasons will attest. As reviewers, we find that there are revues, and then there are revues. The weakest ones often offer up a flimsy wraparound story struggling to support a series of musical clichés. The best bring to audiences something old, something new, and a creative flair that makes it all quite wonderful.

The current production of The World Goes Round is a celebration of the works of John Kander and Fred Ebb (think Chicago, Cabaret, Kiss of the Spider Woman and several iconic songs we didn’t even realize were taken from musicals). It is quite wonderful…

Both cast and band are beautifully suited to the demands of Kander and Ebb’s most powerful, best-known works interspersed with a less familiar body of quaintly romantic ballads and novelty songs. Jennifer Goldsmith’s wide vocal range allows her to open the show with a bang - she knocks “And The World Goes Round” out of the park, and her rendition of “My Coloring Book” explores every nuance of an already tender and visceral number.  In any battle for “best in show” Goldsmith faces fierce competition from Joey Côté, whose rendition of “Mr. Cellophane” captures all of the wry pathos of Bert Williams’ “Nobody” – and the staging of the number (especially the lighting and the band’s oddly appropriate accompaniment) perfectly complements the song’s quirky and wistful tone.

The competition is just as strong in the novelty department. The entire cast sparkles (on roller skates, no less!)  in “The Rink” – a number that also highlights the skill of choreographer Erin Shannon. Grace O’Malley’s amazing costume design helped to make second act opener “Ring Them Bells” a comic tour de force. Côté’s “Sara Lee” is lively, cute, and well-staged, but still possibly outmatched by Andrew W. Foster’s hilarious posturing, and Ecaterina Lynn’s dry delivery, of “Arthur in the Afternoon.” Foster proves that he’s got a great set of lungs under those pectoral muscles with his seductively dynamic interpretation of “Kiss of the Spider Woman.”

Among the songs that were new to us, the most memorable may be “Colored Lights” (from The Rink). Erin Charles’ poignantly restrained delivery, supported by  imaginative lighting, makes this relatively unknown gem one of the show’s highlights.

The strength of the show’s vocal ensemble shines most brightly in “New York, New York” when the five cast members, at one point, are not only singing harmony, they are singing simultaneously in four different languages. Musical director Jeffrey Childs (who does double duty as the show’s pianist) has crafted the five already accomplished vocalists into something that is so much more than the sum of its parts!

If The World Goes Round is reflective of the kind of musical revue that Dan Murphy wants to bring to Broadway Rose’s New Stage, then all we can say is “bring ‘em on.” If you love the work of Kander and Ebb, see this show. If you, like us, are not familiar with the vast majority of their work, then it is even more imperative that you take this chance to be charmed by an unbelievable songwriting duo.

The World Goes Round runs at Broadway Rose’s New Stage, 12850 SW Grant Avenue, Tigard through March 1.

MASKS AND MAGIC AT THEATRE IN THE GROVE

Gaston - Nick Nieder; Lefou (on back) - Andrew Inman

By Tina Arth and Darrell Baker

There’s no denying it – Disney sells. Near capacity crowds at Theatre in the Grove’s current production of Beauty and the Beast, Jr. are providing ample proof that young audiences and their parents welcome an occasional infusion of family fun in their community theater. Given the number of kids in the cast (~30) this would probably be true irrespective of the quality of the production – but if this Sunday’s matinee performance is a representative sample, then the large crowds are well justified.

As with other “Jr.” theatrical productions, the show is an abridged version of a longer musical (as well as the hugely popular animated feature). Under the direction of Donald Cleland, cast members ranging from 8 to 18 pour their hearts into almost 90 minutes of non-stop singing, dancing, and acting. Given the age range of the kids, it is no surprise that not all of the performances are of equal quality, but musical director Kathleen Lacock and choreographer Amy Nelson have whipped the cast into a solid ensemble that delivers Disney magic with aplomb.

The principal leads are among the more mature cast members, and their experienced performances provide a firm foundation. Dessa Myatt (“Belle”) has a pleasant voice and is able to bring the audience along on her character’s journey through a constantly changing world. Nick Nieder (as the evil “Gaston”) has a commanding bass/baritone voice that complements his equally commanding physique. Demetrius Davis-Boucher (“Beast/Prince”) has perhaps the most challenging role – he succeeds in creating and projecting his voice and character while trapped behind the beast’s (magnificent) mask for most of the show. Among the supporting players, there are several bright spots, including Spencer Putnam (“Cogsworth”), Andrew Inman (“Lefou”), Jack Thias (“Lumiere”), Catalina Montelongo (“Mrs. Potts”), Alex Kennedy (“Chip”), and Athena Van Dyke (“Madame de la Grande Bouche”).



The ensemble rehearses a musical number.

Much of the show’s magic springs from the incredible creativity of Pruella and Zachary Centers. Pruella’s masks for the Beast and the Wolves allow the characters to bring the fairy tale to life, and each mask is an individual work of art (when seen close up, the level of detail is astonishing). Son Zachary works on a much larger scale – but the detail, artistry, and mechanical craftsmanship of his set design allows a series of seamless transitions from village to forest to castle. Sharon Cunningham’s remarkable costumes also play a big role in creating the fantasy, particularly for the semi-human characters in the castle. Lighting is effective, and the sound (always a challenge with pre-recorded music) is generally clear and crisp, although the un-miked performers (particularly the narrators) are occasionally overwhelmed by the volume.

If you go to see this entertaining show, be sure to take a kid or two along – like a trip to Disneyland, it’s a lot more fun when seen through the lens of a child’s sense of wonder.

Disney’s Beauty and the Beast, Jr. runs through Sunday, January 25^th at Theatre in the Grove, 2028 Pacific Avenue, Forest Grove with performances Friday and Saturday at 7:30 p.m. and Sunday at 2:30 p.m.

 

DISNEY’S HIGH SCHOOL MUSICAL COMES TO LIFE ON STAGES’ STAGE

Pictured above (on the upper level) David Vandyke ("Ryan"), Max Nevers ("Troy"), Emily
Niebergall ("Gabriella"), Hallie Bartel ("Sharpay"), and Marlena Starrs
("Ms. Debus"). Photo by Frank Hunt.

By Tina Arth and Darrell Baker

On a cold, rainy winter afternoon, spending two hours watching 20+ young teens sing, dance, and act can be a real treat. The STAGES Performing Arts Youth Academy production of Disney’s High School Musical, currently playing at Hillsboro’s HART Theatre, is just such an experience.

Is the show great art? Of course not – it’s the latest iteration of a formula that began 80 years ago with Mickey Rooney and Judy Garland, since carried on in Bye Bye Birdie, Grease, and a host of other teen-themed productions. Boy meets girl, high school peer pressure (exemplified by the evil drama queen Sharpay and narrow-minded adults) conspires to separate the pair and thwart their dreams. Eventually love, reason, fair play, and convenient cell phones foil the wicked plot.

The thin story line is held together by an exceptionally hard-working and enthusiastic cast comprised primarily of middle schoolers, with a handful of high school-aged students filling some of the more mature roles. As we would expect with actors in that age range, there is wide variation in the quality of the solo numbers, but musical director Jenae Gregory and Vocal Coach Barb Edwards have succeeded in molding the group into a harmonious and powerful vocal ensemble. We are even more impressed by the quantity and quality of the dancing and the complexity of Director/Choreographer Luis Ventura’s choreography.  The entire cast is engaged in many of the dance numbers, and they display impeccable timing that actually seems to support the crisply coordinated vocal work. The basketball work integrated into the choreography of “Getcha’ Head in the Game” calls for a new level of coordination rarely demanded of amateur dancers, and the one slight bobble we saw at the Sunday matinee in no way diminished our enjoyment – nor did it distract the dancers.

Many performers display surprisingly mature acting skills; a quick glance at the cast bios reveals a depth of experience unexpected in such a young cast. Our ability to comment on individual performances is limited, as several roles are double cast. Of the actors we saw, we particularly enjoyed Marlena Starrs (“Ms. Darbus”), Hallie Bartel (“Sharpay”), David Vandyke (“Ryan Evans”), Max Nevers (“Troy Bolton”), Emily Niebergall (“Gabriella Montez”), and Sarah Felder (“Kelsi”), Caleb Inman (“Coach Bolton”), and Julianne Robinson (“Taylor”). The cheerleaders form a smoothly athletic dance team, but Caleb Kinder (“Chad”) is perhaps the strongest and most eye-catching dancer in the show. The massive set actually seems to expand, rather than diminish, the limited space available on the HART’s tiny stage, and the scene changes are integrated seamlessly into the production.

In addition to introducing young audiences to live theater (the little girl in Row C dancing along with the cast was just adorable!), STAGES is helping to fill the educational gap created by reductions in arts funding for public schools. A few dedicated adults provide the framework and training, then step back and allow the young performers and crew members to bring the show to life – the show’s key message is that kids need to be allowed to grow and test themselves in new and unexpected ways, and the actual production fulfills precisely this role.

Disney’s High School Musical runs at the HART Theatre, 185 SE Washington, Hillsboro through Sunday, January 25^th with performances at 7:30 p.m. on Friday and Saturday and 2:00 p.m. matinees on Sunday.

Upcoming auditions:

Auditions for "Belles on Their Toes", the sequel to"Cheaper by the Dozen" are being held on Monday and Tuesday, Jan. 19th and 20th from 6 to 8:30pm at My Binding, 5500 NE Moore Court Hillsboro, OR 97124. www.stagesyouth.org.

Beaverton Civic Theatre’s Little Women a Big Success

Virginia Kincaid, Beth Jones, Kraig Williams, Ryan Mitchell, Priscilla Howell,
Madeline Hagood (foreground),  Michael Prange, Les Ico, and Amanda Clark.

 

 

By Tina Arth and Darrell Baker

 

Truth in advertising – neither one of us has even been a big fan of Little Women (stage play, movie, or musical versions), and we’ve long been puzzled about the hold this story has had on generations of American women. We both managed to avoid the book during our formative years, and nothing in the adaptations that we had seen seemed to justify the story’s popularity. However, Beaverton Civic Theatre’s current production of Little Women is a bit of a theatrical eye-opener. Is it the adaptation (by Marisha Chamberlain), the direction (by Doreen Lundberg), or the strong leads in this production? Probably all three factors have contributed to the shift in perspective that found us actually enjoying a show we were prepared to merely tolerate.

Lundberg’s casting of the four March sisters (Jo, Meg, Beth, and Amy) works beautifully, and captures the enormous differences between each of the girls. The role of Jo is, of course, always the most fun – and Amanda Clark’s amazing skill as a physical comic is fully utilized – but don’t let that fool you. She brings a warmth and passion to her delivery that goes well beyond the comedic demands of the script, and captures not only her bold rejection of orthodoxy but also her fiercely mercurial love for her family. Priscilla Howell plays Meg as the polar opposite – her calm, dignified exterior conceals a young woman just discovering the possibility of love and romance. Howell’s embarrassed recounting of the party where she dared to flirt, drink champagne, and wear a low-cut gown breathes life into a character who, at first glance, seems in danger of being a Stepford daughter/wife. The role of the reclusive Beth allows for less breadth, but Madison Stoehr handles it nicely, and the audience watches her express through her music a personality inhibited by her extreme shyness (it helps, too, that she actually can play the piano!). Madeline Hagood does a fine job as the youngest daughter, the lovely but selfish and manipulative Amy. While Hagood easily captures Amy’s dark side, she also believably expresses the girl’s remorse and genuine affection for her entire family, in particular her nemesis, Jo.

While the supporting cast is somewhat uneven, there are a few real bright spots. Beth Jones (“Marmee”) portrays a three-dimensional woman who has sublimated her potential to play the role of perfect wife and mother. When she admits that she once dreamed of flying free, and encourages Jo to embrace a life of nonconformity, Jones is especially moving. Virginia Kincaid’s wealthy “Aunt March” is disturbingly caustic and militaristic, yet (like most of the other women) she finds the hidden warmth that helps define her character. Les Ico (“Laurie”) gets the only really interesting male role, and he makes the most of it. He and Clark create a believably platonic friendship that defines Laurie as the archetype of the enlightened male (at least for the 1860’s).

Alex Woodard’s detailed and lovely set expresses the shabby chic of the impoverished but genteel March family. Phyllis Fort’s period-appropriate costume design helps transport the audience to the Civil War era. Once again, director Doreen Lundberg’s attention to detail and eye for historical drama gives local audiences a glimpse of our shared past – and, in this case, may even inspire some viewers (including one of the reviewers) to read the book!

Beaverton Civic Theatre’s production of “Little Women” is playing at the Beaverton City Library Auditorium through December 21^st, with performances Friday and Saturday at 7:30 p.m. and Sunday matinees at 2:00 p.m.

 

 

 

 

 

 

 

 

TITG’s Shrek, the Musical A Fine Family Outing

Maille O'Brien (the witch), Jeremiah
Stephens (Pinocchio) and ensemble.

By Tina Arth and Darrell Baker

Theatre in the Grove’s holiday offering is not a Christmas show – or even a traditional holiday show – yet it is charmingly appropriate fare for this festive time of year. The first Sunday matinee was full to the brim with families spending a few hours together enjoying David Lindsay-Abaire’s lively musical adaptation of William Steig’s 1990 book and the 2001 Dreamworks movie. A striking feature of this show is that the shared family experience goes well beyond the audience to encompass all phases of the production. Director Jeanna Van Dyke makes it clear in her director’s notes that this is no accident – “On stage, and off stage (and even below the stage in the pit orchestra) are a number of family members working and playing together on Shrek; moms, dads, little brothers, big brothers, sisters, spouses, foster parents, nieces, nephews, nannies, aunts, uncles, and grandparents. This production is dedicated to Family.”

James Grimes (Donkey)

The story of the ogre Shrek finding true love is propelled by an enormous cast: forty plus actors and a surprisingly accomplished fourteen piece orchestra. Theatre in the Grove has one of the only Washington County stages capable of accommodating such a massive group, and (despite the fact that over half the cast are children) the costume and scene changes and blocking are seamless.

Like the movie, the witty script is designed for children but is laced with comic references that are clearly aimed at adults, and the show’s principals make sure that none of these touches are lost through a misplaced subtlety.  James Grimes (“Donkey”) gives an unforgettable performance – he is a strong singer and adept comic whose uninhibited facial expressions and fluid dancing provide the electric charge that drives the show’s dynamics. Tristan Stewart (“Shrek”) brings a wide range of emotions and a powerful singing voice to the role of the lonely, misunderstood ogre who is initially feared but emerges as the show’s hero. “I Think I Got You Beat,” his duet with Michelle Bahr (“Princess Fiona”) is a curious twist on Irving Berlin’s “Anything You Can Do, I Can Do Better,” but in Shrek the two compete hilariously to determine which of the two has had the more miserable childhood. Bahr is a fine singer and comedienne who manages to create endearing chemistry with her chubby green Romeo even before she reveals her own inner ogress.

Other particularly effective comic performances include Dan Bahr as “Lord Farquaad”, a nasty Toulouse-Lautrec sized villain with an outsized ego, Breanna Grimes, a gingerbread amputee with a lovely voice, Tom Robinson as a gender-bending Big Bad Wolf, and Jeremiah Stephens as Pinocchio, the new spokesperson for puppet pride (“I’m wood, I’m good, get used to it!”).

The entire Theatre in the Grove community has obviously put their hearts into Shrek, the Musical, and the result is everything that Director Van Dyke wants – a family-friendly, family-filled fantasy suitable and entertaining for all ages. The music, colorful costumes, clever choreography (where else can you see a kick-line done on knee-pads?), and simple but effective set design work together to enhance the cast’s dedication and obvious joy as they present this entertaining musical to brighten the holiday season. Warning – it is a long show, and parents are advised to get their littler ones out of their seats to burn off some energy at intermission!

“Shrek, the Musical” is running at Forest Grove’s Theatre in the Grove through December 21 with performances Friday and Saturday at 7:30 p.m. and Sunday matinees at 2:30 p.m.

 

BROADWAY ROSE: A Christmas Survival Guide

 

Megan Carver, Craig Allen, Amy Jo Halliday, and Ben Farmer.

 

By Tina Arth and Darrell Baker

 

Is there really a war on Christmas? If so, the news has not yet reached Broadway Rose. However, the venerable theater company’s 2014 tribute to the holiday season, A Christmas Survival Guide, makes it clear that there is a shootin’ war on Christmas clichés, including (unfortunately) classic holiday theater fare.

Sad to say, the thin premise of “Dr. Ben’s” absurd “Christmas Survival Guide” is inadequate to link the show’s 18 musical numbers into an engaging narrative. Many of the songs/skits are cute, witty, and occasionally touching – but even a top-notch Broadway Rose cast is hard-pressed to make a silk purse out of this particular sow’s ear. The result is an entertaining bit of holiday fluff that, while well worth seeing, still makes us wish it had been so much more.

Craig Allen, Megan Carver, Ben Farmer, and Amy Jo Halliday are four of the strongest performers in the Portland musical theater world, and each gives everything they’ve got to their numbers. Their voices blend beautifully in several ensemble pieces, and their individual spots are uniformly excellent. The vocal expertise is complemented by a hot trio of musicians led by music director/pianist Jeffrey Childs, and the actors’ occasional interaction with Childs is a clever and effective touch.

Halliday’s turn as the angst-riddled Mrs. Claus in “Surabaya Santa” is hilariously Teutonic; she evokes memories of Lotte Lenya and Marlene Dietrich, giving her a chance to show off comedic skills that rival her vocal ability. Carver’s manic delivery of “The Twelve Steps of Christmas” is another comic highlight of the show – she milks the song for all it’s worth, and it pays off with audience appreciation. The chaotic staging and arrangement of “Silver Bells” does not really allow Farmer to display his excellent voice, but his portrayal of Elvis in “Santa Claus Is Back In Town” more than compensates – and his Presley-esque interaction with the audience closes the first act with a bang. “This Will Be the Best Christmas Ever” features Allen and Carver in a classic song of miscommunication; Allen’s quiet insistence on decorating the tree with Star Wars ornaments and Carver’s single-minded determination to remove them nicely expresses the quandary of couples with misaligned holiday expectations – and where, oh where, did they get that wonderful Yoda tree-topper?

Despite the disjointed nature of the script, director Dan Murphy makes sure that the show runs smoothly.  Sound and lighting are flawless, the attractive single set allows for rapid shifts in locale, and the numbers are cast so that the many changes of costume and persona do not slow down the production. The Director’s notes accurately assert that “some of the songs are upbeat and bouncy, some funny, some poignant…some will be new, some will be familiar” – all true. However, we must differ with his belief that the songs are “all terrific” – there are a few too many formulaic potboilers and not enough heartwarming holiday classics to fulfill Murphy’s “guarantee there will be something in this show that will catch you reflecting on a Christmas past, or excite you for a Christmas future, all the while enjoying the Christmas present.”

“A Christmas Survival Guide” is playing at the Broadway Rose New Stage Theater in Tigard through December 21.