As we continue trudge through the muck headlong into another federal election, and i do mean muck, the onslaught of extremist propaganda and fear-mongering from every which way is enough to make anyone hunker down and hide their head until well after next November. A continuing right-wing straw man argument in the election cycle is [...]
Christopher Tabor’s self-referential production on the lives of wheelchair-bound youth and their caretaker family members who are involved with a “Dancing Wheels” dance troupe for those in wheelchairs, definitely has a lot of potential, especially with its own self-stated goals to “combat cynicism and celebrate life’s ‘everyday heroes.’” There is original music by Tabor, a full 16-piece orchestra for musical numbers and dancers galore in and out of wheelchairs. But instead of hitting its purpose, this production does come off quite syrupy at times, and while Tabor’s “Recognition,” his sense of inter-being with these people he finds at a low point in his own career, might work for him personally, it lacks a true connection beyond that, both in the writing of that character with the rest of the cast and with the audience as a whole.
Hey, theater-goers! Have you been to the current production of David Mamet’s Race, at Artists’ Repertory Theater, recently reviewed here on Portland Stage Reviews, and found yourself desiring more discussion regarding the issues brought up his play justice and race relations? Artists’ Repertory Theater, together with August Wilson’s Red Door Project, are offering several opportunities [...]
If this production is any indication, Portlander’s should be thankful for White Bird Dance and their Uncaged series, for they have given us a richly wrapped, deep, dark and meaningful treat for the season — Kidd Pivot Frankfurt RM Dance Company’sDark Matters.
While watching Serindipity Player’s play Happy Anniversary, Gary Corbin leads us through three delightful courses of Robert (JJ Harris) and Beth (Susan Westbo Harris) who celebrate not their wedding anniversary but their divorce anniversary. And, these courses are served simultaneously with icy cold cruelty and searing hot tenderness that reflects back on our own vulnerability, of our remembrance for love lost, and the familiarity of this pain that smoothes out with laughter over the years.
The talented creative team features a 16-piece orchestra, a versatile cast of veteran actors, the voices of the Portland Symphonic Girlchoir and dancers from the Portland Youth Ballet. It also includes traditionally “abled” dancers and performers, as well as the remarkable work of dancers with unusual abilities, including performers working from wheel chairs, and one who creates breathtaking beauty through her dance, despite being a quadruple amputee.
Whenever friends, particularly somewhat affluent, caucasian friends from far more urbane States of the Union come to visit in Oregon, after reviewing our cities in the Wilamette valley over a few days, from Portland to Salem to Eugne, I’m occasionally asked a rather snarky, smirking question: “Where are all your People of Color?”
…What better way to celebrate this turn of climate than to stretch out ones limbs to the wide open sky and have a dance? Or if you don’t feel quite up to cutting loose in your own Le sacre du printemps, then you should watch those at the very height of this form, our own, local NW Dance Project and their current Spring Premieres performance. And you owe it to yourself not to miss it — this is modern choreography and dance at its finest, from a local troupe about to make its way to the London Summer Olympics.
To get this right out of the way: yes, this production does rely on one long (or in this case, not very long), extended (ahem, see previous paranthetical) penis joke… If this is too much for your sensitivities, you may shy away from this production. But in doing so, you would truly miss out — big time. Both Martin Casella’s writing (this piece has played on Broadway) and the smart direction and performances in this local production bring forth not only genuine laughter — yes, including humor that is not about the obvious title subject.
Join local dance company, TriptheDark, in their multi-artistic interpretation of Little Red Riding Hood: The Wolf-Child’s Mother. Through a combination of contemporary, classic jazz, tap, and ariel dance plus live painting, puppets, and a touch of comedy, the Wolf-Child’s Mother has jumped on the popular bandwagon of changing the way you think about classic fairy tales. April 7-11 at various venues.