Tick Tick Boom, a Triangle Productions presentation at the Sanctuary 1785 NE Sandy, through September 27, is an autobiographical musical by Jonathon Larson. It is set in 1990. It takes place in the days leading up to Mr. Larson’s thirtieth birthday. The tick tick is the clock in his head that reminds him that he is now older than his father was when he was born, that many others, including Napoleon, had accomplished great things before they were 30, that his great plans had not come to fruition, that his life was tick tick ticking away with his dreams unrealized.
Luckily we have the Broadway Rose Production Company. They are dedicated to shortening the gap. Their mission statement: “To create unparalleled musical theater experiences that invigorate audiences and enrich our communities.” In fulfilling that mandate since 1992 they have tackled a great number of Broadway Musicals: From A Day in Hollywood a Night in the Ukraine to The Whole Wide World; from Oklahoma to Les Miserables. We should be thankful they are now doing The Music Man
The Portland Actors Ensemble is solid in their respect for Shakespeare. In 1970 they did their first Shakespeare in the Park free performance with As You Like It in Laurelhurst Park. Their mission statement: “To bring financially accessible classical theater to Portland communities in a nontraditional environment.” Since then many things have changed. At least a couple of things haven’t. This year it is Antony and Cleopatra.
May we all learn from the lesson, before it is too late, of letting our pursuit of power for power’s sake corrupt us from within while forces from without wait, vulture like, to divide the spoils of the corpse of the state. This crackling and well-performed production at Post Five serves as just such a cautionary tale.
With an artist’s eye for detail, Obie Award winning playwright and Guggenheim Fellow Adam Bock brings gender, identity, complexity and juxtaposition to the stage by creating “A Small Fire”… On the surface, Canadian-born playwright Adam Bock gives off an air of simple affability. Friendly and engaging, Bock is ready to share, be it personal opinions, insights, […]
The material here is strong enough to rope in and engage even the most PC Portlandia audience, but many of the performances are not quite yet meeting the bar this play has set, in Artists Rep.’s Pacific Northwest premiere of The Motherf**ker With The Hat.
At times it was just like seeing that last song in Grease with all the kids dancing and singing through the audience….just….two of them were zombies. At other times, it was a little Beetlejuice complete with teen angst. It was thoroughly entertaining the entire time for me. The audience was more engaged at around age 9 and up, I’d say.
The Spectravagasm crew is back, with more brashness and off-the-wall humor for Spectravagasm IV: Opiate of The Masses. If you’re not tied down by dogma, or can chuckle at the ridiculousness of your own evangelistic ways, this show is guaranteed to make you laugh til you’re red in the face.
There’s a time and place for totally polished, upscale THEE-A-TAH, with an all professional cast, director and production values that make you lift your chardonnay glass at intermission and go, “Yes, very interesting effort in this season’s offering,” as you discuss the production’s writing in comparison with the works of, say, Edward Albee or Sam Shepherd.
The audience is bound to fall in line with the demented fun here, as the opening night crowd we saw it with did, but one also wonders if the debate hinted at in the theme over who controls the making of our cities isn’t thrown aside in favor of comic mayhem, with characters spouting a series of architectural luminaries and styles, like Van Eyck, Gaudi, Bauhaus and even the infamous Albert Speer, for effect?