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“The Spanish Hour” and “The Bewitched Child” (Portland Opera)

The Opera breaks out with two less-performed one-acts.


Performance
Maurice Ravel was a childless French bachelor whose greatest inspirations were, paradoxically, children and Spain. The innovative composer’s affection   More
 
Wednesday, March 30, 2011 BRETT CAMPBELL

Jack Goes Boating (Artists Rep)

Less creepy; more lovable.


Performance
Let’s hear it for likable losers. Not the self-pitying sad sacks and creepy men-children that populate the résumés of Seth Rogen and Paul Giamatti, but the pleasant dope who for some reason   More
 
Wednesday, March 23, 2011 BEN WATERHOUSE

Morten Lauridsen (Portland State Choirs)

A Northwest homecoming.


Performance
When Morten Lauridsen was growing up in Beaverton in the 1950s, students commonly headed out to the Tillamook Burn to plant trees. A few years ago, the composer returned to the once-barren site to see it now covered by towering firs.   More
 
Wednesday, February 23, 2011 BRETT CAMPBELL

The Scene (Portland Playhouse)

How to succeed in show business without really trying.


Performance
“It’s fantastic!” Says the fallen man to the means of his ruination. “You look like that, you screw like a bunny and you have no soul! Seriously. It is    More
 
Wednesday, February 23, 2011 BEN WATERHOUSE

The Lieutenant of Inishmore (Artists Rep)

Come for the laughs, stay for the body-chopping.


Performance
Martin McDonagh is a prop comedian. Sure, the Irish playwright knows how to put an obscenity to good use, writes excellent punch lines and is a master of the twist ending.    More
 
Wednesday, February 16, 2011 BEN WATERHOUSE

Turandot (Portland Opera)

Three riddles, one big bummer.


Performance
The first thing to know about Turandot is that it is emphatically not about China. Though ostensibly the opera is set there, Puccini’s fictional Middle Kingdom bears so little resemblance to the    More
 
Wednesday, February 9, 2011 JOHN MINERVINI

Futura (Portland Center Stage)

Beware Jeff Bezos!


Performance
Jordan Harrison’s dystopic sci-fi drama takes its name from Paul Renner’s sans-serif typeface, employed by Volkswagen, HP and, until recently, IKEA, but its subject is more PMN Caecilia, the default font on the Kindle.    More
 
Wednesday, February 9, 2011 BEN WATERHOUSE

The Wonderful World Of Dissocia (Third Rail)

Maureen Porter in the realms of the unreal.


Performance
To call this bizarre comedy by English playwright Anthony Neilson a departure from Third Rail Rep’s usual fare is inadequate. The first act of The Wonderful World of Dissocia contains   More
 
Wednesday, February 2, 2011 BEN WATERHOUSE

The Imaginary Invalid (Portland Center Stage)

Who’s up for some 17th-century fart gags?


Performance
Why has Molière endured? No other non-Anglophone playwright of any century has anything approaching the 17th-century Frenchman’s presence in the English-speaking world. Colleges don’ ...   More
 
Wednesday, January 19, 2011 BEN WATERHOUSE

99 Ways To Fuck A Swan (Theatre Vertigo)

Ever wondered what Leda saw in that bird?


Performance
A lot goes on in Kim Rosenstock’s survey of sexual deviance, directed in its world premiere production by Megan Kate Ward. Not, as the title suggests, a swan sutra, the show crosses centuries an ...   More
 
Wednesday, January 19, 2011 BEN WATERHOUSE
 

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