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In the Red and Brown Water (Portland Playhouse)

A sweltering dream of terrible timing.

If you’re going to run from the swamp, you’d best keep running. Oya runs fast enough to earn a track scholarship, but stays behind to care for her ailing mother. When autumn rolls around again   More
Wednesday, April 4, 2012 BEN WATERHOUSE

Galileo Galilei (Portland Opera)

And yet it moves—backward.

Like the movie Memento, the play Betrayal and the musical Merrily We Roll Along, Portland Opera’s new production of Philip Glass’ Galileo Galilei proceeds backward in time. Directed by Kevin Newbu   More
Wednesday, March 28, 2012 BRETT CAMPBELL

Gertrude Stein (Liminal Performance Group)

Yes, there is there here.

Reversing entropy is no easy endeavor. “It’s crazy,” John Berendzen says as he crosses the threshold of the gutted office space where he’s summoning the ghost of Gertrude Stein. “I’ve    More
Wednesday, March 21, 2012 BEN WATERHOUSE

Race (Artists Rep)

David Mamet channels Dr. Dre.

Let me tell you about David Mamet: He’s 64 years old, hasn’t written anything really good since Ronin and hates women. If you’ve ever seen a Mamet play, you already knew that last bit. His fem   More
Wednesday, March 14, 2012 BEN WATERHOUSE

Shakespeare’s R&J (Bag&Baggage)

Four schoolboys, each alike in puberty.

There is an inherent obstacle in producing Romeo and Juliet. It’s not the language, which translates beautifully. It’s not the characters, who remain strong even in the most Luhrmannesque ad   More
Wednesday, March 7, 2012 AP KRYZA

March Music Moderne

Bob Priest carpet bombs the city with new sounds.

In 1980, young composer Bob Priest visited Poland to attend Warsaw Autumn, one of the best known annual festivals of contemporary “classical” music. He resolved to create a similar celebrati   More
Wednesday, February 29, 2012 BRETT CAMPBELL

Shakespeare’s Amazing Cymbeline (PCS)

Scaling down the Bard of Avon.

It just wouldn’t be Shakespeare without a little sexual subterfuge. Though it’s one of his lesser-known tales, Cymbeline employs many of the playwright’s favorite plot devices—mistaken ide   More
Wednesday, February 15, 2012 PENELOPE BASS

The Tripping Point (Shaking the Tree)

Who’s that I see walkin’ in these woods?

There’s a reason fairy tales have been plumbed for art’s sake so deeply: they’re bottomless. Murky with our fears, desires and other shadowy drives, the stories of the Brothers Grimm, Hans   More
Wednesday, February 1, 2012 JONATHAN FROCHTZWAJG

Famished (Portland Playhouse)

Eugenia Woods nibbles away at our neuroses.

Given the amount of ink spilled on our other basic desires—sex, love, wealth and power—the number of plays that address hunger is surprisingly small. This is not true of any other art form;    More
Wednesday, January 25, 2012 BEN WATERHOUSE

Collapse (Third Rail)

Things fall apart, but not in the way you’d guess.

It’s a setup for farce: In the wake of America’s financial and emotional collapse of 2007, Hannah (Rebecca Lingafelter), a tightly wound lawyer, desperately tries to stay in control despite a    More
Wednesday, January 18, 2012 BEN WATERHOUSE
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