“Smote This” at the Oregon Shakespeare Festival
This one-person show by OSF veteran Rodney Gardiner is intense, personal, real, and not to be missed (and like all of the one-person shows the run is too short, so go now).
Imaginary Comforts
or the Story of the Ghost of the Dead Rabbit
Berkeley, CA at the Berkeley Repertory Theatre Opening Scene of IMAGINARY COMFORTS, OR THE STORY OF THE GHOST OF THE DEAD RABBIT Imaginary Comforts or The Story of the Ghost of the Dead Rabbit by Daniel Handler (Lemony Snicket) WORLD PREMIERE I am unreasonably pleased at not knowing how to start a discussion of Imaginary Comforts. The locally-produced theater I've seen in the Bay Area in the past decade has been linear, easily described, one-dimensional. Some productions, especially recent Theatre Rhinoceros shows, have been quality, great fun events. But, none has risen to the gob-smacking, "I got to think about this" level [...]
The Happiest Song Plays Last
Ashland, Oregon at the Oregon Shakespeare Festival The Happiest Song Plays Last by Quiara Alegría Hudes Daniel Duque-Estrada (Elliot) and Barzin Akhavan (Ali). Photo by Oregon Shakespeare Festival. The Happiest Song Plays Last, the third installment of Iraq war veteran Elliot Ortiz's struggle with his combat experience and aftermath, fulfills the promise of the complex emotional saga. While nominally about Elliot, three characters have legitimate claim to be considered the lead: Elliot (Daniel Duque-Estrada), his cousin Yaz (Nancy Rodriguez), and Yaz's neighbor Agustin (Armando Duran). Even then, some of the deepest scenes center on other characters, Ali (Barzin Akhavan) [...]
The Count of Monte Cristo
Ashland, Oregon at the Oregon Shakespeare Festival The Count of Monte Cristo by Alexandre Dumas Raffi Barsoumian (Danglars) and Al Espinosa (Dantes). Photo by Oregon Shakespeare Festival Who knew that a revenge melodrama could be so much fun? Oregon Shakespeare Festival presents a sharp, finely timed, excellently acted, satisfying evening of a classic payback story written as a book by Alexandre Dumas in 1844 and adapted for the stage as early as 1848. The version of the play OSF picked to perform is meaningful. This Count stems from an adaption by Charles Fletcher in 1868. The play was further adapted by James O'Neill who bought the rights to [...]