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“Much Ado About Nothing” at the Oregon Shakespeare Festival
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“Much Ado About Nothing” at the Oregon Shakespeare Festival

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“Much Ado About Nothing” at the Oregon Shakespeare Festival

Much Ado About Nothing

By William Shakespeare
Directed by Miriam A. Laube

Ashland, OR at the Oregon Shakespeare Fetival May 16 – July 19, 2024

Amy Kim Waschke and John Tufts, with Al Espinosa, Mark Murphey, Uma Paranjpe, and Cedric Lamar. Photo by Jenny Graham.

This summer’s Much Ado About Nothing breaks out of the simple Shakespeare comedy mode and delivers a real story with real characters.

I have very different expectations for Shakespeare’s comedies than I do for his tragedies and other classifications. The comedies too often are very pleasant entertainment. That’s it. And OSF’s Much Ado does a magnificent job of entertaining. But this production is more. The acting is careful and clear, the costumes rich, the set fun, and every other craft is spot on, too.

The comedic activities affect real people on stage and they don’t just jump around and smile. Under the direction of Miriam Laube even Dogberry has more than a buffoon one-note personality (… and we saw Alex Purcell in the role and he’s apparently the understudy’s understudy).

Our established couple Beatrice (Amy Kim Waschke) and Benedick (John Tufts) are solid, fun, and react appropriately to each other. Their scenes are extraordinary in the action but also visually.

Much Ado About Nothing Cast members. Photo by Jenny Graham.

I loved hearing Conrade (Eddie Lopez) launch into a song that felt real. I felt Father Verges’ (Mark Murphey) moral judgements. Well, everyone on stage added their own individualism to the events and there wasn’t just the mass of group emotion that too often appears in the comedies.

Miriam also reportedly wrote the songs that accompanied Shakespeare’s text, and they were powerful additions, especially at the end when Hero (Ava Mingo) sang and planted doubt in our minds about how happy a marriage Claudio (Bradley James Tejeda) could expect.

Yes, the standout character development to me was Hero’s reactions to being unjustly disbelieved and shunned because of the malicious “Nothing” that Don John (Christian Denzel Bufford) unleashed. We have wished at other productions of Much Ado that Hero would stand up for herself. There might be a note somewhere that this was a “problem” comedy, but there seemed to be happiness everywhere at the end.

Sheila Tousey, Ava Mingo, and Uma Paranjpe. Photo by Jenny Graham.

Miriam empowers Hero to communicate her doubts. No Shakespeare words are changed, but the superb direction lets gestures and the tone of voice get the message across that Hero isn’t sure the that Much Ado plot outlines a genuine comedy.

Another point to applaud is Miriam’s Director’s Notes. I never read the director’s comments before I attend a performance. I want what I see on the stage unveil the director’s vision and I really don’t want to get an intellectual discussion about what the director meant for me to see. But now, after I’ve enjoyed Much Ado, I am impressed about how intentional Miriam was in exploring the various emotions. I actually felt on stage what she described in her notes. Wow. What calculated artistry!

I look forward to seeing more shows under Miriam’s direction. In the meantime I strongly recommend enjoying this 2024 adventure.

By Galen Workman|2024-07-30T17:18:46-07:00July 30, 2024|osf, plays|1 Comment

“Virgins to Villains” at the Oregon Shakespeare Festival
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“Virgins to Villains” at the Oregon Shakespeare Festival

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“Virgins to Villains” at the Oregon Shakespeare Festival

Virgins to Villains

Created and performed by Robin Goodrin Nordli
Directed by Penny Metropulos

Ashland, OR at the Oregon Shakespeare Fetival May 16 – July 19, 2024

Robin Goodrin Nordli in Virgins to Villains. Photo by Jenny Graham

This one-person show by excellent veteran actor Robin Goodrin Nordli weaves highlights of her life with the characters she has played on stage. She has performed in 61 productions of 30 of Shakespear’s play, and the master class snippets of those roles shared in Virgins to Villains do an uncannily wonderful job of illustrating Robin’s real life ups and downs.

First of all, when Robin talks she is clear, forceful, engaging, and simply fun. Her telling of personal and professional development is truly interesting. It’s completely satisfying to my inner voyeur.

The stories of her experience as a young woman smacked me with the endemic sexism that I remember as the norm when I was the age of her younger self. It turns out she’s a year or so younger than I am, but the treatment of women and the barriers she related made me uncomfortable again. Her history was sometimes too real.

Robin Goodrin Nordli in Virgins to Villains. Screenshot from an OSF video.

When she dips into a monologue or conversation from one of her stage characters her full talent is captivating. I always love watching Robin on stage, and having her cherry pick memorable scenes is so enjoyable!

We had seen Robin tell her story and do ad hoc scenes before. Maybe 10 years ago at the Presidio Officers’ Club? Something like that.

But today’s Virgins to Villains is an order of magnitude more powerful. Her earlier reminiscences of her Shakespeare experiences were launched from what she refers to as a music stand. She read from notes, did scenes, commented slightly on her life, and was thoroughly entertaining.

Robin Goodrin Nordli in Virgins to Villains.
Photo by Jenny Graham

However, under the direction and guidance of Penny Metropulos Robin has a real story to share. In a talkback Robin mentioned some of the instructions that someone (Penny? somene else?) gave: she had to memorize the whole show and not read from notes; she had to list roles and life events in two columns and address how the two matched up. Brilliant advice that was perfectly executed.

So, on one hand you’re mesmerized hearing how Robin became the person Robin. You simultaneously track the increasing complexity of the characters she’s playing. They go together. The younger, more innocent Robin did a great job playing the comedic or giggly or simply young Shakespeare virgins. The more mature Robin has a depth to infuse into the dense and thorny female villains.

Robin Goodrin Nordli in Virgins to Villains. Photo by Jenny Graham

The balance between Robin’s story and the performing of scenes is also perfect. She uses the Shakespeare as a way to move the narration along, going ahead without getting too much into the weeds of her personal story. And, as I said before, when she acts… just sit and enjoy.

Virgins to Villains rightfully mentions Oregon Shakespeare Festival often. Afterall she’s worked there for 26 seasons. But you don’t need to have been to OSF to appreciate the performance. Robin – and Penny – give a incredibly well crafted 90 minutes of meaningful quality entertainment.

Talk to your local theaters. This is a one-person show that definitely should make the rounds!

A definite 5-star show.

By Galen Workman|2024-07-29T18:24:01-07:00July 29, 2024|osf, plays|0 Comments

“Stones in His Pockets” at the Rogue Theater Company
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“Stones in His Pockets” at the Rogue Theater Company

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“Stones in His Pockets” at the Rogue Theater Company

Stones in His Pockets

By Marie Jones
Directed by John Plumpis
with Dan Donohue and Ray Porter

Ashland, OR at the Rogue Theater Company July 17 – August 4, 2024

Ray Porter amd Dan Donohue. Photo by Bob Palermini

Finally the Rogue Theater Company (RTC) has a play that is worthy of the incredible actors on stage. For several years now RTC has showcased veteran Oregon Shakespeare Festival (OSF) stars in small plays. The actors have been universally spectacular and the performances were slaps in the face to the casting choices being made at OSF. But, the stories were often interesting but not engaging. I enjoyed the master class in acting, but mostly thought that they should have picked different material.

Ray Porter Photo by Bob Palermini

Stones in His Pockets breaks that negative tradition in a big way. It’s billed as a comedy (2001 Olivier Award Winner for Best New Comedy), but really is much, much more than a humorous romp.

The RTC website says that Dan Donohue and Ray Porter play 15 characters, but it feels like they portray more, a whole village more. The menagerie of characters are local extras and the Hollywood stars and crew. Set in rural Ireland and the play explores the different values, pacing, and style that the Hollywooders and the villagers have.

Ray and Dan change characters flawlessly by swishing a scarf or miming the holding of a walking cane. The clearness of their character switches is consistently awe inspiring. Ray’s main character is Charlie Conlon and Dan’s is Jake Quinn, and they reappear and interact frequently. But, the strength of the show is in the use of the supporting cast, the quick character bursts that the actors share in front of us.

Dan Donohue. Photo by Bob Palermini

What Dan and Ray say and do are masterful moments of acting. They are equal to any of previous RTC showcases. But, this play has meaning and is memorable.

Yes, there are funny moments and outrageous character moments. Laughs are appropriate.

But, more is going on. How are the local folk doing in general, how are they handling the Hollywood schedule, how do they deal with tragedy? And, yes, Stones in His Pockets, the title of this “comedy”, comes from a very unhumorous event that effects the villagers.

The swirl of characters with real personality and growth make Stones in His Pockets an excellent play. Dan and Ray’s execution of the acting craft makes the performance one which we will talk about for a long time.

Stones in His Pockets is a definite 5-star event.

By Galen Workman|2024-07-28T17:06:01-07:00July 28, 2024|osf, plays|0 Comments

“Lizard Boy” at the Oregon Shakespeare Festival
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“Lizard Boy” at the Oregon Shakespeare Festival

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“Lizard Boy” at the Oregon Shakespeare Festival

Lizard Boy

Book, Music, and Lyrics by Justin Huertas
Directed by Brandon Ivie 

Ashland, OR at the Oregon Shakespeare Festival June 11 – October 12, 2024

Lizard Boy OSF Masthead. Design by Krzysztof Bednarski.

I am stumped. I don’t see a way to do a normal play review and capture the brilliance, engagement, and rich meaning of the 90 minutes of wonderfulness.

A traditional look at the show would have to include a synopsis of the story would which would mention that the plot is a comic book superhero narrative about a young man who has lived estranged from the world ever since being drenched in dragon blood when he was in kindergarten. It’s a rock musical with most lines sung by the three cast members. The featured instrument, played by the superhero, is a cello, and fun fact, the play was commissioned with the restriction that it had to include original music for the cello.

What???

Cary (William A Williams), Trevor (Justin Huertas), and Siren (Kiki deLohr).
OSF photo by Jenny Graham

So we are in a non-linear musical with cartoon highlights. Our superhero Trevor (Justin Huertas) has had green lizard-like skin since his bath in dragon blood, and he comes out of his apartment only once a year on Monsterfest, the night the city has a costume party celebration of the killing of the dragon years ago. That day everyone dresses in green so Trevor doesn’t awkwardly stand out. Trevor is exhausted by his weird looks, is plagued by unhappy visions, and feels permanently alone. He goes on Grindr on the costume party night hoping that someone will talk with lizard-skinned him because they won’t be put off by seeing the green this one night.

Trevor meets Cary (William A Williams). They do relationship/meeting-someone-new sparring in a monumentally wonderful scene. The new duo wind up seeing a nightclub performance by Siren (Kiki deLohr). Siren and Trevor unexpectedly discover they have lots in common. They deal with their history, Trevor and Cary deal more with the complexities of their meeting, and things happen.

But the story is really not about the fallout from a dead dragon. This is a coming of age story that is so off-the-wall that it not threatening to teenagers, young adults, or old adults. It’s actually captivating. As the performance progresses you learn more and more about the character and emotional solidness of “weak” Trevor.

Cary (William A Williams), Trevor (Justin Huertas), and Siren (Kiki deLohr).
OSF photo by Jenny Graham

I found myself cheering (at least inside) when the revelation hits Trevor that what makes us different makes us powerful. Your weirdness is your superpower.

Throughout the exploration of the story the three characters sing and move with fluid brilliance. The songs are spot on in exploring the emotion/fears/and hopes of each person as they narrate the story. The voices are strong and their instrument handling skills are so good that very few venues offer the show. (These same three actors were in the original show in Seattle March, 2015 and have performed it all over the world – only three other companies have attempted it, according to Wikipedia.)

Almost every scene is important and an acting/musical standout memory. The simple set expands in your mind as the actors dance through it. Costumes, lighting, everything is exact.

The show is fast and deliberate, meaningful and skillfully revealed. If you’re heading to Ashland book seats for Lizard Boy now – it has the highest audience percentage of any show this season (so far).

Lizard Boy sings, flows, and storytells its way to a well earned rating

By Galen Workman|2024-07-28T14:57:30-07:00July 28, 2024|osf, plays|0 Comments

“Shakespeare and the Alchemy of Gender” at the Oregon Shakespeare Festival
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“Shakespeare and the Alchemy of Gender” at the Oregon Shakespeare Festival

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“Shakespeare and the Alchemy of Gender” at the Oregon Shakespeare Festival

Shakespeare and the Alchemy of Gender

Created and performed by Lisa Wolpe
Directed by Laurie Woolery

Ashland, OR at the Oregon Shakespeare Festival March 21 – May 4, 2024

Lisa Wolpe’s one-person performance weaves together her work to have women perform the meaty (male) Shakespeare characters with revelations from her personal background in an incredibly strong, nuanced, and broad show. I walked away from the evening admiring her as a person for her socially important efforts while also deeply appreciative of her professional talent.

Lisa Wolpe in “Shakespeare and the Alchemy of Gender”. Photo by Jenny Graham.

Every moment on stage has a point. The speeches from Shakespeare or from her relatives or from herself are flawlessly curated to both engage, amuse, and enlighten.

She has definite points to make – a righteous agenda. However, the mixture and delivery of the messages are so well crafted that you’re easily taken in by the surface artistry so that the deeper meaning effortlessly seeps into your mind as that scenes move along.

Lisa grabs your attention initially by mixing lines from Hamlet (“To be, or not to be…”) with a horror list of her relatives, including her father, that chose suicide.

The show itself she dedicates to her father, Hans Wolpe. Her mother initially told Lisa that dad died when his gun went off accidently. As a young girl a friend started laughing at the improbably accident story and Lisa realized that her father killed himself. Much later in life she learned what her father did during World War II and how his eventual suicide was the result of war-time trauma. She brings us along in her learning of her father’s heroic exploits, but the pathway to knowing more about Hans is appropriately littered with emotion and uncomfortableness.

She talks about how alchemy shifts heavy matters into magical ones. In her life she shifts a female presentation to male.

Lisa Wolpe in “Shakespeare and the Alchemy of Gender”. Photo by Jenny Graham.

Early on she learns that being female disadvantages you. She learns to act more like her brother to escape an abusive, alcoholic step-father. Then as a professional actor she discovers how many more lines the men in Shakespeare have then do the women. She explores her gender shifting and gets the audience to ponder how universal pandering to men really is.

So much of her life has reality bending episodes, and she shares the details so well. The story of her father’s wartime work follows an out-of-the-blue phone call from a rabbi who invites Catholic Lisa to a reunion of her Jewish Wolpe family. How she gets so many bizarre details to strengthen her coherent story is its own alchemy.

Throughout the 90-minute show Lisa blends the delivery of Tony-worthy Shakespeare monologues with comments directly to you in the audience. One of my favorite shifts between character and conversationalist was after her delivery of a Richard III monologue. She gave a lengthy Richard speech about his intent to molest (mmmm…. marry) a 13-year-old. She walked around the stage with a limp and crippled arm and snarly tone. When the speech was done, she spent a moment on stage shaking herself, straightening her crippled limb and gradually starting to smile engagingly at the crowd.

Lisa Wolpe in “Shakespeare and the Alchemy of Gender”. Photo by Jenny Graham.

You are entertained, you are educated, you are given STUFF to think about. The show is polished, professional, and complete. You honor her and her father and family with a standing ovation.

Then, if you stay, Lisa comes back onstage for a 15-minute Q&A session where you can ask her anything. Her consistency, honesty, and seeming spontaneity are terrific add-ons to the show.

This performance with personal details blended with gender truths is a remarkable event to experience. Lisa definitely rates

By Galen Workman|2024-04-30T16:27:44-07:00April 24, 2024|osf, plays|2 Comments