“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).
“Born with Teeth” at the Oregon Shakespeare Festival
I am happy to have seen this theater-goers mental masturbation show which was well done but fails the “so what” test.
“Macbeth” at the Oregon Shakespeare Festival
This production has characters, nuance, coherence, and still the amazing language and events. It is not a good Macbeth, it is a spectacular Macbeth.
“Once on This Island” at OSF
It was good to be back in the Bowmer Theater to for a fun evening that is full of energy, good singing, lively movement, and entertaining and meaningful music. Ozdachs' rating is 4 stars out of 5.
“unseen” at the Oregon Shakespeare Festival
unseen has too many themes, too many possibilities, and too many symbols to be either fun or worthwhile. It's a well-meaning piece with two fine actors, and you will discuss your ideas about how to improve it. But, overall, it's only 2 stars out of 5.
“A Midsummer Night’s Dream” at the Oregon Shakespeare Festival
A Midsummer Night's Dream written by William Shakespearedirected by Joseph Haj Ashland, ORat the Oregon Shakespeare Festival A Midsummer Night’s Dream (2020): Jeremy Gallardo (Snug), K. T. Vogt (Robin Starveling), Cristofer Jean (Francis Flute), Ensemble. Photo by Jenny Graham, Oregon Shakespeare Festival. Oh dear! I really didn't want my last comments on this COVID-19 affected season to be anything but positive. I had hoped that I would see more plays later in the year that I could sincerely applaud. Unfortunately the virus shut down all but two weeks of the season, and what I saw opening weekend is all that [...]
“Copper Children”
written by Karen Zacariasdirected by Shariffa Ali Ashland, ORat the Oregon Shakespeare Festival The Copper Children (2020): Ensemble. Photo by Jenny Graham, Oregon Shakespeare Festival. Copper Children has much going for it: an under-told, important story, a talented playwright who entertained and educated us with Destiny of Desire, and an experienced and immensely talented cast. Unfortunately, this world premiere wasted its assets and delivers an evening that is a moralistic plod which fails to create drama or feelings. The play tells the story is of white Catholic orphans from New York who get sent out west for adoption by good [...]
“Bring Down the House, Part II”
by William Shakespeareadapted by Rosa Joshi and Kate Wisniewskidirected by Rosa Joshi Ashland, ORat the Oregon Shakespeare Festival Bring Down the House, Part One (no photos yet posted for Part Two)Ensemble. Photo by Jenny Graham, Oregon Shakespeare Festival. Through a scheduling snafu I missed the opening of Bring Down the House, Part I and took up the Henry VI story halfway through. Because co-adapters Rosa Joshi and Kate Wisniewski have done such a good job of curating scenes and speeches, I fell right into the story, despite the potentially confusing rush of characters and battles. I had a fun time [...]
“Between Two Knees”
After trying for a month to moderate my initial reaction to the show, I admit failure. So, I reluctantly tell you, "Run! Turn your tickets back!! Seeing Between Two Knees is a waste." The "play" is a two-act, juvenile, mental-masturbation orgy of insult humor written without wit and performed without inspiration. It feels unedited, unworkshopped, and unrehearsed, OSF protestations to the contrary notwithstanding. About the cleverest thing about Knees is how it inoculated itself against criticism by suggesting that any complaints directed toward it are based on white fragility, insensitivity, or worse. Aside from this self-vaccination against disapproval, there is [...]
“Mother Road” at the Oregon Shakespeare Festival
World Premiere by Octavio Solis directed by Bill Rauch Mark Murphey (William Joad), Tony Sancho (Martín Jodes)Photo by Jenny Graham, Oregon Shakespeare Festival. My subconscious has delayed my writing comments about Ashland's Mother Road. I saw it opening night in early March, but I haven't felt like it was time to write about the play. Not when I first saw it. Not when I got back home and had a chance to think about it. Not ever. The problem is that I want to construct an enthusiastic collection of comments that matches the applause the audience -- including me -- [...]