Troilus and Cressida
by William Shakespeare

Most of the flash and bang of this infrequently produced Shakespeare play comes from the modern ordinance that accompanies Troilus and Cressida‘s teleportation into the 21st Century Middle East.  T&C is not bad entertainment, but I experienced no bite, no zing in this deeply cynical tale.

The story of how almost everyone at every level is dishonest or deluded, especially when it comes to patriotic wars, is an always-timely subject.  While the language is clear and the context maintained throughout this performance, only once did I feel truly miserable for an on-stage character as they were being betrayed.  The other instances of cheating and disappointing behavior went by without dramatic intensity.  So she picks up with a new guy at night after swearing undying love for you this morning? So what? Get over it already. (more…)

Party People
by UNIVERSES (Mildred Ruiz-Sapp, Steven Sapp, and William Ruiz/Ninja)
developed and directed by Liesl Tommy

The authors of this world-premiere, commissioned American Revolutions production told us in the post-performance audience talk-back that the Young Lords and the Black Panthers had effected their lives even though they had no knowledge of the groups themselves.  One creator’s first job was in clinic started by the Young Lords, and another routinely benefited from social programs started by the Black Panthers.  These racially-identified local community organizations truly changed the neighborhoods and residents’ lives. The artistic challenge for UNIVERSES, the authors said, was to tell the current generation about this legacy in a way which the young will hear.

The captivating response to the challenge is Party People, a performance piece that intimately dances, raps, and acts out the politics, the energy, the families, the fear, the conspiracy, the failure, and the success of the party people in a unfamiliar, non-white-bread format.  The approach, the music, and execution stirred pasty-skinned, hip-hop hating, old fogy me.  The brilliant moments excellently done took me in, especially because the presentation is not  done in a comfortable routine style. (more…)

All the Way
by Robert Schenkkan

Robert Schenkkan has written a masterful script that projects a sharp look at the leaders of America during the year which was more or less between my 10th and 11th birthdays.  I had expected a pleasant play that would remind me of my precocious political awakening.  I wound up dazzled by how well Schenkkan presents the feel of that first post-Kennedy year and by the tragic-hero humanness of the real-life figures that fought for civil rights, the Great Society, and for the liberal values that made the United States an economic and moral force.

Unlike many of the world premieres and commissioned works produced recently at the Oregon Shakespeare Festival, All the Way is a classically constructed evening of theater.  That traditional approach, flawlessly executed, lets older theater goers experience the production without stretching uncomfortably to understand the format.  ATW is a wonderful play;  it’s not a performance piece nor a dressed-up poetry rap.  It taps into the power of a linear story, rising action, imperfect giants, and changed characters.  Its straight-forward plot and wording are evidence that the truisms of play design you learned in high school English class remain valid.

ATW is gimmick-free art. It is a camera-ready canvass for the director, actors, set designer, costume designer, lighting designer, … everyone… to apply their talent. (more…)