Theater
Director Bill Rauch’s concept and the Oregon Shakespeare Festival company have, in a small space, created an achievement of monumental, yet personal, proportion.
The Oregon Shakespeare Festival is an annual theatrical adventure for many on the West coast, and should become one for the rest of the country – but make reservations early.
The audience, mostly gray-haired seniors and aging baby boomers, walked out with smiles on their faces, as did I.
Tennessee Williams was a prolific writer, and each season the Festival presents an unfinished play or little known work from his vast canon.
Mary Zimmerman’s Jungle Book may not have the same kind of compelling narrative and emotional depth as her Bernstein/Voltaire tour de force, but there’s plenty of magic in this Disney/Kipling mash-up.
Hunger is hunger but each hungry person experiences it in his or her own way. That insight is at the heart of the remarkable, socially engaged toy theater production Who’s Hungry.
Pulitzer prize-winning dramatist Robert Schenkkan is chained to a dreary, fact-driven approach in “All the Way,” tossing in bits and pieces of “what if” for unconvincing dramatic effect.
Swiss Stage’s inaugural offering was Dog Paddle (Schwimmen wie Hunde), a domestic comedy based on existential themes, by the German-speaking playwright Reto Finger.
Dramatist Nina Raine probes the complex nature of tribal affinities, delicately examining how precariously communication depends on whether people listen to one another carefully, or not.
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