Oregon Shakespeare Festival 2016: The Wiz

Left to Right: Ashley D. Kelley, J. Cameron Barnett, Christiana Clark, Rodney Gardiner. Photo courtesy Jenny Graham and Oregon Shakespeare Festival.

The Oregon Shakespeare Festival’s adaptations of classic musicals are frequently highlights of the season. The shows go beyond just pleasing crowds; directors explore the context and meaning of each musical and use the Festival’s resources to bring their interpretation to life. OSF combines the glamour of classic musicals with an outstanding ensemble cast to create a fun, enchanting production of The Wiz, the musical that unites L. Frank Baum’s children’s book The Wizard of Oz with the African-American musical styles of the mid-1970s.

Any adaptation of The Wizard of Oz relies on the likeability of Dorothy, who in this production (through August 13) is played by Ashley D. Kelley. Kelley’s portrayal is everything one would expect from the character – a Dorothy not without her faults, but brave, kind, and principled. She serves as not only the protagonist, but also the foil to many of the goofier characters in the play, which makes her determination as funny as it is charming when compared to that of the weaker-willed characters.

Within Dorothy’s party, the standout character is the Cowardly Lion (Christiana Clark). Clark zeroes in on her character immediately – a coward who serves as comic relief, but honestly tries to improve – and goes 100% into her rendition. The Lion steals the show in almost every scene she’s in, and is also responsible for some of the funniest jokes in the show. That said, the Scarecrow (J. Cameron Barnett) and the Tinman (Rodney Gardiner) also put in great performances, and the four of them (including Dorothy) make a fun, lovable group.

Much like the original book, three witches appear throughout the story; however, the Good Witch of the North (Michele Mais), named Addaperle in this production, gets significantly more time onstage than in the source text. Addaperle is the most direct indication that The Wiz is a loving satire of The Wizard of Oz instead of a faithful adaptation, with a lot of metahumor and jokes about her disappointing magical power – Mais delivers the straight-faced performance required of her. Also notable is the Wicked Witch of the West, Evillene (Yvette Monique Clark), whose gleeful villainy and sheer power are as thrilling as they are terrifying.

One cannot write about this show without discussing Jonathan Barbour’s Wiz. Barbour’s charisma and musical performance in his introductory song, “So You Wanted To Meet The Wizard” make it one of the most memorable parts of the show, and he maintains high energy for the remainder of the play. His consistently high internal status is an unexpected twist on the famously insecure character; even when found out as a fraud, the Wiz continues to believe that he is significantly more powerful than everyone else. It’s an unusual interpretation that works well considering the show’s focus on confidence and belief in oneself.

Drawing from traditions of glitzier Broadway musicals, The Wiz discards any sense of modesty and goes completely over the top with its presentation. Lines of glamorous chorus dancers dressed in glittery lightning-bolt outfits become the tornado that whisks Dorothy to Oz; later, the same dancers wear suits of golden sequins to become the Yellow Brick Road. The costumes of Oz denizens are elaborate almost to the point of camp: the Tinman, for example, has a hat that looks like a can top and a Terminator-esque laser eye, and the Wiz’s costume in his first appearance defies description. The sheer audacity of these design choices is entertaining on its own, but the clothing is not without meaning; for example, costume designer Dede M. Ayite made the intelligent decision of dressing Dorothy in plain, regular clothes, accentuating the contrast between the girl from Kansas and the strange land she visits.

The Wiz at OSF is more of a conventional musical than some of the Festival’s previous work, like the “backstage” My Fair Lady or the gritty The Unfortunates. The most direct comparison would be to 2010’s She Loves Me, which also used a set and theme that were fairly standard. However, the production values, wonderful cast, and sheer heart put into this show make it an absolute must-see. If you’re looking for a night of pure entertainment, this show is difficult to top.

Part of the Oregon Shakespeare Festival 2016 season.

Hillbarn Theatre: Curtains!

Ensemble. Photo courtesy Mark Kitaoka.

One of Kander and Ebb’s last musicals, Curtains! is a charming metatheatrical murder-mystery that originally starred Frasier’s David Hyde Pierce in its original Broadway run. Hillbarn Theatre’s version is a gutsy, well-choreographed piece that makes use of the house’s intimate venue.

In terms of character, Curtains! is a farce, using a stock collection of larger-than-life goofballs to tell their story. At the center is Lt. Frank Cioffi (played by understudy David Meacham in the production I attended), a competent but dejected Boston police detective, who attempts to solve the case of a murder among a group of musical theatre players. Meacham’s Lt. Cioffi is similar to the original, played with an awkward, lively energy that makes him a protagonist everyone can root for.

A number of other goofy characters round out the Curtains! cast. Christopher M. Nelson plays composer Aaron Fox: His respectable singing voice becomes evident in his rendition of “I Miss The Music”, the best song in the show. The snooty British director Christopher Belling (Raymond Mendonca) is played a little softer than in other productions; while he still blusters and steals credit, in Hillbarn’s production he also truly cares about the welfare of the show.

The most interesting character decision, however, belongs to Boston Globe critic Daryl Grady (Russell Ward). In terms of casting, Grady has a lot of versatility, and I’ve seen versions where he’s played as a nebbish geek with thick glasses. However, Ward’s portrayal is neat, handsome, and charismatic; with a British accent, he could be right at home in an Oscar Wilde play.

Not to be ignored is the impeccable choreography by Jayne Zaban. The show within a show, Oklahoma parody Kansasland, has big, active dance numbers, but just as significant are the more intimate songs. “A Tough Act To Follow”, which stages an elaborate fantasy scene using Hillbarn’s small space, is an especially impressive feat.

Curtains! is not a challenging piece, but if you’re looking for a fun adventure with lovable (or loveably hateable) characters wrapped around a very solid mystery, it’s hard to find a better play.

Plays to See: Oregon Shakespeare Festival 2015 Season

The Oregon Shakespeare Festival, located in scenic Ashland, Oregon, is a repertory theatre that produces roughly ten shows during its February to October season. There are always several Shakespeare plays (though not as many this year), in addition to classic, modern, and premiere shows that support OSF’s dedication to the language of theatre.

The city of Ashland boasts quality restaurants with farm-fresh ingredients; the restaurants are so good that, aside from Starbucks, chain restaurants simply can’t survive there. Nature enthusiasts will be interested in beautiful Lithia Park, which boasts scenic forests along the banks of Ashland Creek.

The following is some of the 2015 season’s plays that look especially strong:

Guys and Dolls (by Frank Loesser, Jo Swerling, and Abe Burrows, dir. Mary Zimmerman)

Runs February 22 through November 1

As I mentioned in my My Fair Lady review, OSF has a consistent record of staging tired Broadway go-tos in innovative and fascinating ways, most notably Bill Rauch’s Pleasantville-style Music Man from the 2009 season. Guys and Dolls has some of the catchiest music of its time, and the combination with OSF’s musical interpretations is very exciting.

What builds even more confidence is the revival under the direction of Mary Zimmerman, typically known more for directing her own mythological works, like 2013’s outstanding White Snake. Guys and Dolls seems like a departure for someone who hardly ever works with material on this side of 1900, but it has its own share of larger-than-life characters and mythological feats (Sky winning a high-stakes gambling game in “Luck Be A Lady”, for instance).

Jeremy Peter Johnson plays Sky Masterson in this production; I most remember him as Cinderella’s Prince in 2014’s Into the Woods. The ability to do goofy material seriously will fit him well as he takes on the role, and I’m excited to see what he does with it. I also eagerly await the hilarious Richard Elmore as imposing gangster Big Jule.

Secret Love in Peach Blossom Land (by Stan Lai, dir. Stan Lai)

Runs April 15 through October 31

Metatheatre (think Noises Off!) is a divisive genre, but one that OSF is unafraid to stage as part of their commitment to the language of theatre. Secret Love in Peach Blossom Land is a delightfully meta piece of theatre that also happens to be one of Taiwan’s most influential and powerful modern plays. The fact that the original writer and director, who semi-improvised the original piece in the 80s, is steering the helm turns the play from a curiosity into a true privilege to see.

Many historical pieces, including some at Ashland, possess a kind of dourness, but Secret Love in Peach Blossom Land combines wit and poignancy in an interesting interpretation of both Chinese ancient and modern history. Authentic non-Western theatre is difficult to find in the States, making Secret Love an amazing opportunity.

Long Day’s Journey into Night (by Eugene O’Neill, dir. Christopher Liam Moore)

Runs March 25 through October 31

It’s one of the greatest plays of the 20^th century, starring Michael Winters (King Lear), directed by the person responsible for 2013’s stellar Streetcar Named Desire. I’m not sure what more needs to be said.

The Count of Monte Cristo (by Alexandre Dumas, adapted by Charles Fechter, dir. Marcela Lorca)

Runs June 4 through October 11

The Count of Monte Cristo remains one of the world’s premiere swashbuckling adventure stories, and though many adaptations exist, OSF decided to go with an old, wildly popular version that starred Eugene O’Neill’s father in its original run. This play is a more sophisticated attempt at adventure theatre after 2013’s Heart of Robin Hood, which also indicates the theatre company’s attempt to diversify their theatre styles.

The part of Edmond Dantés, the story’s central character, was given to Al Espinosa, who played assorted roles in mostly Shakespearean or early 20^th-century plays in the past four seasons. The Yale-educated actor combines dashing charisma with a true grasp of difficult texts, which gives him an advantage in Count of Monte Cristo.

Oregon Shakespeare Festival 2014: Into The Woods

Miles Fletcher (left) and Robin Goodrin Nordli (right). Photo courtesy Oregon Shakespeare Festival.

Much has been written about Into The Woods, considered alongside such work as Company and Sweeney Todd as one of Steven Sondheim’s greatest musicals. Despite subverting the popular endings to the fairy tales much of us heard as children, Sondheim and James Lapine managed to maintain the fantastical tone of the stories. We can still distinguish the original fairy tales, but the parts add up to a greater whole. The Oregon Shakespeare Festival’s outdoor production captures this spirit, with quality actors, direction that is faithful but not adherent, and outstanding technical design.

Though it could be argued that the baker and his wife are the main characters of the piece, Into The Woods is really an ensemble performance, and each actor stood out in their own way without jostling for attention. My personal favorite performance was Miles Fletcher as Jack: Though he continues to add more emotional guard as his character develops, he doesn't lose the goofiness and naïvete required of his character. Jack is stupid, but all of his actions are justifiable, and in this way he is both understandable and lovable. Other standout performances include Catherine E. Coulson playing three separate onstage roles (Red Riding Hood’s granny, Cinderella’s evil stepmother, and Jack’s prize cow) in what could be called a true feat of theatre, and Kjerstine Rose Anderson’s rendition of Red Riding Hood, which is understated when needed but not afraid to go over-the-top.

That description could easily apply to the direction of the work as a whole. Amanda Dehnert’s treatment of Into The Woods is different from OSF’s other musicals: Whereas previous shows like The Music Man and My Fair Lady attempted to subvert what we knew, Into The Woods instead rephrases it. There is no elaborate forest set or classic fairy-tale costumes. However, through a multimedia circus with rapid costume changes, projections, acrobatics, and even a little stage magic, we find ourselves in the same woods that Lapine imagined in his original production.

Despite the minimal set, the costumes are decadent in a way that only the astoundingly talented can pull off. Many of the costumes (such as the baking couple and Cinderella’s stepsisters) are obvious patchworks, allowing us to recognize the common in an alien form. Many of the others use gradient dyeing, making the costuming impressive on both a conceptual and technical level. For those of you studying costumes for stage or screen, this production of Into The Woods is not to be missed.

Because it is an Elizabethan Theater production, Into The Woods will last only through the end of summer. If you have the time to make it up to Ashland, please try to get a ticket to this show. Even if you think you are familiar with the work, this particular performance is so outstanding that it will ignite the emotions that remind you why you see theatre in the first place.

Oregon Shakespeare Festival 2013: My Fair Lady

Ensemble. Photo by Jenny Graham. Photo courtesy Oregon Shakespeare Festival.

Over the past few years, the Oregon Shakespeare Festival has developed a pattern of taking a classic musical – perhaps one that the audience is starting to tire of – and directing it in a way so fresh and innovative that it seems new once again. In 2009, OSF’s Music Man changed Harold Hill into a man bringing Pleasantville-esque color to a black-and-white town. 2012’s Animal Crackers kept the rapid-fire Marx humor but added some cleverly blocked visual gags–and a few choice barbs aimed at the Festival itself. And this year, OSF has accomplished the impossible – breathing new life into My Fair Lady, one of the most well-known musicals of all time.

My Fair Lady takes place in the streets, apartments, and racing booths of the British upper class, and director Amanda Dehnert does not try to convince the audience any different. The twist is that these settings are left to our imagination; the action takes place in a rehearsal room, where a group of actors are practicing for My Fair Lady. This setting seems cliché, but the production doesn’t skimp on technical artistry. Eliza’s final exit has to be seen to be believed, and the familiar settings become new as the rehearsal room, with the help of a few props and costumes, transforms into a myriad of settings and spaces.

When I went to see My Fair Lady, an unfortunate illness was going through the ensemble, and numerous characters–including Eliza Doolittle herself–were played by understudies. Christina Acosta Robinson, coming straight from her role in The Unfortunates from earlier in the day, played Eliza immaculately, carrying her with the fire and emotional extremes the role requires to stay believable. Also great was Ken Robinson, probably the most acrobatic Freddy Eynsford-Hill in the history of the role, who drew wild applause for his rendition of “On The Street Where You Live”. The cast gave a wild, bombastic rendition of the show that made you almost forget where you were.

If you think you’ve seen My Fair Lady before, or even if you think you’ve seen it too many times, the Oregon Shakespeare Festival’s rendition of My Fair Lady will almost certainly change your mind. I am excited that the Festival is continuing the trend next year with The Cocoanuts, and, even more so, Into The Woods.

Oregon Shakespeare Festival 2013: The Unfortunates

Ramiz Monsef (right) as the Doctor, Cristofer Jean (Center, on trapdoor) as Koko, and ensemble. Photo by Jenny Graham. Photo courtesy Oregon Shakespeare Festival.

In recent years, musicals have departed from traditional structure and composition methods, exploring the use of numerous musical styles to tell a story. 2008’s Tony Award-winning In The Heights used hip-hop and Latin pop styles, each character representedy by a different form of inner-city Brooklyn music, while Fela! told the story of African musician Fela Kuti with his traditional tunes.

The Unfortunates, currently in its premiere performance at Ashland, tells a bitter, simple story using that classic American art form: The Blues. The play concerns Big Joe, former right-hand-man to King Jesse, underworld boss and owner of King Jesse’s Kingdom, a bar/casino/brothel that caters to the baser desires of whoever walks in. When Jesse dies from a plague, Big Joe is given the crown, but he is as soft-hearted as he is big-fisted and finds it difficult to maintain what he’s been given. Meanwhile, he attempts to pursue a relationship with Jesse’s daughter; however, when she contracts the plague as well, Joe’s life is turned upside down.

The musical draws many of its devices from other musicals, but employs them together in a way that makes it a truly unique performance. The closest musical I can think of is Kander and Ebb’s Kiss Of The Spider Woman: Both use a fascist prison where death awaits at every turn as a framing device, and both protagonists escape their terrifying circumstances by disappearing into the realm of their imagination. However, The Unfortunates improves the formula: Joe's imagination torments him just as much as the foreign soldier outside the cell and the soundtrack uses a musical style able to convey more angst than the tango. Big Joe’s mental landscape is bizarre and circus-like (Joe himself dons immobile, Hulk-sized fists in his mind), but as much as its inhabitants are cheery and love to joke, there is a noticeable grim current at the back of every scene.

If you are going to the Oregon Shakespeare Festival, it would be a shame if you missed The Unfortunates, which, if it weren’t for OSF’s astonishing Streetcar Named Desire, would far outpace the others as the greatest play of the season.