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: The Tempest

 Kate Hurster (left) and Denis Arndt (right). Photo courtesy Oregon Shakespeare Festival.

The Tempest is one of Shakespeare’s most famous comedies, and for good reason: The heavy use of magic, engrossing romance, and hilarious antics of the several intercrossing plotlines make it an appealing play even for those not very familiar with Shakespeare’s work. OSF’s most recent adaptation looks at the play in terms of Prospero’s “ritual of goodbyes," using ritual Japanese dance among other media to bring to light the play’s philosophical questions about forgiveness and endings.

Combining “traditional” Shakespearean settings with more outlandish choices is common to the modern OSF, which combined a 20^th century boarding school theme with traditional Elizabethan dress for last year’s production of Midsummer Night’s Dream. Prospero, Ariel, and Caliban are clothed in Japanese minimalism: For example, Prospero’s magic is indicated by four budo dancers (invisible to the other characters). Budo is a dance form indicated by stillness and economy of movement, and the dancers’ hypnotic motions help bring a sense of magic to the stage, as well as refining the nature of the piece. Prospero himself, played by Denis Arndt, shows remarkable development from intimidating king of the island to repentant brother who seeks a modest conclusion to his life.

Despite the unusual influences on the island dwellers, many of the other characters are approached more traditionally. Festival veteran Richard Elmore teams up with Barzin Akhavan as a raucous Stephano-Trinculo duo – Elmore’s natural gift at making people laugh compliments Akhavan’s more physical approach to comedy, defying the usual joker-foil relationship. The stranded nobles attempt a Shakespearean history while clearly out of their element: Possibly an in-joke referring to the Elizabethan Stage production of Richard III, also running this year.

The set is mostly flat and featureless, allowing the actors to express the scenario through their movements. However, the play frequently toys with light and color, and the sea of red carpet can suddenly change into a confined dark space or a magical evening. The design was not lacking–more to the point, it was devoid of the excess that often occurs in high-budget theaters.

OSF’s new Tempest takes a clear look at Shakespeare’s last play through the introduction of Japanese performance philosophies. The unfamiliar elements force the audience to develop a greater understanding of Prospero’s mission, and in so doing shake the complacency of just sitting through the play. Shakespeare veterans and newcomers alike will find something to appreciate in this play.

Oregon Shakespeare Festival 2014: A Wrinkle in Time

Ensemble. Photo courtesy Oregon Shakespeare Festival.

One of the advantages theatre has over film is its power to convince the audience of visual metaphor. If a special effect looks cheesy in a movie, it is noticeable, but in a play using ribbons for water or dancers for wind is not only acceptable but elegant. OSF’s adaptation of the Madame L’Engle children’s novel deftly translates the “magical science” to the stage in beautiful way that could only work on stage.

A multitude of performance arts are used in the adaptation, including stage magic, ventriloquism, and dance, and unusual props (such as a meteor-shaped disco ball) are combined with A/V special effects to create an experience that doesn’t betray the sense of wonder conveyed by the text. A lot of theatre, especially high budget theatre, is too reliant on stage gimmicks; however, because this is an adaptation of A Wrinkle In Time, the effects only serve as a more faithful adaptation. After all, what could be more faithful than sparking an interest in sets and stage mechanics?

The main trio of Meg, Charles Wallace, and Calvin were played by Alejandra Escalante (Juliet from 2012’s Romeo and Juliet), Sara Bruner, and Joe Wegner respectively; their performances cut to the core of their characters as children who have outgrown their numerical age. The Murry children especially possess the emotional maturity to be expected from their age (including Charles Wallace’s posing at a greater level of maturity) but never lose their intellectual talent and curiosity. My favorite supporting actor was the graceful Dan Donohue as the archetypal physicist dad Mr. Murry.

A Wrinkle In Time is designed for children and children-at-heart; it often relies more on visual wonder than metaphorical complexity. However, this is the kind of theatre keeps art alive by igniting a love of theatre in a new generation, and I am proud of OSF for creating it.

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.

Bay Area Theatres

If you have another theatre to recommend, let me know in the comments!
Last updated May 2016.

San Francisco

PianoFight: Self-described as “San Francisco’s next landmark entertainment venue”, the PianoFight space plays host to sketch comedy troupes, audience-judged playwriting competitions, and surf rock bands. It’s also within walking distance of the Powell Street BART station!

Magic Theatre: A classic theatre located in northern San Francisco, famous for being the artistic home of gritty American playwright and film actor Sam Shepard.

Crowded Fire Theatre: A small theatre company in Potrero Hill that produces diverse plays by local playwrights.

ACT:  One of San Francisco's largest and most famous nonprofit companies, ACT puts on a variety of modern plays and musicals.

San Francisco Playhouse: Located close to Union Square, the San Francisco Playhouse combines old favorites with challenging new works.

Cutting Ball Theatre: A small theatre in the Tenderloin that performs risky, experimental plays.

Peninsula

Palo Alto Players: An 80-year-old community theatre that performs classic shows and occasionally branches into more experimental artists like Sarah Ruhl.

TheatreWorks: The biggest regional theater in the Peninsula, especially famous for its New Works Festival. Performs shows in Palo Alto (at the Lucie Stern Center) and in Mountain View (in the city's Center for Performing Arts).

Pear Theatre: A small but ambitious Mountain View theatre company that performs both the 20^th Century’s greatest plays and more esoteric work. Their Playwrights’ Guild produces a festival of short plays every year.

Dragon Theatre: Another small theatre company, located in downtown Redwood City. Most Dragon plays are by little-known playwrights or apocryphal works by the greats. Within walking distance of a Caltrain station and a lot of good restaurants.

Hillbarn Theatre: Foster City's community theatre, which performs some of Broadway's most beloved musicals.

South Bay

City Lights Theatre Company: A midsize theatre in downtown San Jose that produces a variety of interesting shows. Usually serves snacks after performances, but you may want to save room for the dozens of excellent restaurants in the area.

Tabard Theatre: This family-friendly theatre, located literally across the street from some of San Jose’s best restaurants, has an intimate space with an interesting “corner” stage construction.

San Jose Theatre Company: Modern plays – and twists on the classics – performed on an arena stage in downtown San Jose.

Silicon Valley Shakespeare: A seasonal outdoor theatre near Saratoga that performs Shakespeare plays along with a few modern plays in a fun, casual setting.

East Bay

Gritty City Repertory Youth Theatre: A youth theatre in Oakland that stages plays – both Shakespeare and modern – with relevant themes for young people and people of color.

California Shakespeare Theater: Located in the hills near Orinda, Cal Shakes performs a four-play season during the summer in their outdoor arena stage.

Shotgun Players: An edgy Berkeley theatre company that directly responds to issues in the larger theatrical community: For example, selling $5 tickets to audience members under 25.

Berkeley Rep: Berkeley's longstanding theatre, most notable for its repeated collaborations with director Mary Zimmerman.

Impact Theatre: Another Berkeley company, this one dedicated to producing new work.

North Bay

Marin Rep:  Marin's most notable nonprofit theatre, which puts on mostly modern plays with serious artistic merit.

Notable College and University Theatres

Santa Clara University

Foothill College

Notre Dame de Namur University