theatre

Note: This review will appear in the 3/11 Eugene Weekly.

Benjamin (Patrick Driscoll) and David (Jacob Smith) in the Lord Leebrick's The Four of Us. Photo courtesy Lord Leebrick Theatre

Friendship, Hateship, Jealousy, Writing
Love, meet success in The Four of Us

By Suzi Steffen

First of all, get over the Teddy bear.

Director Craig Willis mentioned the stuffed animal in pre-show publicity several times, and OK, it’s practically a third character in one vivid scene of Itamar Moses’ The Four of Us at the Lord Leebrick Theatre.

But since it’s not a writer, the bear can’t focus on its work to the exclusion of its friends, the way young novelist Benjamin (Patrick Driscoll) can; and it can’t attempt to be happy for its friend’s success in the midst of feeling jealous, as David (Jacob Smith) ends up trying to do after Benjamin’s rocket ride to novelist superstardom.

Read more after the jump!

Barbie Wu as Tokyo Rose. All photos by Ariel Ogden

On Wednesday afternoon, I called Theresa May, who directed the UO Theatre’s recently opened Burning Vision (and whom I interviewed extensively for last year’s story on the EcoDrama Festival). The play, by a playwright of the Dene Nation in Canada, got a very pleased review from Alan Beck in The Register-Guard and a far less charmed review by our Rick Levin.

May’s interest in ecofeminism, ecological drama and a grounded, arts-based ecology resonate with me (I wrote my art history master’s thesis on ecofeminism in the art of Ana Mendieta). She talked with me about everything from finding this play to figuring out how to direct an actor who’s essentially one of the atomic bombs that the U.S. dropped on Japan. May believes that though Burning Vision has been produced several times in Canada, this is the first time it’s playing in the U.S.

Tell me about picking this play. How’d you find it?

I’ve known about it for a number of years. It was written in 2001. I knew of [Burning Vision playwright] Marie Clements’ work, and because I teach in the area of eco-criticism, an area that reflects enviro issues, I came across it when I was looking for readings for a course called Art, Culture and Nature. We did read it in the class.

I just thought Burning Vision was such a rich exploration of the environment and environmental justice issues. That was probably four or five years ago.

Much, much more after the jump!

T Minus Four (Days) for Annie

This is one of a series of posts about Upstart Crow Studios' production of Annie. If you want to see more posts about the past few months of rehearsal, click here.

It's 5:43 pm, and the intro action is coming to a close. The orchestra's playing above us in the walkway, and Sarah Beth Byrum is trying to make the lights work. I'm going to run backstage to see what's happening back there and get some video if possible. I'll keep updating! Possibly with a Cover It Live blog, possibly not ... depends on what happens.

Though I'm kind of riveted to the orphan scene, which is super poignant. I don't think adults should be allowed to watch Annie. I'm worried about the remaining Annie, Asa; she sounds awfully hoarse! Cast B Annie, Jaya, has pneumonia and may be able to participate in the final show at the Wildish on March 14.

Heading Backstage ...

Photos from backstage:

Connor and Cassie, with Aidan's suit sleeve

Hazel and Connor

Tyson

Jourdan! He plays Drake. D'oh! Drake

Matthew mouthing the words to "Hard-Knock Life" (happening on stage)

Nick mouthing along with "Hard-Knock Life"

I've been here at Upstart Crow tweeting about #theroadtoAnnie for about an hour and 15 minutes, but I think it's time to move to a live blog...

I took a bunch of photos and uploaded them inside the live blog above, so be sure to play it to see 'em. But what happened after the live blog closed?

Some members of Cast B fluffed a lot of lines for the final scene, that's what happened. And that made everyone watching — parents, other kids, me, even, very occasionally, the directors — dissolve into helpless laughter (shot of that at the end of the video below). Then they all sang the final "Tomorrow" reprise together, including the directors (Eularee holding Sarah Beth's baby), and it was quite moving, and I was annoyed that I'd put my camera away. And THEN:

Sarah Beth Byrum: "What's happening next week?"
Cast B: "Dress!"
SBB: "That's right, dress and tech. And what else happens?"
C: "THE SHOW!"
SBB: "And what would stop that process?"
C: " ... not knowing our lines?"
SBB: "NO. NOTHING will stop the process. Will you go on whether you know your lines or not?"
C: " ... yes."
SBB: "And who will be humiliated and embarrassed if you don't know your lines?"
C: "We will."
SBB: "And me too! *I* will be embarrassed!"
(STRONG suggestions of learning lines over the weekend.)
Eularee: "That's right. Now, clap for yourselves!"

To be fair, they had just finished a 3.5 hour rehearsal under somewhat chaotic conditions (the little entre'acte kids had to sort of come in and out whenever there was time; the CD didn't work in the downstairs stereo; etc.). The show opens a week from Friday night (March 5).

Here's a video of some of the evening:

Loooooong ago, as in on Jan. 18 or so, in a galaxy upstairs from the auditorium, some of Cast B was relaxing with Michael Jackson.

Sadly, I only had my [redacted swearing in honor of the young people who will be looking at this video] camera with me, so the quality is not the best, but still: I was impressed that they rocked out to a song I believe came out when I was in high school. I tried to upload this about a month ago, and of course YouTube had crashed. Then I just ... forgot. Apologies to the power of the backstage crew!

Tonight at Upstart Crow, we have Cast A doing a run-through. Right now, Sadie's singing "Little Girls," but here's the raw (totally unedited, that is) footage of the second half of "It's the Hard-Knock Life," starting with the lines that always make me tear up: "Empty belly life / Rotten, smelly life / Full of sorrow life / No tomorrow life."

The Annie is Asa Clevenger, in the tye-died T-shirt. (Cast B run-through is Thursday night, & I'll upload some then as well.)

At Upstart Crow Studios for Annie rehearsal, Cast B is busy running through a scene where Annie and Daddy Warbucks meet FDR.

Here's a pic of Jaya Rowelle, the Cast B Annie, trying on her dress a couple of weeks ago:

A few weeks ago, Cast B was busy learning "We'd Like to Thank You, Herbert Hoover," including some choreography. Here are Hazel Herring (l), Grace Kelly (r) and Taylor Doble (behind) practicing some of the dancing (which later got changed):

That same week, here's Upstart Crow's exec director, and the co-director of Annie, Eularee Smith helping orphan Molly (Caitley Criswell, I believe) whine a little more in the first scene. The girls are in the dance studio, and they're sprawled out all over the floor.

And here's Jaya in the Hooverville scene a few weeks ago:

I have some (poor quality but fun) video of some of Cast B's principals doing Ring Around the Rosy and MJ backstage ... and as soon as YouTube loads that, it's up! More from tonight probably Wednesday afternoon.

This review will appear in the Feb. 11 print edition (with images, I hope)

Swinging Through London’s Doors
LCC’s Move Over Mrs. Markham farces it up

by Suzi Steffen

Last time I reviewed a farce, I led the review with a discussion of doors and how they should be used. That was Rumors at the Very Little Theatre, directed by Chris Pinto. Pinto must be into farces this season, for he’s at it again — and the doors work far better in this case — with the young actors at LCC in the British sex farce Move Over Mrs. Markham.

In Rumors, the set-ups of the first act paid off during an extended, inspired second-act monologue that Paul Hume Rhoden built into a towering fantasy of outrageous proportions. Though the whipped-up, goofy climax of Move Over Mrs. Markham, a late ’60s/early ’70s play by Ray Cooney and John Chapman, arrives with the collaboration of nearly the entire cast, it still relies heavily on the acting skills of one person — Melissa DeHart as Joanna Markham. Luckily, DeHart appears to know exactly what she’s doing, and she directs the traffic around her with the skill of a far older actor.

Read more after the jump!