Ashland, OR: Oregon Shakespeare Festival

OK, so I know this is supposed to be about food and all . . . but the occasional detour can be a good thing. I have been attending the OSF for a bunch of years [more than I'd like to admit] and its always a good time, with some occasionally brilliant theater, and always something to talk about. This year was no exception, but it felt that overall the level of theater was elevated and there was more to think about, even where it wasn't expected, which is a good thing. I was able to see all of the productions that were running during my visit, so here are my snapshot reviews of each of them:

The Music Man: well, I was not looking forward to this old chestnut, but went more out of curiosity than anything else . . . too many community theater productions had numbed me to the real possibilities of this work. In a word, this production was wonderful. Nuanced, playful and rollickingly entertaining. The focus was more on the transformation of the town than on the developing love story, and the wonderful set and costumes, that moved from drab grey tones to brilliant color as the play progressed, fully supported that view. Michael Elich, as Professor Harold Hill, was outstanding in every way, a real star turn [and a surprise for me, I didn't think he had it in him]. The disappointment for me in an otherwise strong cast was Gwendolyn Mulamba as Marian Paroo . . . for me, she just didn't click with the other cast members, stiff and arch when saying her lines and her singing voice lacked warmth. Other than that, this was a wonderful evening in the theater, and would be a great introduction to the American musical to the younger audience member.

Equivocation: this was the jewel of the season, a truly spectacular event that had me fully engaged from start to finish. The small cast, each playing multiple roles, was at the top of their game and this world premier should be around for a long time. Challenging and yet fun, taunt and at times playful this is what good theater should be and often is not. Special kudos to the exceptionally talented [and HOT] John Tufts, who really came into his own at OSF with this performance. RUN to see this production. HURRY.

Macbeth: without giving anything away, the Scottish play is referenced in the above mentioned Equivocation and the potential here for an equally stunning production of this companion piece are mind blowing. Unfortunately, this production of MacB was AWFUL. Its one of my favorites in the canon, and I was excited to see it again and almost, really almost, walked out at the intermission. The cast never seemed to talk TO one another, they just spouted lines in any direction and MacB himself bellowed and thrashed without ever engaging. What an amazing waste of talent, and since there were so many talented actors on the stage it must be the fault of the director or vision, because something here was really wrong. The set was interesting, the costumes serviceable [and sometimes beautiful] but nothing ever clicked. And this far into the season things should have been perfect if they were ever going to be. A big disappointment.

The Servant of Two Masters: a screwball comedy played in various Venetian locales at a fever pitch, this was just plain fun. Wonderful costumes, broad performances, fast paced and with perfect timing to tie everything together this little play had me laughing out loud more than once. A big dose of the giggles all around, well done.

All's Well That Ends Well: in this interesting production a new character, The Clown, was introduced by the director to help the story unfold and act as a kind of ground between the present and the fable on stage. The play was well acted, with some truly touching moments and represents what OSF does exceedingly well. And, we got to see more of Mr Tufts, [but not as much as when he wore some great tights as Romeo, but I digress] which is always a good thing.

Don Quixote: every few years something on the Elizabethan stage catches the imagination . . . of cast, crew and audience . . . and takes on a joyful life of its own. That is the case here, a truly inventive production with strong performances all around, and at its core a revelatory performance by Armando Duran as Quixote. Fully believable, as he completely inhabited the character, Duran seemed to be having as much fun as the audience in discovering each new adventure. This has to be one of my very favorite OSF productions of all time, and I've seen a bunch of them, and I'm smiling now at the memory. By turns touching, beautiful, rousing and funny, this production had it all. BRAVO!

This production had only one flaw, that being the actor Terri McMahon . . . even in a very small role she brought the proceedings to a screaching halt wtih her wooden delivery and pasted on smile. The only upside here is that she had a very small role . . . why is she even on stage at OSF at all? Ever?

Paradise Lost: is, after all, Clifford Odets, so we know from the start that there will be no tap dancing or happy talk going on. What must be accomplished is keeping the focus on the story and not letting the whole enterprise sink under its own weight. That this production was engrossing throughout is testament to the fine work of the ensemble, keeping the pace brisk and the characters believable. Linda Alper was, as always, amazing. Particularly so in this difficult role in a tough play. Richard Elmore, another OSF veteran, brought a quiet dignity to a truly sad role that under girds the action of the play. While I won't say that I enjoyed this outing, its not fun, I did come away moved and challenged and that is in the end all we can ask. Well done.

Much Ado About Nothing: this charming and well known story, in the hands of the marvelous OSF company, is nothing short of a romp. As giddy and head spinning as first love in this WWII setting, with the dark undercurrent never far away. As Beatrice and Benedick, Robynn Rodriguez and David Kelly were perfectly matched and sizzled every time they were on stage together. I would have gladly watched it again if I could have stayed in Ashland another night. The whole production felt like a gift from OSF to its gleeful audience, tied with a sparkling bow of laughter that will not soon be forgotten.

Henry VIII: there is a reason that this play is not often produced, its not very good. But for all its shortcomings it allowed OSF to do what it does best . . . pageantry. Beautiful set pieces framing the action, spectacular costumes and strong performances make this a full evening, if wanting in content. The luminous Vilma Silva as Queen Katherine was amazing, but more than anything its the 'show' that drives here . . . consider it a postcard from another time and enjoy the view.

The bottom line is GET OUT AND SUPPORT LIVE THEATER . . . whether in your home town, at the Oregon Shakespeare Festival, or on Broadway. Its our cultural treasure and we need to support and encourage its growth.