Eugene Weekly

First, the bad news: Cottage Theatre’s excellent production of David Auburn’s Pulitzer-winning drama Proof ends its run this weekend, so you’ll have to scramble to get tickets. The good news, then, is that, should you land seats, you will be treated to one of the finest local productions of the year. Directed with a sure hand by Alan Beck and featuring a small cast of talented local actors, this production achieves an almost perfect balance of emotional resonance and technical finesse. The play is so engaging and moving, so rich and dynamic, it feels like a dream. Continue reading →

In the canon of musical comedies, it doesn’t get much better than How to Succeed in Business Without Really Trying.  Playing this weekend at The Shedd, this hilarious 1961 musical slyly satirizes the midcentury corporate American workplace, as its hero, J. Pierrepont Finch, a humble window washer, ascends the rungs of the corporate ladder by not really doing anything.  Continue reading →

When performer Nancy Hopps first tackled the one-woman show Raw Canvas in 2001, her life was in a radically different place than it is today.  “I had just come through cancer, relationship changes,” Hopps recalls. “I was a busy, active parent to a teenage daughter. Coming back to the play now, I realize even more that the character’s weighing her own passions and artistic fulfillment against societal and familial expectations.”   Continue reading →

The Very Little Theatre’s current main stage production Superior Donuts, directed by Stanley Coleman, is a work of both comedic and dramatic realism, like a buddy film with a twist of gut-wrenching social commentary.  The interwoven genres at work here are not too surprising, as it comes from playwright Tracy Letts, who’s most famous work August: Osage County deals with the dark underbelly of Americana as a dramedy. Continue reading →

The drums beat, heavy and slow at first, then picking up speed like a heartbeat. The rhythm pushes for answers, for ancestry. Dontrell cannot escape the dreams calling him to this quest — dreams of a forebearer who leapt to his death from a slave ship during the Middle Passage. But Dontrell has a scholarship to maintain, a family to deal with and he can’t swim. Making his way into the middle of the Atlantic feels as hopeless as any hero’s journey. Faith, fate and family will all step in to shuffle his chances of success. Continue reading →

Oregon Contemporary Theatre artistic director Craig Willis recalls hearing a reading of a new play, Dontrell, Who Kissed The Sea, at a 2013 showcase for the National New Play Network (NNPN) he attended in San Diego.  “Clearly, this play inspired the most reaction that weekend,” Willis says. “You could tell that there was a special voice behind it.”  Continue reading →

Nearly every situational comedy in the history of television — Three’s Company being the purest and most salient example — can trace its ancestry to Shakespeare’s Comedy of Errors, which in turn divined its easy, effervescent form from the classical Aristotelian unities of action, time and place. Continue reading →

How is it the board game Clue has so captured our imaginations? One would never consider creating a film out of Chutes and Ladders, and I can feel my eye start to twitch just thinking about what Monopoly: The Musical might look like. But a dramatization of Clue? We’re so there. The who-done-it game has inspired stage and screen adaptations, and Actor’s Cabaret of Eugene’s current production focuses the energy on the 1993 musical for dinner theater fare. Continue reading →

“I am a physical storyteller,” performer Bill Bowers says. “I am interested in the study of ‘How would you say something if you couldn’t use words?’” Bowers visits Lane Community College this week for a residency that includes a free workshop for the public May 27 and a performance of Bowers’ critically acclaimed Beyond Words May 30.  “Words immediately ask us to intellectualize, to interpret, to process information,” Bowers says. “Physical theater asks us to respond more from the heart than from the head.”  Continue reading →

Let’s be real: At least 80 percent of the time, taking on a production of Les Misérables is a bad idea. “Ambitious” doesn’t begin to describe this excruciatingly melodramatic 1,500-page historical novel-turned-stage musical.  Continue reading →