Eugene Weekly

Living in Oregon’s Willamette Valley means that Manifest Destiny, also known as the Pacific Ocean, is never more than an hour away. From this distance, or even up close, it’s easy to romanticize such a beautiful place. Gazing upon the Pacific, anything feels possible. Visit the Oregon Coast, however, and sometimes you find sandblasted people and communities, stooped low against literal and metaphorical headwinds — economically and emotionally depressed.  Continue reading →

Central to the comic tension of You Can’t Take It With You is a fairly routine dichotomy that, perhaps by its very nature, remains forever unresolved, and which best might be summed up thus: freedom versus bondage. Of course, freedom and bondage have been at war since before Socrates whispered in Plato’s ear and Jesus put a shellacking on the Pharisees, but in this country we like to imagine capitalism invented the eternal conflict between vile materialism and spiritual liberation — in other words, Wall Street versus Main Street. Continue reading →

The passion of a young scholar knows no bounds. In the pursuit of knowledge, the King of Navarre and his best friends swear a sacred vow to renounce sleep, wine and even women for three years as they engage solely in educating themselves.  Then the witty Princess of France and her ladies in waiting arrive at the court of Navarre to negotiate a land dispute. Mayhem ensues. Continue reading →

Eugene audiences have a rare opportunity this summer to see School of Rock, a hit musical still running on Broadway. Eularee Smith, executive director of Upstart Crow Studios, says it’s unusual for a show still on Broadway to be licensed for nationwide production. Upstart Crow Studios is a local nonprofit youth-oriented performing arts association. Continue reading →

I have two sisters, much younger than me, the offspring of my father’s second marriage. I love them both dearly, but when they were little girls and I was in my 20s, they drove me batshit crazy — especially with their fanatical devotion to all things Disney. Both of them possess gorgeous singing voices, always have, and traipsing around the house they would suddenly stop, raise their arms with operatic urgency and begin belting out some saccharine ballad from The Lion King or The Little Mermaid. If I hear about Ariel one more time, so help me … Continue reading →

The irreverent postmodern humor of Monty Python — a stew of bawdy iconoclasm, parodic schmaltz and geek-boy cheekery — achieved perhaps its finest expression in the 1975 movie Monty Python and the Holy Grail. This cult classic contains so many insider touchstones (the Knights Who Say Ni, Frenchmen who fart in your general direction, a homicidal rabbit) that, by now, it requires its own cultural thesaurus. Continue reading →

Now celebrating its 14th season, The Shedd’s Magical Moombah serves up vaudevillian romps for kids as well as kids-at-heart.  I chased down two of Moombah’s illustrious founders, Judith “Sparky” Roberts and Scotty Perey, to see what makes Moombah tick.  “The main idea is to share songs — American standards — from the popular awareness,” Roberts says.  In a Moombah show, those songs are packaged in a way that’s kid-centered and fun.  Continue reading →