Eugene Weekly

Found Space Theatre tackles tough issues with Two Mothers Speak: Memoirs of a Passion Continue reading →

So just how juicy is the role of murderess Roxie Hart in the Tony-winning Broadway musical Chicago? “It’s very juicy,” says actor Paige Davis, who will be playing the homicidal vamp when the touring production stops for two shows Sept. 10 and 11 at Eugene’s Hult Center. “It’s been exceptionally juicy,” Davis adds. Continue reading →

A brilliant politician who would be king is brutally stabbed to death by a group of senators … right in the middle of Amazon Park? Now that’s drama. With daggers at the ready and poetry popping from their lips, it is time again for Shakespeare in the Park’s annual show. This year they take on the bloody, ever-relevant The Tragedy of Julius Caesar. I managed to fire off a few questions to Artistic Producing Director Sharon Se’love as she raced about in the final week before production. Continue reading →

Irish playwright Martin McDonagh is a fecking, foul-mouthed arsehole with a shite attitude, but he sure is one hell of a writer. McDonagh’s plays, the earliest of which take place in rural Ireland, tend toward high satire in low settings. His dialogue, laced with profanity and steeped in dialect, is whip-smart and viciously funny, and he has a keen eye for the absurd. Continue reading →

Oliver!, 1986: The Eugene mall is home to a popular summer theater program. Eric Millegan and Josh Daugherty are having a high time in their respective roles as Oliver and the Artful Dodger, dreaming of a life in the theater. Continue reading →

On its surface, Les Misérables, the operatic adaptation of Victor Hugo’s classic novel, can come across as a maudlin chain-yanker that nabs every low-hanging fruit it can reach, including issues of abject poverty, human degradation and the tragic death of a good-hearted prostitute. The show seems, in a way, beneath common dignity, if only because it strives so hard to achieve it. And because of this, people of high-aspiring intellect (snobs) tend to avoid Les Miz, ranking it on a level with Cats and other shitbird musicals by Andrew Lloyd Weber. Continue reading →

Storm Kennedy and her crew are back with another production of Love, Loss and What I Wore (see “Closet Confession,” EW 2/28). This quirky, insightful play is written by the magical sisters Delia and Nora Ephron and based off the book by Ilene Beckerman. The play looks at the stories of women’s lives through their wardrobes.  Continue reading →

Steeped in nostalgia and soaked in the nicest kind of naughty, the hit musical Grease has become a cultural artifact of the first order. The songs are a peach. The dialogue is funny, sexy and harmlessly rebellious (the original 1971 version, which was reputedly vulgar and pretty gnarly, has been watered down), and the book — the simplest of boy-meets-girl, boy-loses-girl, boy-gets-girl stories, set in 1959 — gives it a lean, sleek structure. Continue reading →

Over the course of his long and storied career, maverick American director Robert Altman reeled off a handful of cinematic corkers: Nashville, M*A*S*H, Gosford Park. Among Altman’s lesser films, sandwiched between Popeye (yes, Popeye!) and Streamers, is an adapted play with the sesquipedalian title of Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. Folks of a certain age probably recall Cher in that one. And, like me, you may also remember it, vaguely, as a musical along the lines of Hairspray. But it wasn’t, and isn’t. Continue reading →

“You show up to an audition in Eugene,” actress Emily Hart says, “and the play will have one or two women’s roles. Maybe they’re good, maybe they’re not, but there will be 30 women competing for them.” The toll this competition takes artistically is a serious one. According to Hart, “It becomes not so much about the joy of theater, but about how I beat other people out for roles.”  Continue reading →