Portlandesque

Insights & Impetus on Artists & Cultural Adventures in Portland

Posts Tagged ‘Insight Out Theatre’

Much Ado about Re-Theatre in Rep

Posted by Nicole Lane on 05/29/2009

ReTheatre

Much Ado About Nothing – The Repertory Show
The Classic & The Adaptation
from
The Re-Theatre Instrument

This is a BIG undertaking. Re-Theatre is doing Shakespeare’s “Much Ado About Nothing” in repertory — a theatre producer’s nightmare and pure joy, alternately, depending on where they are in the run.  Some of you folks who aren’t rabid theatre goers may not really know what “In Repertory” means – I know I didn’t until about 7 years ago when I got bit by the theatre bug.

In short, repertory is: one play, two versions, same cast, two productions running in approximately the same time frame. Check out this calendar for a visual understanding.

Tonight, I’m off to see Re-Theatre’s The Classic version of Much Ado. It doesn’t sound all that “classic” to me, as it is set on the New Orleans bayou in the 1920s. But that’s sort of how theatre goes. I believe I can expect Shakespeare’s words in this new context. I fervently hope to catch The Adaptation too, where the cast has written what I hear to be hilarious contemporary dialogue to follow Shakespeare’s story arc.

With these Much Ado productions, Re-Theatre is using a classic, but this is not mandatory with pieces done in rep. I’ve observed that there seem to be two basic treatment twists on classic stories like this one, and then further treatment variations. The first approach: words are pristine, but everything else can change; the second: the conceptual and sometimes plot premise is loosely followed, but an original play is created. Insight Out’s For:Give, directed by Tony Fuemmeler, was an example of the latter approach. Just like For:Give, The Adaptation version of Much Ado was written in the rehearsal process by the cast. Read about Re-Theatre’s process, I think this sort of work is invigorating to theatre craft and love it.

If you’ve read my “About Portlandesque” tab, you’ll know that what I choose write about is unsolicited. Such is the case with this entry. However, full disclosure, we are incestuous in the Portland Arts world and proud of it. I gladly helped out my friends at Re-Theatre with PR & Marketing when they were just starting up last year as you’ll note here – and since you clicked that link, take a read through those company bios and be impressed. Just for fun, watch this promo video, too.

I decided to write about this show to introduce the work of Re-Theatre Instrument to my readers and because many of you are not huge theatre buffs and might be up for some learning via these Much Ado shows. But mostly, I wanted to write to credit my friends who worked on this project, who have poured their time and creativity into the show and this theatre company:  Sam Kusnetz, Jason Zimbler, Luke Norby, Jamie Rea, Kyle Lange. I know very well what it takes to start and run a theatre company and the amount of work that goes into each production, let alone two concurrently. I do plan to feature some of these Re-Theatre friends individually in the future, our paths have crossed on many other projects and they all individually make important contributions to the Arts & Culture scene in Portland.

Go forth – try to see both Much Ado versions in the next two weekends and I will too.*

MUCH ADO ABOUT NOTHING – The Repertory Show
Classic:  May 8 – June 6, 2009
Adaptation:  May 15 – June 6, 2009
Click Here for a helpful calendar.

TICKETS
Buy: Tickets On-Line
Call: 503-922-2453
Visit: 1111 SW Broadway

Tickets – $20
Thursdays – pay what you will

performing at
Portland Center for the Performing Arts – Brunish Hall
1111 SW Broadway – Portland, OR

 * I’ll be honest. I’m not a big fan of plays done in Rep. It is not about dual story concept, which requires a ton of creativity and dedication from the cast, crew and producers, but instead plain frustration with timing. Rarely do I have time to see both versions and sometimes I feel like I should spread the love and see another company’s work. Is it guilt? Is it regret? Is it that there are just so MANY shows to see? Maybe it’s just me.

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Portland Creation Arts & Tony Fuemmeler

Posted by Nicole Lane on 05/21/2009

Creation.

Defined by Merriam-Webster Online as:
1: the act of creating ; especially : the act of bringing the world into ordered existence.
2: the act of making, inventing, or producing: as a: the act of investing with a new rank or office; b: the first representation of a dramatic role.
3: something that is created: as a: world; b: creatures singly or in aggregate; c: an original work of art.

How perfect that I decided to look up this word as I began to write of both the creative development culture of Portland and multidisciplinary artist Tony Fuemmeler.

Do refer back to the definition as you read along.

One of the aspects of the Portland arts scene I love the most is that the creation of Art is a constant and a focus in our city. I often describe it with my sort of a make-up word as verdant “generativity.” [If you read the “about” tab on this blog, you’ll see that I promised new vocabulary.]

There exist stale versions of art here, sure, but on the whole we live in a city that prides itself on innovation and opens its arms and minds to the new work being done locally. There are many examples of access points in all the disciplines from art galleries and coffee shops to major festivals like the new Fertile Ground: City-wide Festival of New Work, PICA’s Time Based Art Festival, and PDX POP NOW!

On a regular basis, perhaps the best venue in the city to witness that verdant creative generativity of which I write is the Someday Lounge. Read their Viva l’Arte mission statement here.

You want diversity in one place? Go there. They are extremely open and encouraging of all kinds of performance Art – perhaps most importantly they are willing to let artists share their work. A year ago, I worked on an rich, multidisciplinary CD Release party for Barons in Trees there that integrated dance, visual art, clown and live-mixed video projection. That is exactly the type of work you’ll see at the Someday. From a very eclectic cross-section of musical acts, to theatrical performances like Opera Theatre Oregon, to the Shadow Puppetry show “Bugged” that Tony Fuemmeler just performed there…Someday Lounge has it all.

On Tuesdays, once a month, for free, the Someday hosts a generously curated show called the “Someday Incubator.” The evening’s program is to give developing artists and/or their project access to a stage and an audience. I have been to a couple Incubators, talent varies, but the compelling through-line is both the commendable intention behind the idea and the chance to see an artist try out their work.

Tony Fuemmeler.

 Please take a moment right now and follow this link to Tony’s website. He just put it up. Poke around!

I actually don’t remember when I first met Tony, but first got to know his work when he was  as a set and props designer for Insight Out’s The Yellow Boat, around the same time he was the stage manager for Sight Theatre Group (formerly known as CITE), for whom I’m on the Board of Directors. I recall being impressed, equally, with his ingenuity and organizational skills. He has worked with a number of theatre organizations around town as a mask and puppet-maker, puppeteer and designer including Oregon Children’s Theatre, Tears of Joy Theatre and Nomadic Theatre. Tony also teaches children about theatre, performance and mask-making in public school residencies and after-school programs around Portland. At the beginning of 2009, he worked as a stage manager for Holcombe Waller’s “Into the Dark Unknown” tour to NYC, Seattle and San Francisco. Most recently, he collaborated with fellow mask maker Jen LaMastra on making 60 (yep, 6-0) masks, four versions, for Blitzen Trapper’s “Black River Killer” music video. You can view his mask work on his website.
tonymask
Part of what I find impressive about Tony, is the breadth of his talents. A graduate of the University of Kansas and Dell’Arte (yes, he is another one), he also has done work with artistic Masters in Minneapolis, LA and NYC. Let’s just say he works from a very strong foundation.

 I really got to know Tony as the director and co-creator of Insight Out’s production For:Give – an ensemble created work inspired by The Tempest. In the role of co-Production Manager and PR/Marketing Director, I had the opportunity to really learn how Tony ticks. From the outset on this National Endowment for the Arts and Spirit Mountain funded project, Tony blew my mind with his creative and well-researched vision. This work was ensemble created, which means they started with an idea (The Tempest), wrote a script and staged an original play from there. Tony’s ability to know where he artistically wanted to go, fluidly lead a creation process with a cast, playwright and design team, and take strong steps to get the work to performance was phenomenal to watch.

I’ve mentioned his organizational abilities, which are notable, but what is really at the heart of Tony is how he sees creation. I have observed his process on a number of projects. I see that he creates with a mix of what is part organically inspired, part academically researched, and which is always is extremely intentional.

Tuesday night, I was lucky enough to catch Tony’s current work in development Bugged, at the aforementioned Someday Lounge. This is a shadow puppetry piece he is creating with fellow puppeteer and actor Rollin Carlson.

bugged-img1The show was riveting, intelligent and entertaining. The gregarious audience was silenced and intent as they watched the show unfold. Guffaws and shout-outs were mixed with concentrated efforts to understand the content and the medium.

I have seen a few children’s shadow puppet shows, but this was most certainly adult. Intellect and Art, Technology and the Natural World, Fear, Love and Humor meet in the projected shadows of puppets, sets and people. This was the second of two public workshops to develop this work-in-progress. Tony and Rollin hope to have developed a full-length work within the year, so be sure to get on his mailing list.

Next up, Tony will be sharing his passion for mask making and teaching by offering two mask workshops in June. One, a 2-day mask making workshop, and another about developing a physical character through the mask. Although marketed to performers, these classes are open for all who are interested.

Join the creative development culture in Portland. Support the artists and organizations that make it so. In doing so, we all do our part to help Portland Arts thrive.

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The Last Show You’ll Ever See

Posted by Nicole Lane on 05/15/2009

http___www.nomadictheatre

Creator and performer Sarah Liane Foster is one of the most brilliant, quirky, Portlandesque people I know, so it seems ironically fitting that I start my first “real” post with her performance title:
The Last Show You’ll Ever See – A Woman. A Trombone. Apocalypse.

Have you ever met someone who listens to you so intently it is disconcerting? That is Sarah – and she brings that intensity to everything she does. From her physical comedy performances, to her commitment to biking, to a casual conversation…Sarah is dedicated.

I first met Sarah in 2004, when she was performing in the play “We The People” with Insight Out Theatre Collective – I remember distinctly, as just days before I had become a board member – and have been following her path ever since.

Sarah is an intense person. On stage her characters seem to consume her, freeing her body expression and pulling the audience in to feel her every move and mannerism. Physical Comedy should be like that…your body, dynamically compelled to laugh.

Sarah trained in physical theatre and clown at the Dell’Arte International School of Physical Theatre. Thanks to the remarkable program at Dell’Arte, she is one of a host of talented Dell’Arte grads now residing and performing in Portland – some of whom I plan to introduce here, so come back to read about them.

One of the most intriguing projects that Sarah is plugged into is Clowns Without Borders . She has traveled the world with CWB spreading their mission “No Child Without a Smile” and offering “laughter to relieve the suffering of all persons, especially children, who live in areas of crisis including refugee camps, conflict zones and territories in situations of emergency.” I recommend being on her mailing list when she goes on these trips. Her ability to describe and reflect upon what she is encountering is well worth the ding in your inbox.

When she is not touring and fundraising with CWB, Sarah is active locally with Nomadic Theatre. She has also worked with two organizations that are near and dear to my heart PlayWrite Inc., and again with Insight Out Theatre in 2008 with The Yellow Boat.

And now, about the show….that very Last Show You Will Ever See. I actually don’t know too much more that you’ll find here. But, I have seen her clown before in her work with Amy Jo McCarville called Afield, it was a riot. I think maybe all you need to know to trust me on this show is that the woman is a stilt walker (although not in this show), plays trombone and yes, wears a red nose. I’m going Friday (5/15) night – leave a comment if you want to know what I thought.

The Last Show You’ll Ever See
Dates:   May 15-17 & 22-24, 2009
Times:  Fri & Sat 10pm —  Sun 7pm
Location:  Curious Comedy, 5225 NE MLK Blvd, Portland
Tickets:  $12 general | $10 students
Tickets available at Curious Comedy Theater 503.477.9477

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