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Experiencing the Shakespeare Festival

Marlo Faulkner | Hagadone News Network | UPDATED 13 years, 11 months AGO
by Marlo Faulkner
| June 24, 2011 9:00 PM

Sounds of groaning wood overhead during last Friday evening's performance of Shakespeare's "Measure for Measure" led to engineers from the city of Ashland to close the Bowmer Theater, the main indoor venue of the Oregon Shakespeare Festival. The source was a crack in a 70-foot laminated beam, the main support beam in the Bowmer Theater, one designed for unobstructed views for all seating.

OSF has moved all four productions from the Bowmer temporarily to Ashland's historic Armory for re-imagined and re-staged versions of "Measure for Measure;" Moliere's "The Imaginary Invalid;" Tracy Lett's "August: Osage County;" and a stage adaptation of Harper Lee's novel, "To Kill a Mockingbird." The festival offered ticketholders not only full refunds but free admission to unstaged versions of the plays presented by cast members in street clothes.

"The essence of every OSF production is the playwright's language as interpreted by our extraordinary repertory of actors," said Artistic Director Bill Rauch. "Although we are disappointed to not be able to share the productions in the [Bowmer] theater at this time, we are delighted to preserve the essence of the theatrical event, actors in relationship with one another and the audience, in this limited version."

Rauch is right. Clarity through words and action is the essence of the OSF experience. Fancy sets and costumes are not always necessary. "Measure for Measure," is a fine example. As directed by Rauch, the tragicomedy is set in 1970s urban America is a perfect foil for a play about how power, sex and religion drive the characters. Music by Colibri, a women's mariachi trio, reinforces the contemporary and the timelessness of Shakespeare's insights into human foibles. It will not loose its power in the Armory move.

Nor will "To Kill a Mockingbird," (running through July 3). Simple sets with clever adaptation of moving shadow shapes project the houses of Atticus Finch and his neighbors, the Radleys.

The play moves through the summer that changed the Finch household with child actors giving natural portrayals in contrast to the adult crisis of the shooting of a rabid dog by Atticus and by the trial of a black man unjustly accused of raping a white woman, a man Atticus has agreed to defend.

The simplicity of the set, the focus on the action, and the interaction of the children and their father is the core of the story. Fine acting on every level adds to the clarity of the narrative and to the palpable tension as the children loose their innocence and get their first sight of adulthood.

In the New Theater, "Julius Caesar" stuns audiences with each performance. The New Theater boasts flexible seating arrangements, different for each rotating play. "Caesar" is performed in the round. There is no set. Actors emerge from and retreat back into the audience costumed as if this production is in the time of an upscale remake of the "Mad Max" movie: black, khaki, greys. The cast is mixed gender and mixed race. Caesar is a woman. She wears white.

It is a brilliant production. With the cast mix, words and actions dominate. The clarity is in Shakespeare's articulation of the desire for power and its effects. Sound and light create "set changes" with props carried in and out of the audience. With themes of liberty, peace and tyranny, the play is timeless and timely. Caesar (Vilma Silva), Brutus (Jonathan Haugen), Cassius (Gregory Linington) and Mark Antony (Danforth Collins) were superb as were the dynamic ensemble, each playing multiple roles. This production is a must see.

In the magnificent outdoor Elizabethan Theater, Shakespeare's "Henry IV, Part Two," "Love's Labor's Lost," and "Pirates of Penzance" by Gilbert and Sullivan grace the stage.

"Pirates" marks the first time a full-scale musical has been mounted in this venue. It is the No. 1 ticket for the 2011 season. The pirates follow their Pirate King as portrayed by the versatile and talented Michael Elich.

The production is classic Gilbert and Sullivan with elements of "Lion King" and "Pirates of the Caribean" as well as "gracenotes" from 20th and 21st century musicals. Also directed by OSF Artistic Director, Bill Rausch, it is classic and innovative at once from the daughters of the Major General playing on the beach by dancing upon moving beach boulders to the knock-out entrance of the Major General (David Kelly) from the stage balcony after his famous patter song... "I am the very model of the Modern Major General..."

As for the other productions, some are yet to open: "The African Company Presents Richard III" (July 20), "Ghost Light" (June 28), and "Willful" (Aug. 7). Other productions were beautifully produced and acted, yet did not have the impact of "Pirates," "Caesar," "Measure" or "Mockingbird."

They all focus on superior acting, imaginative productions and a clarity of narrative. This writer found the flashy 1960s "Invalid" funny yet weak in it focus on bodily functions and lack of true farce.

"Language" was charming and the acting superb. The script is insightful, but lacks power. "August" is a window into a totally dysfunctional family. "Henry" is a bridge play in Shakespeare's history series. "Love's" is beautiful to look at. At its core, there are few characters to care about.

Oregon Shakespeare Festival is committed to Shakespeare and the classics as well as to new works. With major grants, they are commissioning new works reflecting the history of America. So far, they have a bonanza of fine work and more to come.

Ashland is not unlike Coeur d'Alene. It is difficult to find a bad restaurant. Shops are plentiful and full of fine merchandise. Lithia city park is a delight and worth the walk. Do not drink the "Lithia Water" from the public fountains unless you enjoy sulphur. Hotels, motels, B & B and campgrounds abound. There is something for everyone.

Marlo Faulkner is a resident of Coeur d'Alene.

Oregon Shakespeare Festival information

Oregon Shakespeare Festival has all of its information: schedule, ticket availability and prices at www.osfashland.org; or call (800) 219-8161. Mailing address: P.O. Box 158, Ashland, OR 97520

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Sounds of groaning wood overhead during last Friday evening's performance of Shakespeare's "Measure for Measure" led to engineers from the city of Ashland to close the Bowmer Theater, the main indoor venue of the Oregon Shakespeare Festival. The source was a crack in a 70-foot laminated beam, the main support beam in the Bowmer Theater, one designed for unobstructed views for all seating.