OUTwright festival

Everything you wanted to know*

*... about Texas, but were afraid to ask. (And about the OUTwright Festival, and its cult hit "Sordid Lives.")

Fuse Theatre Ensemble’s OUTwright Theatre Festival, celebrating its fifth year, is bringing a lot more to the table than it has in previous years: a bevy of readings and workshops, some already finished, others still to come. And it has one main attraction: Del Shores’ cult hit Sordid Lives, which has manifested in a few incarnations since it first saw daylight in 1996: play, film, and television. OUTwright is staging the cult classic in its first form: live, onstage, fully produced.

The Funhouse Lounge, where all of this is happening, is just off the busy corridor of close-in Southeast Portland now known as “D Street.” Nestled in between houses, it stands out as a Carlo Collodi-inspired oasis with a gallery of velvet paintings dedicated to dead celebrities, an exotic collection of faux-Versailles mirrors, and a bar dedicated to drinking from the sort of 90 proof well that any chaps-wearing man would find an after-hours home. It’s the perfect place for Sordid Lives, which is best described as a John Waters-inspired text, but with a lot more compassion and “real” moments.

Victoria Blake as Dr. Eve and Michael J. Teufel as Brother Boy. Greg Parkinson Photography

There are towns in Texas where, if you order a salad at a restaurant, your waitress will ask: “Potato or macaroni?” And in Sordid Lives there is an itsy bitsy town called Snyder, Texas, on the outskirts of the Panhandle, that has a single restaurant whose salad is composed of wilted iceberg lettuce paired with a thick slice of roma tomato similarly aged and drowned in an almost aspic consistency of French dressing. There is one stop light. One water tower. Plenty of homes and churches. A school. There is nothing else. Shiner Bock is the light and cheap beer that Texans romanticize, in spite of its actual taste. Women still wear their hair high: as the saying goes the higher the hair, the closer to God. It is welded together by cans of spray-net. No person leaves their home without full attire and face on. Plastic surgery is part of most cosmetic approaches to staying young at heart.

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ArtsWatch Weekly: Really big show

Going big: Perséphone with puppets, an American in Paris, Mahler's grand sweep, the sounds of Cuba and Lou Harrison

At the Portland Showtime Bistro, audiences like things well-done, but often served small to medium. We enjoy our intimacy, from compact ensembles like Portland Baroque Orchestra and FearNoMusic to closeup theater spaces like CoHo, the Back Door, the Ellyn Bye Studio, Shoebox, and Shaking the Tree. Summer’s coming, and with it, once again, that sprawling celebration of good things in small packages, the Chamber Music Northwest summer festival (with a welcome emphasis this year on women composers).

But sometimes you want the whole darned smorgasbord, and only big will do. Portland can provide that, too, and lately it’s been doing so … well, big-time.

Big night on the town: Portland Opera’s “La Bohème.” Photo: Cory Weaver.

Portland Opera’s just completed its grand-scale production of Puccini’s overflowing romantic potboiler La Bohème (Terry Ross reviewed it for ArtsWatch here) and is saddling up for a June musical-theater adventure in giant-windmill territory with Man of La Mancha (featuring Grimm star Reggie Lee as one of the best sidekicks in history, Sancho Panza).

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