P{ortland theater workshops

Fertile Ground: Curtains (almost) up

ArtsWatch speed-dates the makers of 2017's Portland new-works festival. We don't kiss, but we do tell. Here's what's happening.

By CHRISTA McINTYRE, A.L. ADAMS, and BOB HICKS

One thing we’ve learned in life: You can’t date everyone. Even speedily.

Nevertheless, the three of us took a pretty good shot at it on the first Thursday in January, when we set up business at a big table in Artists Repertory Theatre’s upper lobby and braced ourselves for an onrushing tide of producers, writers, directors, and performers in this year’s Fertile Ground Festival, an orgy of new theater, dance, comedy, solo, musical-theater, circus, and other performance works that’ll scatter across the city January 19-29.

The meet-and-greets, which are set up roughly like a speed-dating session (or so we’ve been told), are a cacophony of elevator speeches, and as it happens, all three of us knew what to expect from previous years’ free-for-alls. Theater people line up in front of a confusion of journalists from print, online, radio, and television outlets and work their way to the front, where they get five minutes to pitch their show and explain why that journalist really, really ought to see it and write very, very nicely about it. Then a whistle blows, and everyone moves on to the next encounter. Did you get that phone number/email address/press release/oddball memento? We’ll be in touch. (That little pink-wrapped chunk of Hubba Bubba bubble gum from 1980’s Teen Musical? We’ve tossed it in the drawer with all of our leftover 1982 Easter Peeps to help us make it through Armageddon.)

At the ArtsWatch table, and beyond. Fertile Ground photo

As usual, Fertile Ground boss Nicole Lane kept things on a strict schedule, and by evening’s end we hadn’t got around to talking to everyone. A few no doubt got caught up at other tables and ran out of time. A few just had other priorities. Some, we imagine, didn’t show up at all: they’re not the dating kind. Still, out of seventy-plus acts, we managed among us to talk with people from roughly forty. Add to those the dance productions that ArtsWatch’s Jamuna Chiarini has written about separately, and … let’s just say we played the field.

One of the great things about Fertile Ground, which began as an annual festival in 2009, is that it’s open to new projects at every stage of production, from first readings to staged readings to workshops to world premieres. Theater companies have started to book premiere productions to coincide with the festival, lending the city a sense of freshness and discovery, at least on its performance stages, every January. It’s like a smaller Edinburgh Fringe Festival (and just as unpredictable), but made up entirely of local acts.

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