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Oregon Shakespeare Festival’s 2009 Season
Don’t forget to visit the Oregon Shakespeare Company’s website (www.osfashland.org) for more information, cast lists and video clips relating to the OSF 2009 Season’s plays.
- MACBETH by William Shakespeare
Director: Gale Edwards - Theater: Angus Bowmer Theatre
Performances: February 13 - November 1
It’s risky and challenging to launch the 2009 season with one of Shakespeare’s most popular and difficult plays. On the one hand, a number of audience members will, no doubt, attend this production with preconceived ideas of what’s to be expected. Then there’s the problem of presenting a true and faithful production – one steeped in magic, prophecy and blood – that’s also relevant to contemporary audiences. Gale Edwards has risen to the task and directed one of the best productions of this classic favorite that this writer has seen. With a sure-hand and clearly articulated message, Ms. Edwards has at once made this play seem fresh, new and relevant, without sacrificing any of the carnage or sense of the supernatural. In his portrayal of the doomed and murderous Scottish king, Peter Macon delivers a performance that not only portrays an unstoppable obsession for power, but clearly expresses the equivocation of a man driven by such obsession to justify his actions – mostly to himself. Robin Goodrin Nordli is equally strong and compelling as Lady Macbeth – a woman whose need for control through manipulation is ultimately undone by a suppressed conscience. The rest of the ensemble delivers brisk, tight and satisfying performances, creating a colorful range of barbaric, testosterone-driven characters you may actually find yourself caring about. Of particular note is Kevin Kenerly’s Macduff – a riveting performance of a man with nothing left to lose; of vengeance fueled by treachery and murder. All elements of the production design provide excellent support for Gale Edwards’ vision in masterful and provocatively subtle ways, suggesting the idea that order and chaos do, indeed, dance endlessly in tight embrace. Overall, this season opener is a satisfying and superb production that will, no doubt, stay in one’s head long after the final curtain. Well done! (…and, oh yeah, the witches are good too!)
DEATH AND THE KING'S HORSEMAN by Wole Soyinka
Director: Chuck Smith
Theater: Angus Bowmer Theatre
Performances: February 14 - July 5
This writer always enters a play based on actual events with a sense of curiosity regarding the extent of factual information being presented versus artistic license being taken to present those facts. It’s an imperative and important part of this kind of playwriting to creatively condense characters and action into an accessible and, hopefully, appealing entertainment that delivers a truthful message. When watching this year’s presentation of Death and the King’s Horseman, one may find the production’s colorfully striking, simple design and appropriately strong, diverse cast seductively appealing in offering a look at the consequences of choice in an environment of cultural misunderstanding and duty driven by social position. Although an excellent production by all counts, the play’s poetically dense language (particularly in the first act), and oft-articulated message may be too challenging and/or mundane for some audience members. However, this is not to imply complete knowledge of what appeals to contemporary theater-goers. As stated, the production design and acting are, all around, very good and up to expected OSF standards. Emily Sophia Knapp paints a particularly compelling portrait of the District Officer’s wife, Jane Pilkings – a woman who wants to understand more about the native culture she’s experiencing, while not completely ridding herself of the patronizing bigotry her own culture has educated into her. This supporting character (and the life Ms. Knapp was able to breathe into her) was written with depth and complexity that, for me, was a welcome relief to the stereotypes comprising the rest of this play’s character list. As directed by Chuck Smith, the play is presented in an inventive, interesting fashion and, although much of the play relies on tribal music and theatrical stylization, one always has a good sense of the real time and space being depicted. Overall, this is a solid, well-acted presentation of a play that might not appeal to everyone’s taste. Visually satisfying!
THE MUSIC MAN
Book, Music & Lyrics by Meredith Willson
Story by Meredith Willson & Franklin Lacey
Director: Bill Rouch
Theater: Angus Bowmer Theatre
Performances: February 15 - November 1
This year, OSF initiates a new tradition at the Festival with its exploration of the American Musical Theatre canon. Although musicals have been seen on the OSF stage in previous years, most have been smaller chamber pieces or Festival-created adaptations (as in the case of last year’s Comedy of Errors). The Music Man tests OSF’s ability at staging a full-blown popular American musical for the first time in its 74-year history, and this writer is pleased to announce that, without a doubt, the company has passed the test! Under Bill Rousch’s (OSF Artistic Director) confident, focused direction and Darren Lee’s imaginative, creative choreography, this simple, pared down interpretation offers a new look at an American classic that works in ways a more robust, splashy production doesn’t – providing an engaging, idealized view of life in a small 1912 Iowa town that’s transformed from mundane and monochromatic into colorful exuberance with simple, straightforward sensibility. Orchestrating this transformation is the inimitable Harold Hill, played by Michael Elich. While it would be difficult for any actor to play Professor Hill without falling under the shadow of Robert Preston’s interpretation, Elich creates a wholly fresh, unique and inspired portrayal of this snake oil salesman who directs the town’s transformation (and is, himself, transformed in the process). The play sits squarely on the shoulders of Harold Hill, who takes part in practically every scene. Supported by a uniformly strong, determined ensemble of colorful, quirky characters, Elich’s performance propels the action forward with jubilant locomotion by creating an engaging and memorable character. Of particular note in the ensemble is Howie Seago, a deaf actor who plays Marcellus Washburn (Hill’s retired partner) with surprising clarity. His assisted delivery of Shipoopi in the 2nd act is unexpectedly clever, completely accessible and thoroughly entertaining. Overall, this may be one of this season’s offerings you don’t want to miss, if for no other reason than to experience the simple, wholesome, toe-tapping joy it generates and the smile it will, undoubtedly, put on your face. Bravo!
DEAD MAN'S CELL PHONE by Sarah Ruhl
West Coast Premiere
Director: Christopher Liam Moore
Theater: New Theater
Performances: February 19 - June 19
In one of the quirkiest plays to be presented on the OSF stage, a woman answers a cell phone and embarks on an adventure unlike anything you could possibly imagine. Relying on her wonderful ability to transform commonplace, ordinary occurrences and objects we encounter and fill our lives with magical, illuminating and spiritually fulfilling solutions to problems we don’t even know we have, Sarah Ruhl has written a small gem of a play that’s potentially destined to leave a big, indelible impression on the mind of many audience members. It’s rare to experience all the elements of theatre seamlessly coming together as they do in this production. It’s even more rare for a simple, funny and poignant play to subtly explore and stimulate complex, serious, substantial thinking, as this play and its skillful presentation does in surprisingly entertaining ways. The cast is uniformly impeccable and to single any one actor out above others would do disservice to what is one of the tightest ensembles to perform on the OSF stage. Likewise, the entire production design, direction, choreography and musical composition are all of such unparalleled, top-notch and unifying excellence they might more appropriately be referred to as a Production Ensemble. But for those of you unfamiliar with Sarah Ruhl’s work (as this writer was until now), seeing this play in its current production will be like discovering a breath of fresher air in the American Theatre. Overall, this simply presented, superlative production of a uniquely outstanding play offers a thoroughly enjoyable and entertaining escape, while simultaneously provoking philosophical/spiritual contemplation and hysterical laughter. Don’t miss it!
THE SERVANT OF TWO MASTERS by Carlo Goldoni
Director: Tracy Young
Theater: New Theatre
Performances: March 25 - November 1
Play review forthcoming shortly after first preview.
EQUIVOCATION by Bill Cain
World Premiere
Director: Bill Rouch
Theater: Angus Bowmer Theatre
Performances: April 15 - October 31
Play review forthcoming shortly after first preview.
HENRY VIII by William Shakespeare
Director: John Sipes
Theater: Elizabethan Stage / Allen Pavilion
Performances: June 2 - October 9
Play review forthcoming shortly after first preview.
DON QUIXOTE by Miguel de Cervantes Saavedra
World Premiere Adaptation by Octavio Solis
Director: Laird Williamson
Theater: Elizabethan Stage / Allen Pavilion
Performances: June 3 - October 10
Play review forthcoming shortly after first preview.
MUCH ADO ABOUT NOTHING by William Shakespeare
Director: Kate Buckley
Theater: Elizabethan Stage / Allen Pavilion
Performances: June 4 - October 11
Play review forthcoming shortly after first preview.
ALL'S WELL THAT ENDS WELL by William Shakespeare
Director: Amanda Dehnert
Theater: New Theatre
Performances: June 30 - November 1
Play review forthcoming shortly after first preview.
PARADISE LOST by Clifford Odets
Director: Libby Appel
Theater: Angus Bowmer Theatre
Performances: July 22 - October 31
Play review forthcoming shortly after first preview.
OSF's 2010 Season
ANGUS BOWMER THEATRE
HAMLET by William Shakespeare
Directed by Bill Rouch
First Preview: February 19
Opens: February 26
Closes: October 24
CAT ON A HOT TIN ROOF by Tennessee Williams
Directed by Christopher Liam Moore
First Preview: February 20
Opens: February 27
Closes: July 4
PRIDE AND PREJUDICE Adapted from Jane Austen
Directed by Libby Appel
First Preview: February 21
Opens: February 27
Closes: October 24
SHE LOVES ME
Music by Jerry Bock, Lyrics by Sheldon Harnick, Book by Joe Masteroff
Directed by Rebecca Bayla Taichman
First Preview: April 14
Opens: April 17
Closes: October 23
THRONE OF BLOOD
World Premiere
Adapted by Ping Chong based on the film directed by Akira Kurosawa
Directed by Ping Chong
First Preview: July 21
Opens: July 24
Closes: October 23
NEW THEATRE
WELL by Lisa Kron
Directed by James Edmondson
First Preview: February 25
Opens: February 28
Closes: June 18
RUINED by Lynn Nottage
Director: TBA
First Preview: March 24
Opens: March 27
Closes: October 24
AMERICAN NIGHT by Culture Clash
World Premiere
Directed by Jo Bonney
First Preview: June 29
Opens: July 3
Closes: October 24
ELIZABETHAN STAGE/ALLEN PAVILION
TWELFTH NIGHT by William Shakespeare
Director: TBA
First Preview: June 1
Opens: June 11
Closes: October 8
HENRY IV, PART ONE by William Shakespeare
Directed by Penny Metropulos
First Preview: June 2
Opens: June 12
Closes: October 9
THE MERCHANT OF VENICE by William Shakespeare
Directed by Bill Rouch
First Preview: June 3
Opens: June 13
Closes: October 10
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San Francisco, CA 
