When the high-powered rock musical numbers are the strongest elements of your show, you don’t usually have a problem…unless the show isn’t actually a musical.
Theater
The advance descriptions of Off the Rails stress three points: the author is Native American, the script loosely adapts Shakespeare’s often-criticized “problem” play, Measure for Measure, and the...
It’s not that there’s anything particularly wrong with this iteration of Beauty and the Beast…it’s simply that there isn’t enough right.
Even with a (first-rate) understudy playing Falstaff, this Henry IV Part I may be the single most purely watchable history play I’ve seen in Ashland. And that takes in a lot of territory.
The annual pilgrimage to Ashland began this year with an epic production (3 hours 20 minutes, just as promised in the playbill) of The Odyssey, adapted from...
Winter’s Tale has always been one of my favorite Shakespeare plays. I look at its peculiar structure as a challenge rather than an obstacle, and when...
Ninety-nine percent of this year’s production of Twelfth Night at OSF is sheer genius. The set design for its nominal 1930s Hollywood transposition is clever in...
If you are a Gilbert & Sullivan purist, you may want to steer clear of the Oregon Shakespeare Festival’s current incarnation of Yeomen of the Guard...
Five plays in three days — that’s the schedule for my annual visit to the Oregon Shakespeare Festival, hosted by the Whitman College alumni office (which...
Back from our annual pilgrimage to the Oregon Shakespeare Festival — as usual, well-stuffed with (mostly) very good theater. First up this year was Richard III,...
