Category Archives: Interview

Helena de Crespo

Helena de Crespo
Helena de Crespo

Portland actress Helena de Crespo was in Ashland recently to give a one-woman, one-night performance of “Elective Affinities” by playwright David Adjmi. You may remember de Crespo’s performance in the title role of “Shirley Valentine” at Oregon Stage Works in 2009.

De Crespo is performing “Elective Affinities” on tour as a fundraiser for SaveWorldArt, a Portland-based charity that fosters support for indigenous art forms threatened with extinction. On this evening, de Crespo was raising money specifically for Bassac Theatre in Northwest Cambodia.

“Elective Affinities” is a site-specific play meant to be performed in a large home for about 30 invited guests. This evening was hosted by Maurine and Stanley Mazor at their Chateau Herbe.

Guests entered through a lovely garden, then drifted into a large and well-appointed room where they were served refreshments. Then Mrs. Hauptmann (de Crespo) entered to “visit” with her “guests.”

Highly coiffed and stylishly dressed, the charming Mrs. Hauptmann chatted away, gradually revealing her elitist world view. She told her guests she had selected them for preferential treatment, and that they had been spared the inhuman treatment foisted upon the rest of the human race (such as torture), about which she had no opinion. They were safe with her, she said.

It was a pleasing evening with a very pointed message. De Crespo and I visited a few hours before her performance.

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Alonzo Moore

Alonzo Lee Moore
Alonzo Lee Moore

Ashland Contemporary Theater currently features Alonzo Moore in Terrence McNally’s It’s Only a Play. A principle dancer with Dancing People Company, Moore is also an actor and choreographer with the Oregon Shakespeare Festival. Next season, he will be dividing his time between Ashland and his home town in Texas, where he plans to build a community art center. We chatted over Sunday brunch at Larks.

AM: I live in a very rich area in Texas, where the culture and the heritage runs deep. The families have been there together since the 1840s. It used to be cornfields, open land, and cattle. Now it’s all subdivisions and strip malls. The economy is booming down there. It’s all urban.

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Dauren Collodel

Daureen Collodel, who performed in “Post-Its,” presented during Ashland Contemporary Theatre’s “Once in a Blue Moon” series at Paschal Winery, has acted in film and television for more than a decade. You may have seen her in one of many national television commercials. She earned a degree in Theater Arts/Humanities from Scripts College and is fluent in Spanish. We met for lunch at the Morning Glory Café in Ashland.

EH: Is there a special bond between actors?

DC: As actors we’re pretty vulnerable people. In any production, there’s a certain intimacy that has to happen very swiftly. We can get close very quickly, and then it’s kind of sad when it’s over.

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Michael Wing

Michael Wing
Michael Wing

Michael Wing, Camelot Theatre’s resident musical director, is acting in the musical “1776,” directed by Artistic Director Livia Genise and playing through July 22 in Talent. Wing plays Stephen Hopkins, a member of the Second Continental Congress, the signers of the Declaration of Independence. Wing and I met to chat about music, theater, “1776” and the founding fathers.

MW: “1776” plays to the brilliance of these men to come up with the Declaration of Independence. There was such a compromise that had to be done (with the whole issue of slavery) for them to agree that they would stand together, fight Great Britain and seek their independence.

The Constitution would not have had a leg to stand on, had there not been a well-written declaration that explained what we were as a nation. Later they added the Bill of Rights. In years since, they have added 27 amendments; that’s not many. The fact is that this is a darn good piece of work because people have been able to respond to it and make it work as the blueprint for government. Continue reading Michael Wing

Steve Sutfin

When “1776” opens at the Camelot Theatre, it will begin with a drum solo by Steve Sutfin, Camelot’s resident drummer and photographer. A professional musician, Sutfin toured internationally, finding a home base in Ashland. Steve’s iconic photos have graced Camelot’s programs and the pages of local newspapers. We met at the Whistle Stop in Talent.

EH: When did you become a photographer?

SS: As a professional musician, I took up photography so I could starve in a second art form.

EH: You contribute your time and talent to the Camelot Theatre. Why?

SS: I believe in the theater. I love playing music in the theater. I’ve been in bands for 45 years, playing rock ‘n’ roll and blues and traveling. I got tired of it. I found I liked hanging around with actors better than I did with musicians. They’re a little bit more intellectual and witty. Musicians are fun, I am one. It was a natural evolution for me. It’s something I want to do. I like theater. Continue reading Steve Sutfin

Doug Burns

Doug Burns
Doug Burns

Doug Burns is Camelot Theatre’s interim executive director. He has a Master’s in Business Administration from Harvard Business School and a long career in theater and advertising. Burns recently returned to Ashland after an absence of 13 years. In the 1990s, Burns was the general manager of the Oregon Cabaret Theatre. We met at Noble Coffee.

EH: What is your attraction to theater?

DB: For me, it’s about the people. I really like actors, singers and musicians. I find these people incredibly creative and open-minded. It’s this traveling community. You bring a group of people together for an intense period; they create this community, and then they disperse. I love their camaraderie. I love their openness, their fun and their weirdness.

Theater itself is that magic of live energy between the performers and the audience. There’s one expression, “Audiences get the show they deserve,” because of their energy and their response to the show. If the audience is with the show, it can go to the heights. One of my raison d’etres for being in theater has always been to make sure the artists are taken care of.

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Dennis Smith

Dennis Smith
Dennis Smith

Dennis Smith, Theatre Arts professor emeritus at Southern Oregon University, is the director of “Lucky Stiff,” a hilarious musical comedy currently playing on campus. Smith and I chatted in his small shared office at SOU.

DS: I’m semi-retired now. I was in charge of the Performance Program for about 26 years. When I was hired in 1985, we had about 45 Theatre Arts majors. Now we’ve got in the neighborhood of 250.

We are still in the same building that was designed for 60 students. The faculty has more than doubled, and the student body has quadrupled. Classes are taught in hallways. They will use restrooms as rehearsal space. We’re busting at the seams.

EH: What does a degree in theater prepare you for?

DS: If you graduate in theater, and you don’t make it in theater, you should probably go into the Diplomatic Corps. One thing that theater does teach you is how to work cooperatively.

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