Robin Downward

Robin Downward
Robin Downward

After seeing Robin Downward’s extraordinary performance as Sherlock Holmes in Oregon Cabaret Theatre’s “Holmes & Watson Save the Empire,” I decided to check in with Downward and learn a little about his acting technique. We met at his own Randall Theatre in Medford as he was preparing for the opening of “Scots on the Rocks.” After a tour of the theater, we settled in his spacious and comfortable office.

EH: What is your vision for the Randall Theatre?

RD: The community of Medford needs a good, solid, community-based theater that serves the community through its outreach, not just within its doors. There is theater here; it’s just not accessible to the general public. One of my ideas is called “exterior theater,” theater that happens outside, in the parks or out in the streets. Theater has the opportunity to change people’s lives for the better, but it’s not going to do it if all that is happening is within the walls and the confines of the theater. It has to go into the community to be effective.

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Cracking up with the Hamazons

The Hamazons
The Hamazons

The Hamazons, the improvisational comedy group founded in 1999, consists of Eve Smyth, Cil Stengel, Kyndra Laughery and Carolyn Myers. One summer evening, I joined Eve, Cil and Kyndra around Eve’s kitchen table to kibitz about improvisation, laughter and community.

ES: This year we did three shows at Tease Restaurant in Ashland before it closed.

KL: People could eat, have some drinks and relax. It was a fun, raucous time doing improvisation.

CS: Night-clubby, lots of fun, lots of laughs.

EH: Do you usually perform in theaters?

ES: We’ve performed in The Dance Space, The Barn”…

CS: The Black Swan, the Community Center, those kinds of things.

ES: A few months ago we did a house show. Someone invited a bunch of people to come to their house and asked us to perform.

CS: It’s totally fun. Every show is catered to the audience. It’s really wonderful, intimate and personal.

KL: Poking fun at human nature.

ES: We take suggestions from the audience. We all create the show together.

CS: The fact that it’s happening in the moment is what’s special.

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Danielle Kelly

Danielle Kelly
Danielle Kelly

Southern Oregon University Theatre Arts graduate, Danielle Kelly, is now performing with the Paul Schmeling Trio Monday nights at Martino’s, as well as acting in film and theater. One afternoon, we mulled over the nature of performance, jazz and theater while lunching on Martino’s minestrone.

DK: I’m feeling creatively fulfilled. I feel really fortunate to be in a band that gigs quite often and has a solid, steady show. It’s incredibly special. I’ve decided against moving to a bigger city for the moment. Ashland has something very special because you can do whatever you want.

EH: How is working in music, especially jazz, different than working in theater?

DK: Musicians and actors are the same sort of species, but it is very different. Music is so immediate; a song is a shorter story; the process is a lot quicker. When you get to performance, people can come and listen, then tune in and out of the music, be really captured by a song or get up and dance to it. It takes a little more attention to take in a theater performance. A play is a lot bigger production.

With theater, the rehearsal is more intensive and scripted and planned. The structure of what you do is different. Theater takes rehearsals every night. You start from the script, and, “what’s my body going to do?” And, “where am I going to go when I say this line? How do I say it when?” Stopping and pausing for the audience here, and collaborating and playing off other people. It’s a lot more involved.

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Eve Smyth and Kate Sullivan

Eve Smyth
Eve Smyth
Kate Sullivan
Kate Sullivan

Ashland Children’s Theatre, formerly with Oregon Stage Works, is now on its own and has found a new home at the DanceSpace in Ashland. Founded in 2004 by directors Eve Smyth and Kate Sullivan, Ashland Children’s Theatre is offering summer camps for young people ages 4-17 along with theater camps throughout the year. We visited by a cozy fire at Eve’s pristine cottage.

KS: Landing in the DanceSpace, which is a great performance space, has been a good fit.

ES: We feel really welcomed there. It is on that row where there’s Dance Works and Le Cirque, and it’s like the kids’ own”…

KS: It is kind of a kids alley.

ES: We’re bringing a whole bunch of different elements for them to get a taste of: improvisation games, puppets, stage combat and some Shakespeare. There are new friends to be made and all of that good camp stuff. We’ve actually scheduled everything into 2012.

KS: Our summer camp begins with a TeenProv class, all teens and all improvisation, with Eve. There’s a Showcase at the end.

ES: We follow that with Imagination Travelers and Spontaneous Superstars, which are almost like a theater sampler plate or potpourri.

KS: Our pièce de résistance is our teen Mystery Theatre. Within two weeks we give a performance.

ES: A film noir-style comedy.

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Jahnna Beecham and Malcolm Hillgartner

Jahnna Beecham
Jahnna Beecham
Malcolm Hillgartner
Malcolm Hillgartner

Jahnna Beecham and Malcolm Hillgartner are the masterminds behind the smartly conceived and composed “Holmes & Watson Save the Empire,” a musical mystery playing at Oregon Cabaret Theatre and directed by Michael Hume.

Beecham and Hillgartner are married with two children and have developed a successful writing partnership. We visited together in their charming and whimsically decorated Ashland home.

The couple met in the 1970s, when they were actors at the Oregon Shakespeare Festival.

JB: We acted a lot in regional theater, but continued to write wherever we went.

MH: We didn’t feel restricted, that we could only do theater, but we always felt that if you could find an opportunity you should take it. We learned early on that you have to have lots of balls in the air because as soon as you think that one thing is going to go, that’s when suddenly there’s a change in administration. And the new theater producer or editor is saying, “I’ve got my own friends I’d like to hire.” Then you have to network a new way.

This is the third show that OCT’s done of ours. The first show, “Chaps,” was a British radio show/cowboy musical. The second show, “They Came From Way Out There,” was written with Michael Hume.

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Diane Nichols

Diane Nichols
Diane Nichols

Diane Nichols plays Sylvia, the hip homemaker turned religious crusader, in “End Days,” Ashland Contemporary Theatre’s up-to-the-minute comedy playing at the Bellview Grange. A veteran of theater, films, voice-overs and commercials, Nichols is also a writer. We met at Noble Coffee Roasting early one afternoon to talk about writing, acting and “End Days,” which I directed.

EH: You’re a writer as well as an actress?

DN: I write mostly comedies. I’ve written a lot of one-acts. Right now, I’m working on three full-length plays at the same time. I’m finishing a novel; and I write poetry all the time.

EH: How does being in theater affect your family life?

DN: We just have a theatrical family. From a very early age, my son would stand up after dinner and start making up songs on the spot. Or, for the entire dinner, we would all be speaking in Irish accents. It’s a very free environment, and the kids are always free to experiment. They always had art materials and puppets out, and we would make up games and screenplays. It’s sort of an ongoing play, so it didn’t seem separate to me.

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David Mannix

David Mannix
David Mannix

David Mannix plays Arthur Stein in Ashland Contemporary Theatre’s production of the comedy “End Days,” which opens Friday, April 29, at the Bellview Grange in Ashland. I had the pleasure of directing the production.

David and I visited one rainy afternoon as the props and set were being loaded into the newly reopened Grange building.

A former stockbroker and lawyer, Mannix is on the board and artistic committee for Barnstormers Theater in Grants Pass.

DM: Grants Pass has a surprisingly strong theater community. Barnstormers is the oldest continually operating community theater in the state of Oregon. It started in 1952. It is community theater. Nobody is making a living out of the theater, except for those doing all those unglamorous things such as bookkeeping. We do have several part-time paid employees or contractors. We don’t pick plays; we look for directors who want to pitch a play that they are in love with and want to do. I think it works pretty well.

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Ashland is the place for Theatre