Tag Archives: Director

Characters who want more out of life

Anne and Gary Lundgren’s feature film “Phoenix Oregon” recently premiered at the Ashland Independent Film Festival. It was the Lundgen’s fourth feature film, and it was filmed in rural Oregon. Their other films were “Black Road,” “Redwood Highway” and “Calvin Marshall.” We visited at their studio on East Main Street in Ashland.

EH: Are your films thematically linked?

GL: I think they all are. There’s definitely a main character that is unhappy, not being fulfilled by life.

AL: I think there is a lot of grace and love for all of these characters. They have passion and are wanting more.

GL: Wanting more out of life or wanting certain doors to open that are not opening. I think “Phoenix Oregon” is the same kind of story. A midlife crisis: two guys feel the clock ticking. They are not living the life they want, so they have to do whatever they can to change it, and take those risks.

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The craft of a solo performance

British actor John Rainer is preparing for his poetry recital honoring the British Poets Laureates, opening at the Ashland Library on Saturday April 6th. Rainer’s recent solo performance “Prufrock’s World” featuring poems by T.S. Eliot played to sold-out audiences. Those of us who were lucky enough to see it were astounded by the brilliance of the poetry and the talent of the man. I chatted with Rainer at the Pony Espresso Café.

EH: What was your theatrical training?

JR: At the Royal Academy of Dramatic Arts: speech, scene study, you name it, the usual background. Really, my whole training was in British Regional Theatre. I toured England with various companies, and then did West End shows, the traditional route, which isn’t really traditional anymore. There really isn’t the training ground for young actors, where you really do get a chance to experiment with finding your own techniques. The repertory system, which was such a glorious training ground, isn’t really there anymore. Continue reading The craft of a solo performance

Acting is mining oneself

eileen & Cil

Eileen DeSandre and Cil Stengel are playing in “Fragments,” by Jessica Sage, opening March 8 at the Rogue Theater in the Bellview Grange. DeSandre and Stengel are veterans of the Oregon Shakespeare Festival, where DeSandre performed for 16 years. Stengel is a founding member of the improvisational group The Hamazons. We met at the Rogue Valley Roasting Co.

EH: How do actors train for theater?

ED: There are different kinds of training and different approaches.

EH: How do actors come together to create a play?

ED: You have to get your ego out of the way and be in service to the muse, the playwright, the story, your fellow actors, the ensemble, your character.

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Talking about the meaning of “Fragments”

Jessica Sage is the artistic director of the new Rogue Theater Company, which will open March 8 with her play “Fragments,” directed by Liisa Ivary, at the Bellview Grange in Ashland.

Sage and Ivary have enjoyed long and successful careers in the theater — acting, directing and teaching.

“Fragments” tells a story about women who are confronting their dictated roles in society. I visited with Sage and Ivary at the Rogue Valley Roasting Company in Ashland.

JS: The plays that interest me most are character- and text-driven. I’m interested in the dynamics of relationships and the way people interact with one another.

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Metropulos takes on Electra

Penny Metropulos is directing “Electra” by Sophocles, opening Feb. 21, in Southern Oregon University’s Black Box Theatre, with a modern adaptation by Timberlake Wertenbaker. This classic Greek tragedy involves hubris, murder and revenge. Themes it deals with include fate versus free will, gender equality and moral ambiguity. I met with Metropulos at Noble Coffeehouse in Ashland.

EH: Was this play written around 430 BC?

PM: Yes, there was a lot of stuff going on politically. And there was also this real flowering of the arts and drama. I am again and again stunned as to what a masterful playwright Sophocles was, and that this play still lives.

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‘Hansel & Gretel’ tale gets operatic treatment

Artistic Director Willene Gunn is directing Brava! Opera Theater’s next production: “Hansel and Gretel.” Composed by Engelbert Humperdinck in 1893, the opera is softer and more fanciful than the well-known fairy tale by the Brothers Grimm.

It’s the story of two poor starving children who are lost in the woods and are captured by a wicked witch. They cleverly outsmart her and escape. In the opera, the children are playful, the woods are supernatural; and delightful gingerbread children are magically brought to life at the end. “Hansel and Gretel” will be accompanied by an 18-piece orchestra conducted by Martin Majkut. A chorus of 10 children will also perform.

Gunn first came to Ashland in 1959, as a singer, to perform with the Oregon Shakespeare Festival in the Elizabethan Theatre. She went on to have an extensive career in opera, and was the director of the opera program at the San Francisco Conservatory of Music for 30 years. We visited at the Downtowne Coffee House in Talent.

EH: Tell me about the opera “Hansel and Gretel.”

WG: It’s Humperdinck’s one big popular work. The music is very melodious and fun, and yet it fits the drama exactly right. I’ve directed it often, and sung the Witch a great many times. The Witch, for some reason, has a great fondness for gingerbread. And she has to catch these kids, bake them into cookies, and eat them. This time, I’ve staged it with children because there are a lot of poor children in this country, and everybody is hungry in the show.

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Oregon Shakespeare Festival is back

Resident Artist, Amelia Acosta Powell, shared with me insights into the 2019 Season at the Oregon Shakespeare Festival.

EH: What’s new and exciting for next season?

AAP: They all are. Octovio Solis’ play “Mother Road” which is inspired by “The Grapes of Wrath” is so beautiful. It is a beautiful play, and he’s a beautiful poet. It’s incredibly timely. It is a journey in the American West from California back to Oklahoma, which I think Oregon audiences will appreciate. I’m thrilled about that play.

I’m super excited about Lauren Yee’s “Cambodian Rock Band.” I don’t know how familiar folks are, especially the younger folks that come to OSF, with the Khmer Rouge or the history of Cambodian genocide. The way that Lauren has found to present that story is so exciting because: You can imagine a lot of people wouldn’t want to come watch a play about such a dark topic, but it is funny. There is fantastic music. She has found a way to welcome you in, break down those barriers of feeling uncomfortable, or feeling guilt, or feeling just overwhelming grief about it. A lot of resiliency, a lot of power and agency, which I think is a beautiful way in.

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