"There is a truth to theater that you may not see out on the street." — Peter Alzado
As we sat in the darkened theater on a sunny day, Peter expanded on his vision of theater and the release of the soul.
EH: You have two plays coming up in the next season: “Golden Boy” by Clifford Odets and “Glen Garry Glen Ross” by David Mamet. What attracted you to present those plays?
PA: Both plays deal with the downside of the American economic system. I’m all there with free enterprise, but I think, taken as far as it can go, it becomes cannibalism, and we are seeing that now. There needs to be free market but there also needs to be a recognition that we’re all human and we need to treat each other in a fashion that respects that money is not the end of everything: the be-all and end-all. That’s what has brought us to the place we are now.
If we can behave humanely with each other, you won't have to kill my kids and I won't have to kill yours. — Molly Tinsley
I met Molly Tinsley at Bloomsbury’s coffee shop. Energetic yet very soft-spoken, her friendly, down-to-earth manner belies her PHD in English, her 20 years as a professor of English literature at the Naval Academy, two books of fiction and her text on creative writing. Molly’s play, “Glacial Genes,” is now playing at Oregon Stage Works.
“Glacial Genes” is a story of a romance that blossoms in a sperm bank in the months leading up to Christmas at the beginning of an ice age. The bank’s director is “concocting designer babies,” while the world confronts “inescapable doom,” a side effect of global warming.
"If anything makes me a little bit afraid, I make a point to do it." — Rochelle Savitt
After seeing Rochelle Savitt’s compelling performance in Oregon Stage Works’ “Trip to Bountiful,” I was determined to find out more about this gifted actress.
“I was fortunate,” Savitt said, looking fresh and smart as we settled in for lunch at McGraths.
While we talked about her life in the theater, I realized that Savitt has made her own “fortunate” life.
EH: Southern California’s South Coast Repertory Theatre (where OSF Artistic Director Bill Rauch was an associate artist), you were in on the beginning of that?
RS: I was there before they moved into their palace, when they were in a converted dime store. I was in a few productions and did whatever they needed backstage. It all came together for them at a time when I could no longer afford to participate in it. I had to earn a living, and my kids needed me at home. I didn’t get back to acting until my son graduated from college.