I just returned from a four day trip to Ashland, Oregon, during which I saw three fabulous theatre productions. This is my fifth trip to Ashland in seven years and there is something in the experience that truly speaks to me.
There is a vibrancy and energy to the Oregon Shakespeare Festival that gives me positive personal support. The setting is restorative. Upon my return this year I felt relaxed, clear-minded and energized. It's hard to put my finger on it, but when I return I just want to spread the good feelings around.
This year, the Festival was hampered by a serious structural defect in the main theatre, the Angus Bowmer. With very short notice, the company was forced to reschedule all plays performed in the Bowmer. Our trip was not adversely affected, as two of the three productions were in the Elizabethan amphitheatre adjacent to the Bowmer.
I felt I was a part of history going to see To Kill a Mockingbird staged not in a theatre, but from the bare-bones stage of the Old Ashland Armory. The actors performed the play in costume with minimal staging and very limited props. (And yes, the ham was one of the props that was included!)
Please understand we felt a little trepidation that the production might be less than spectacular given the change in locale (but OSF was extremely generous in giving us full credit for our tickets, even though we attended the show in its alternate location). The sets, lighting and staging of theatre at OSF is consistently dynamic, and contributes hugely to the entire performance. I'm sure many wondered how the show would fare without those additions. Needless to say, I don't feel I missed out on anything seeing the play in this format. In so many ways, the production felt more pure. We just saw the acting and it was impeccable.
Though I've read the book at least four or five times, I've never seen the stage production. There are many plot themes that are omitted for length, and the show's main conflict surrounds the trial of Tom Robinson. While I missed Scout's experience in school, and nuances of her relationship with the housekeeper Calpurnia, it didn't change my enjoyment of the story.
OSF always throws in a few twists to make things interesting. Actor Howie Seago played Bob Ewell. I last saw him as Marcellus in The Music Man. He is a deaf actor, and to incorporate his disability (or ability?) into the show, the actress playing Mayella signed as she spoke so that he could follow her testimony during the trial. This allowed for some interesting unwritten staging, as the attorney tried to hamper Ewell's understanding of Mayella's testimony by standing in between them as she spoke. It was a great "why not?" moment. Seago's performance did not ring of stunt casting. He fit the role in every way: dark, menacing, sloppy.
The post-play discussion (traditional for matinees at OSF) was led by actor Michael J. Hume, who played the judge. He thanked the audience for their support, and likened the company's response to the adversity to Mickey Rooney and Judy Garland's movies of the 40's: "Let's go to the barn and put on a show!" None of the company would consider cancelling shows -- they definitely wanted to continue providing the product that they are known for.
I also can't say enough good things about the production of Pirates of Penzance. I wasn't sure I would enjoy Gilbert and Sullivan since I don't have a strong background in their material. But - Wow! - was I ever wrong. I think I may consider this one of my favorite productions at OSF in my limited visits. I'd even consider seeing it again before the season closes in the fall. The show is swiftly paced, the language clear and the songs contribute towards the total effect.
The OSF "twist" here was to intersperse traditional G&S musical numbers with a few bars of contemporary music, giving the audience a quick "huh?" moment. For example, when Frederic is singing to Mabel, asking her to wait for him through his indentured servitude to the pirates, he sings a few bars of the Beatles' "When I'm 64" -- including the phrase, "...you'll be older, too." The ensemble of Keystone Kop-like policemen did a brief hip hop dance. This may be seen as a way to get younger audiences to embrace the material, but it was not overused and to me provided another layer of interest.
Coming back to earth after a trip to OSF is always a bit disappointing. I am still coasting on the good vibrations of a phenomenal theatre experience, and hope to be back there before long.
