Friday, November 6, 2009

'Turn of the Screw'


for The Olympian / The News Tribune
Pictured: Christopher Cantrell and Ingrid Pharris, photos by Peter Kappler

Playwright Jeffrey Hatcher has adapted or written many horror and mystery stories for the stage, including "Murder by Poe" and "Dr. Jekyll and Mr. Hyde." He also wrote the play based on the immensely popular "Tuesdays With Morrie."

Now comes another Hatcher adaptation to Olympia’s fringe venue The Midnight Sun. “The Turn of the Screw” – based on the classic ghost story by Henry James and brilliantly adapted by Hatcher – is presented by Prodigal Sun Productions starring Ingrid Pharris and Christopher Cantrell, and directed by Peter Kappler.

While staying true to James’s words in dialogue and monologue, Hatcher has pared the Victorian novella down to bare bones, giving it a stark and psychologically frightening aspect more intense than the overwrought original. And true to the playwright’s intent, Kappler, Pharris and Cantrell present this play with no accoutrements.

The tiny black-box space is bare. The set consists of blocky black stairs against a black wall and a bare black box on the floor that is used as a chair. There are no props, no set, no costume changes. The actors wear black-and-white costumes. Music and lighting is minimal. Even sound effects are comically and eerily minimal. When the clock strikes one, a voice from backstage (probably Cantrell) says, “One,” and when a door creaks, the backstage voice says “Creak.”

There is a lot of subtle comedy within the horror and drama, much of it Victorian-era sexual innuendo delivered deadpan or in wide-eyed shock by Pharris. In one of the more obvious instances, Cantrell says “aversion” and she thinks he’s asking if she’s a virgin. There are also many Freudian-sexual allusions. The governess is sexually attracted to her boss and there are strong hints at improper relations between a former governess and valet and the children in their care, but they are all couched in “safe” Victorian-era language. References are made to being bad and being “free with,” and there are hints at sinister behaviors that are never explained. Much is left to the imagination.

In a nicely worded program note, Kappler says, “Like a ghost story told ‘round the fire, the imagination of the audience is as equally important as the craft of the teller.” He explains the reasoning behind the bare-bones production by quoting Antoine de Saint ExupĂ©ry: “Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.”

In James’s original story, this tale is told by a guest at a Christmas party. In this version, an unidentified narrator, Cantrell, tells the tale while seated on the black box with Pharris standing behind him almost invisible in her black dress. Pharris plays the governess, the protagonist of the story. Cantrell plays all other characters, including the master of the house who hires the governess and instructs her to handle all problems on her own and never contact him; the two children, Flora and Miles; and the servant, Mrs. Grose.

Cantrell and Pharris are brilliant. He portrays all of these characters without costume or makeup change but with simple and subtle changes in voice, posture and manner. She plays the governess with an emotional intensity that is gut-wrenching and exhausting. At one point in the story, she stands high on the riser while Cantrell playing the 10-year-old Miles stands below her, giving a sense of difference in size and power between adult and child that was impressive.

I saw audience members squirming on the edge of their seats, and as the actors took their final bows, they were sweating and panting, visibly drained but exhilarated. The sold-out house opening night gave them a boisterous standing ovation.

“The Turn of the Screw” runs 90 minutes without an intermission.

alec@alecclayton.com

The Turn of the Screw

WHEN: 8 p.m. Fridays through Sundays, through Nov. 14; pay what you can this Friday

WHERE: The Midnight Sun, 113 Columbia St. N.W., Olympia

TICKETS: $12 at the door or at www.buyolympia.com/ events

INFORMATION: 360-250-2721

Thursday, November 5, 2009

A Concise History of Northwest Art at the Tacoma Art Museum




Published in the Weekly Volcano, Nov. 5, 2009
Pictured
Top: Imogen Cunningham "On Mount Rainier" 1915 Gelatin silver print.Promised gift of Shari and John Behnke.
Bottom: Michael Brophy "January," 1997, oil on canvas. Tacoma Art Museum, Museum purchase with funds from the Dr. Lester Baskin Memorial Fund.


A Concise History of Northwest Art is a big, big, big show — parts of which should appeal to everyone since it has photography, painting, sculpture, jewelry, glass and ceramics covering Northwest art history since the 19th century, including art from Washington, Oregon, Idaho, Montana and even British Columbia and Alaska.

From a historical perspective this show is invaluable.

Two curators organized the show. Margaret Bullock put together the early work and Rock Hushka the modern era starting in the 1960s. I loved Hushka’s selections, but with the few exceptions of some Imogene Cunningham photos and some early works by Jacob Lawrence and Morris Graves I was bored by the older works. Let’s face it, the great art of the world prior to about 1940 was not produced by American artists, and especially not Northwest artists.

But starting with the 1960s — the works are arranged chronologically — the show becomes fascinating. There are some terrific paintings by Robert Colescott, Guy Anderson and an early Michael Spafford, plus something rarely seen anywhere, an abstract expressionist painting by Chuck Close before he started painting the photo-realist portraits that made him famous.

Stretching the definition of Northwest artists to include anyone with any connection to the area, no matter how tenuous, there is a fabulous painting by Robert Motherwell. It is the painting that was in the museum lobby for a long time. It’s not as great as the painting from his "Elegy to the Spanish Republic" series that I recently saw at the Hirshhorn in the other Washington, but it’s a really good painting.

Among the works by more contemporary artists in this show are a great painting by Randy Hayes called "Dying Light in Venice #1" (one of my favorites in the whole show); a huge, three-panel acrylic and collage by Fay Jones called "Body Fires;" glass artist William Morris’ "Medicine Jar;" a “target painting” in rich colors with expressionists drips by Jeffrey Simmons that I thought at first glance was a Kenneth Noland; and featured on the title panel as you enter the gallery a very powerful landscape by Michael Brophy.

There are also some excellent photographs by Mary Randlett and Imogene Cunningham.

This is a show that should be visited multiple times; it cannot all be taken in with a single visit. I know I plan to go back again.

[Tacoma Art Museum, A Concise History of Northwest Art, through May 23, 2010, Wednesday-Sunday 10 a.m. to 5 p.m., Thursday 10 a.m. to 8 p.m., $8-$9, free Third Thursday, 1701 Pacific Ave., Tacoma, 253.272.4258]

Wednesday, November 4, 2009

The richest Veins


a book review
Veins
by Larry Johnson

I’ve learned more about literature from Larry Johnson than from anyone else I’ve ever known.

When we were publishing an alternative newspaper in Mississippi, Larry showed up at our door one day and offered to help in any way he could — writing, editing, proof reading, running errands, anything we might need, and all without pay, of course, because he knew we were barely scraping by. Larry was a poet and a teacher of English temporarily between jobs at various colleges. He wrote book reviews and helped us choose from the many manuscripts that were sent our way, and he introduced me to some great writers such as Cormac McCarthy, who had a kind of cult following back then but was not widely known. He also introduced us some of his former college classmates such as Jack Butler, who had recently published a book of poetry called The Kid Who Wanted to be a Spaceman and the novel Jujitsu for Christ. Through Larry we got also got to know the late Larry Brown who was unpublished at the time but would soon be recognized as one of the hottest writers in the field that Barry Hannah dubbed Grit Lit.

It was in about 1985 that Larry let me read his unpublished poetry book, Veins. It was a hard book to read. Densely packed with literary and historical references that required some study on my part. I liked the music of his words. I liked the rhythms, the alliterations, the metaphors, but I had to do a little research and ask a lot of questions to understand all the references to people like Yukio Mishima and the Roman emperor Hadrian.

It took him almost two decades to find a publisher for his book. Probably because most publishers thought his poems were too hard to understand. I can imagine them saying, “These are great, but the public is just not going to go for them. You have to have a degree in history or literature to really get them. But he did finally connect with a publisher, David Robert Books, willing to take a chance on him.

It’s true that Larry’s poems have little or no commercial appeal and are probably too difficult for a lot of readers. They have the weight and complexity of music by John Coltrane, and they reference everyone from Roman Emperors to modern poets and classical musicians. There are poems about Ezra Pound and Marcus Aurelius and Sebelius and Caesar. There is a lovely, sad little poem about the death of a child “Near Eastabuchie, Mississippi” and a wonderful poem, “Under Halley,” that recounts the activities of various famous poets and musicians each time Halley’s Comet appeared.

To miners a vein is a deposit of rich minerals; to doctors it is the source of life; Larry Johnson’s book, Veins, is a rich repository of wisdom and literary music. It’s a small book that you can read in a single sitting, but which should be returned to again and again.

Veins $18 trade paper, available from amazon.com

Scary and funny



"The Turn of the Screw" and "The Uninvited"

Pictured: Rob Taylor as Toddy Fitzgerald and Michelle Garayua as Pam Fitzgerald. Photo by Michael Christopher.


Olympia doesn’t have a fringe theater. But it sort of does. It’s comprised of two small theater companies with lots of the same actors, directors and technical crews. They are Prodigal Sun Productions and Theater Artists Olympia. Both companies seem to thrive on blood, gore, lowbrow camp, and general weirdness. For the Halloween season both companies are doing ghost stories.

Prodigal Sun’s “Turn of the Screw” at the Midnight Sun performance space fits the classic definition of fringe theater in every way: small venue; minimal sets, lights and costumes; and an intellectually and emotionally charged story that is not geared toward popular appeal. Since I am reviewing this show for The Olympian (due out Nov. 5) and The News Tribune (Nov.6), I will keep my remarks about it brief and move on to the other show, “The Uninvited” by Tim Kelly, presented in the Washington Center black box theater by TAO.

What I would like to say about “Turn of the Screw” is that it is bare-bones theater and an acting tour de force with brilliant performances by Christopher Cantrell and Ingrid Pharris.
And now to “The Uninvited.” It is a much more elaborate production than is normally associated with fringe theater, with the facilities at the Washington Center allowing for more professional sets, lighting and special effects. It is fringe in attitude only.

Written in 1979 by Tim Kelly and based on the 1942 melodrama by Dorothy Macardle, TAO’s version of “The Uninvited” is presented as a parody of early radio dramas and horror movies. (Enter irony here: The way to parody melodrama is to present it not as parody but simply in the way melodrama has always been presented.)

The set by T.S. Samland, who also directed the play, is the drawing room of an old English country home, with a semi-circular backdrop and rich furnishings. Lighting by Kate Kennedy, costumes by Christina Hughes and sound by Aaron Ping add to the period feel. A dramatically lighted portrait of the recently dead woman of the house is hilariously hokey. The only thing that could have been better would be if sets, costumes and makeup mimicked the tones of a black and white movie.

The main characters, Rob Taylor as Roddy Fitzgerad and Michelle Garayua as his sister, Pam, play their parts straight. No exaggerations, no embellishments. Many of the other characters, by contrast, are caricatures — the crotchety old man (Tom Sanders), the nosey neighbor (Pug Bujeaud), the eccentric artist (Robert McConkey), and best of all the haughty Irish maid (Jenny Greenlee).

In serious drama good actors seem not to be acting at all; but in this play they make a point of acting. Sitting in the audience you get the impression that these actors are lampooning the act of acting and getting great kicks out of playing off each other. This was especially noticeable when Greenlee and Bujeaud were together alone on stage. After they made their exit I imagined they were laughing like crazy backstage.

“The Uninvited” can be a lot of fun to watch if you don’t take it too seriously.

“The Uninvited”
WHEN: 8 p.m. Wednesday-Friday, Nov. 4-6
WHERE: The Washington Center for the Performing Arts - Stage II - WCPA Black, Box, 512 Washington St. Se, Olympia
TICKETS: $12
INFORMATION: 360-754-8586, http://www.olytheater.com

“The Turn of the Screw”
WHEN: 8 p.m. Friday-Sunday, through Nov. 14, pay what you can Nov. 6
WHERE: The Midnight Sun, 113 Columbia St. NW, Olympia
TICKETS: $12 at the door or at
INFORMATION: 360-250-2721

Sunday, November 1, 2009

At the White House

When we hopped on plane to our nation’s capital to be there when President Obama signed The Matthew Shepard and James Byrd Jr. Hate Crimes Prevention Act we didn’t even know if we were going to get in. Some 27 hours later we still didn’t know when — while standing in front of Willem de Kooning’s “Woman” triptych at the Hirshhorn Museum — we got the call from our friend Liz saying we were in.

Liz Latham is a filmmaker and a friend of many years. Over the past decade she has been working on a documentary about James Byrd Jr. and the struggle to enact hate crimes legislation, first in Byrd’s home state of Texas when George W. Bush was governor and then on the national level.

Liz called Gabi on Monday, Oct. 26 and asked, “If I can get you and Alec into the White House for the signing, would you be willing to fly to D.C. with me”

She invited us because she knew that we had been advocating on behalf of hate crime victims and their families since our son Bill was assaulted in a gay bashing in 1995 and subsequently committed suicide because he thought he had nothing to look forward to the rest of his life but more beatings because he was openly bisexual. He was 17.

Liz said she would cover our expenses and try to get donations to cover them later. She doesn’t have a lot of money herself. She owns a cleaning company in Seattle and cleans to put food on her table and pay rent while working on the film. She said she was working with staff at Congressman Jim McDermott’s office (D-WA) to get the three of us in.

In a coffee shop at SeaTac airport the next day, half an hour before our flight was scheduled to take off, she was still frantically trying to get our invitations confirmed. On a cell phone in the Milwaukee airport three hours later we were still frantically trying and it was beginning to look like we would not get in after all.

A word about flying. Despite all the hassles, the waiting, the cramped seating and the Petri dish of germs that airliners are, I love flying. When it comes to looking out the window at the ground below, I’m like a wide-eyed kid. We arced north by northeast and then south by southeast over parts of Canada, over Minnesota and Wisconsin. We lifted and dropped in and out of cloud cover. Fluffy white clouds cast black shadows on the ground. The earth below was a patchwork of brown, green (a very dull green) and orange. A crazy quilt of sparsely populated country stretching for miles and miles and miles, beautiful in a stark and dreary way, although I can’t imagine living in such isolation.

I brought a book to read, Sherman Alexie’s Flight — what an appropriate title. Great book, but too easy to read; I finished it and had nothing to read on my way home.

We landed at National at 10:05 Eastern time. (The official name of the airport is Ronald Reagan National Airport but nobody in Washington calls it that, at least none of the people w know.) It was raining. Our taxi driver was surly, and he couldn’t find our hotel. Liz thought he was trying to take us out of the way to run up the meter. He made three u-turns in a four-block area, but did finally get us where we were going, the Windsor Inn, a lovely little bed and breakfast near Dupont Circle with a cat named Mimi (aka Mona) in the lobby and a charming Frenchman named Jamie working the desk in the evening.

Wednesday morning we went with Liz to shop for a video camera. She had not wanted to bring her camera equipment on the plane without knowing if she would have something to film. Then we went to visit our friend Cathy Renna, whose office was two blocks away from the camera store. Cathy used to be a primary spokesperson and media person for Gay & Lesbian Alliance against Defamation (GLAAD) and now runs her own communications company, Renna Communications. Her clients include The Family Acceptance Project and The NYC LGBT Community Center. Cathy is a dynamo. She and Liz had never met, but they hit if off immediately.

By noon we had heard back that the White House was not able to let us in. Liz could go as a member of the press. She had to go. The signing was at 2 o’clock, and she had the chance to film it, which was a great opportunity — it was the dream ending she had wanted for her film.

We’d flown across country, so we figured we’d better make the best of it, and I very much wanted to see the Hirshhorn Museum. We caught the Metro to the Smithsonian (after walking down one of the longest escalator in the world, which wasn’t working), grabbed a bite to eat in “the Castle” and then went to the Hirshhorn. I had been there about 25 years ago but couldn’t remember much about it. The art alone was worth the trip. Picasso, Matisse, Frank Stella, Franz Kline, Robert Motherwell, a whole room full of de Koonings in their permanent collection, and Anne Truitt in the current featured show. I was not familiar with her work, but it consists of painted wood in beautiful minimalist forms with some of the most startling and nuanced color combinations I’ve ever seen. And the other featured show, “Strange Bodies,” with odd figurative paintings and sculptures by everyone from Julian Schnabel to Renee Magritt. I’ve never much liked Schnabel, but his portrait of Andy Warhol on, of all things, black velvet was amazing. I was also blown away by Francis Bacon’s painting “Diptych: Study of the Human Body — From a Drawing by Ingres.”

We were in the Hirshhorn when we got the call from Liz. “You’re in. Go back to the hotel and get dressed and be at the East Gate to the White House no later than 4:45.”

We still don’t know who pulled what strings, but though we’d missed the signing we were in for the reception. We grabbed a taxi back to the hotel. Jamie the desk man met us with a thumbs-up. He’d already heard from Liz, and he was excited for us.

I put on my sports jacket and a tie. That’s as formal as I ever get. I don’t own a suit. Liz came down to our room looking terrific in a beautiful black pinstripe pant suit. Gabi had dressed earlier in a basic black wool dress with a blue silk scarf. We were off to the White House.

The driver dropped Liz off at the press gate and drove us around about four blocks to the entrance we were supposed to use. There was a huge crowd at the gate. The first person we recognized was Marsha Botzer from Seattle, founder of the Ingersoll Gender Center. Cathy Renna was there taking photos of everyone. We hugged Judy Shephard and met Dennis and their son Logan, and we met Elke Kennedy and her husband, Jim. Elke is the mother of Sean Kennedy, a gay man who was murdered in a hate crime. She and Gabi had been in touch by email and telephone for a couple of years but had never met in person.

It was a festive gathering, everyone chatting while waiting to be let in. Thankfully the predicted rain had not shown up. It was pleasantly warm.

We formed a ragged line to get through the first security check. The last people to show up were a man who looked very familiar and his date, a striking blonde who also looked familiar. I was sure I must have seen them on television or something and thought at first they might have been actors — faces you recognize but can’t identify. I later found out he was Joe Solmonese, Executive Director of the Human Rights Campaign, and she was the singer Cyndi Lauper, a longtime supporter of the Matthew Shepard Foundation.

The line snaked through the gate where Secret Service agents checked our IDs against a guest list. There was a moment of panic when I thought: What if our names are not on the list? It would be so embarrassing in front of all those people and so frustrating after all we’d been through just to get in. Sigh of relief, they let us through. We went up a long ramp, through a tent, alongside a back wall and into a room that was set up like an airport security check with metal detectors and a conveyor belt where I deposited my cell phone and keys. Then we went into a hallway with red carpeted floors where we passed portraits of Hillary Clinton and Laura Bush and Ronald Reagan. We passed picture windows with a view of a lovely garden. I commented on it, and Gabi made fun of me with something like, “What do you expect? We are in the White House.”

About every 10 to 20 feet as we walked the halls we were greeting by Marines in full dress uniform and uniformed maids and butlers who greeted us and welcomed us to the White House. We went with the flow of the crowd until we reached a flight of stairs. Gabi said she needed to rest a moment before going up. A young Marine standing by asked if we needed an elevator and escorted us farther down the hall to an old fashioned elevator with a uniformed operator, an elderly black man who said he’d been on the job since 1957. Imagine what tales he has to tell.

When the doors opened one flight up the same Marine was standing there to greet us. He must have run up the stairs but was not in the least winded and seemed to have been standing there all along. He directed us to the reception area where everyone was standing around talking. Another Marine was playing soft music on a piano, and drinks and hors d’ouvres were being served. By the time we made our way to the bar it was time for everyone to move into the next room where the president was to speak. A servant took our wine away (I’d had only one small sip) because apparently no one is allowed to drink alcoholic beverages within a certain distance of the president. At least that’s what someone told me, which seems weird considering the much ballyhooed “beer summit” between President Obama, Professor Louis Gates and Cambridge police Sgt. Joseph Crowley. It’s not the George Bush tee totaling White House any more.

We were jammed into the East Room, a room much too small for the crowd, where we sweated and talked to our neighbors while waiting on Obama. It felt ridiculous to stand there like adoring fans waiting for a glimpse of the president. But somehow it was reassuring to know that Senator Arlen Spector and Speaker of the House Nancy Pelosi and Attorney General Eric Holder were jammed in with us. Gabi and I were standing next to PFLAG Executive Director Jody Huckaby, whom we had recently met in Olympia. We talked to him about our local PFLAG chapter and Referendum 71 in Washington State.

Finally the president was introduced. He stood at the podium in front of the Shepards and James Byrd Jr’s sisters, Betty Byrd Boatner and Louvon Harris. He said, “…today, we've taken another step forward. This afternoon, I signed into law the Matthew Shepard and James Byrd Jr. Hate Crimes Prevention Act. This is the culmination of a struggle that has lasted more than a decade. Time and again, we faced opposition. Time and again, the measure was defeated or delayed. Time and again we've been reminded of the difficulty of building a nation in which we're all free to live and love as we see fit. But the cause endured and the struggle continued, waged by the family of Matthew Shepard, by the family of James Byrd, by folks who held vigils and led marches, by those who rallied and organized and refused to give up, by the late Senator Ted Kennedy who fought so hard for this legislation and all who toiled for years to reach this day.”

After his speech Jody introduced us to a reporter from The Advocate, who asked a few questions and took notes. Then we all adjourned back to the reception area where we finally got to partake of the drinks and hors d’ouvres and visit with some of the many guests. I stood for a long time next to Nancy Pelosi wishing I could talk to her about health care, but there were too many people trying to talk to her. As it was time to leave, the same Marine found us and asked Gabi if we needed the elevator. She thanked him and told him she would be fine on the stairs as long as there was a banister.

It was dark and raining when we left the White House and shared a taxi with Jody to the Human Rights Campaign office for another reception. We had another surly taxi driver who, when Jody tipped him, said, “That’s a shoddy tip,” and then reluctantly acknowledged that he had miscounted.

At the HRC reception we heard an inspiring speech by Rep. Barney Frank, whom I mistakenly addressed as Senator, and I made smart-alecky remarks to Candace Gingrich about her brother Newt. I told her that I also had a rabid, lunatic Republican brother. I don’t remember exactly what she said, but she laughed, and she thanked me for coming when I told her why we were there.

After this reception we went across the street for a late dinner at a hotel restaurant (I can’t recall the name). Jim and Elke Kennedy came in and joined us, and we had a very enjoyable visit with them.

Finally, another taxi ride back to our hotel where we chatted with Liz for an hour or so while unwinding. We packed and briefly slept before getting up at three o’clock the next morning to fly back home. The flight home was grueling, two hours from D.C. to Atlanta, then after a two-hour wait —and being misdirected to a gate in the wrong terminal as far as you could go and back again for a five-hour flight to Seattle. For most of the trip we were above clouds and could not see a thing, but somewhere over Colorado or Nevada the clouds cleared and I saw endless expanses of uninhabited desert and mountain areas and lots of snow in the foothills of what must have been the Rockies. And then nothing else to see until we dropped below the clouds coming in to Seattle, where the vegetation and the fall colors were richer and denser than anything I had seen across the wide country. It was good to be home.

Remember His Name a documentary about the murder of James Byrd, Jr. by Liz Latham -http://www.lizardproductions.com/RememberHisName.html
Renna Communications - http://rennacommunications.com/
Sean’s Last Wish, an appeal to the passage of hate crimes legislation by the family of murder victim Sean Kennedy - http://www.seanslastwish.org/

More on our trip to D.C. including photos on the Safe Schools Coalition site - http://www.safeschoolscoalition.org/HateCrimesActSigning.html

Friday, October 30, 2009

Hot damn!

VIEW FROM THE INSIDE: A work in progress by Chandler O'Leary at Anagram Press
VIEW FROM THE INSIDE: A work in progress by Chandler O'Leary at Anagram Press

It’s Art at Work Month in Tacoma

Published in the Weekly Volcano, Oct. 29, s009

Photo courtesy Chandler O'Leary

Titles usually need to be short. Otherwise it should be called Art at Work and at Home and Where You Play Month. Art is everywhere in T-town for the month of November. Visual and performing art, parties, lectures, readings, exhibitions, Art Slam, classes and workshops, studio tours. And it all starts tonight with an opening celebration at Tacoma Art Museum.

The opening party features live music by the Tacoma Youth Symphony, poetry by William Kupinse and Tammy Robacker, hors d’oeuvres, desserts compliments of Bates Culinary Arts Program, and a no-host bar. The main event will be recognition of the AMCOT Awards. It’s from 6 to 9 p.m., and it’s free.

The studio tours are Saturday and Sunday, Nov. 7-8 from 10 a.m. to 4 p.m. with 75 artists opening their studios to the public. There will be demonstrations and, in some instances, hands-on art activities. Following are examples of a few of the participating artist studios.

Holly Senn is fast becoming Tacoma’s premiere sculpture/installation artist. Her work using cast-off books as material is intelligent, provocative and well designed. Visitors to her studio will be able to create their own collages using pages from old books.

Bill Colby, printmaker. See how woodcuts and etchings are made and ask the artist why blue is his favorite color.

Chandler O’Leary, printmaker, book artist and proprietor of Anagram Press. See how she makes her prints and make your own small keepsake print on an antique Kelsey platen press.

Oliver Doriss, glass artist and owner of Fulcrum Gallery, named Best Tacoma Gallery two years in a row by this critic as well as by a poll of Weekly Volcano readers. Doriss’ studio is in the gallery so you get to see where he works and see the latest show at Fulcrum in one stop.

Carlos Taylor-Swanson and Steve Lawler are both fine art woodworkers and furniture makers. See their work at Madera Fine Decorative Furnishings.

Tacoma Community College. You can be an art student for a day, make a cast aluminum block tile or throw your own pot on a wheel. TCC art faculty will be on hand to guide you ($5 material fee required).

The husband and wife team of C.J. Swanson and David N. Goldberg open up their home studio. See how they work separately but side-by-side and see if you can spot ways in which they influence one another. Where do you draw the line between stylized imagery and pure abstraction and why is Goldberg’s latest work morphing toward more recognizable imagery?

Some studios are open both days and some one day only. Schedules, maps and descriptions are available in the Art at Work brochure available at many venues around down and online.

The other big event is Art Slam, Nov. 18 from 6:30-9 p.m. at the Rialto Theater. Art Slam is a fast-paced live projection of artwork on a big screen to the accompaniment of music and live spoken word performances.

Finally, there will be an Arts Symposium at University of Puget Sound Wyatt Hall Nov. 14 and 15 with workshops for artists on how to market your art, legal issues, budget management and other issues on the business end of art.

For more information and complete schedule of Art at Work month, click here.

Actors tackle challenges of ‘Tuesdays with Morrie’




Published in The News Tribune, Oct. 30, 2009
Pictured: Luke Amundson as Mitch Albom and Elliot Weiner as Morrie Schwartz. Photos by Dean Lapin

Morrie Schwartz’s wisecracking saves “Tuesdays With Morrie” from being maudlin. But the play now being performed at Lakewood Playhouse is still a tearjerker.

Based on a true story and written by Jeffrey Hatcher and Mitch Albom, this two-character play recreates the last four months in the life of Schwartz, who died of ALS, or Lou Gehrig’s disease, as witnessed by Albom, his former student who visited him every Tuesday as his body degenerated.

The disease is horrible. There were tears in the eyes of Lakewood Playhouse audience members as well as in the eyes of cast members Luke Amundson as Albom and Elliot Weiner as Schwartz. But it is also a funny play and a nuanced character study.

Schwartz and Albom are the only characters, so they are both on stage almost the entire 80- minute, no-intermission play, and both actors express extreme emotions, subtle personality traits and, in Schwartz’s case, a steady degeneration of bodily functions. These are the kinds of challenging roles actors salivate for, and Weiner and Amundson are up to the challenge.

The role of Morrie Schwartz is certainly a dream role for any actor. In his portrayal of the dying professor, Weiner gets to dance, wittily retort to Albom’s often inept questions, express heartfelt emotion, laugh, cry and portray the loss of muscle control. His dancing is not smooth, but he is, after all, an aging professor, not Fred Astaire. His sincerity, his smart-alecky digs at Albom, and the way he portrays the progression of the disease are absolutely believable.

The role of Mitch Albom is not so obviously an acting tour de force. In many ways, Albom is little more than a foil for Schwartz to play off of. But in subtle and less obvious ways he is a huge challenge for an actor, because Albom starts out as a detached and aloof man who is unable to express emotion or connect with other human beings in any meaningful way, and then he is gradually transformed by Schwartz’s goading and example into a more caring person – but never a man who can easily express his love.

Throughout the play we see Amundson reaching out and pulling back. He is stiff, unable to relax. At first it might seem that the actor is trying too hard, but as the character’s personality is revealed, we realize that that stiffness is integral to his character. Amundson can’t be natural because Albom can’t. Even when Schwartz brings Albom to tears in the most emotionally wrought scene in the play, Amundson keeps his emotions in check, and you can feel how tightly he is wound. That’s more than acting; that’s becoming the character.

Director Brie Yost notes in the program that the set by Hally Phillips is kept simple and unadorned to keep the focus on the actors. This was a good idea, but it didn’t quite work. The set looked rough, unfinished and too obviously a stage set rather than a living room. Two windows on the back wall looked to be hanging by ropes against a backdrop rather than part of a wall. A more realistic set would be better, as would be no set at all but rather just the few needed pieces of furniture against a blank backdrop. This set falls somewhere in between and therefore directs too much attention to the fact that it is a set.

Similarly, while the black-box setting with seating on three sides provides the kind of intimacy this play needs, if the furniture had been farther from the back wall, the intimacy would have been greatly enhanced. As it was, when the actors were in the corners of the stage, some in the audience had to crane their necks to see them. There was a talk back with the actors and artistic director Marcus Walker after the play opening night, providing those who stayed insight into the art and craft of performing this play as well as into the true lives of Morrie Schwartz and Mitch Albom. They indicated they might do a talk back after every performance. Actually Weiner, reverting to character as Schwartz, wisecracked that they were taping the talk back and would play it after every performance.

I recommend this performance and also recommend that you stay for the talk back.

WHEN: 8 p.m. Fridays and Saturdays and 2 p.m. Sundays through Nov. 8WHERE: Lakewood Playhouse, 5729 Lakewood Towne Center Blvd., Lakewood $13.50-$21.50; rush tickets every Saturday 15 minutes prior to curtain; pay what you can, Nov. 5; actor benefit performance Nov. 7TICKETS:INFORMATION: 253-588-0042, www.lakewoodplayhouse.org