ust before the first actor took
his cue from the introductory music,
David Lunney entered the theater and
took a bad seat. The quality of the seat
didn’t matter, because Lunney wasn’t
watching the performance. His
attention was on the audience.
It was opening night of Hold Me at
the Oregon Repertory Theatre, and it
was Lunne/s debut as producing
director of the repertory company.
He assumed a relaxed pose, sitting
low in his chair, but there was a curious
excitement in his manner. Surely a play
opening in this small theater with a
local audience couldn’t compete with
the ostentatious premieres Lunney had
engineered in Los Angeles. Or could it?
The plot thickens on Page 4B.
!
!p
■H