april 6,1983
distract
emerald arts & entertainment supplement
Theater diehards hang tough
Sometimes, when the established
forms no longer function, when the
outlets are stopped up, when the
machine loses its drive, it behooves
those who were directly involved with
Keeping the wheels turning to seek
new venues for their talents and
abilities. One can’t re-invent the
wheel, but one can attach it to
another vehicle.
Such is the case with the actors,
directors, and technicians involved
with the Oregon Repertory Theater
(ORT). When that company closed its
doors last fail, several of Eugene’s
professional artists found
themselves out on the street. Many of
those people made their living doing
theater.
Story by Robert Webb
Photo by Erich Boekelheide
Lamentably, many left Eugene to
find work in their chosen fields
elsewhere. They left gaps which may
be felt for years to come.
Many others, however, have taken
to heart what could be called the
Eugene edict, to wit: roll your own.
Artists who wish to survive and
practice their respective crafts are by
nature a rather resilient lot. If a bridge
collapses, one builds another.
One such construction was
erected at The Brass Rail, 4th Avenue
and Willamette Street, when On the
Edge performed there last fall, not
two months after the locks were put
on ORT’s doors.
On the Edge is a small group of ac
tors, musicians and comedians, all of
whom have worked with ORT. They
perform original sketches, songs, and
improvisational routines, usually of a
satirical and/or somewhat offbeat
nature.
Past sketches have involved
characters such as Santa Claus (both
before and after the Christmas rush),
Frantic Fran (the bag lady who always
tells it like it is), Wheatgerm (a hippy
social commentator and songwriter
extraordinare), Marlin Perkins and his
sidekick Jim (who talk funny) examin
ing the mating habits of various flora
and fauna (who speak for
themselves), and others too
numerous to mention.
A large part of an On the Edge per
formance consists of improvisational
work, wherein the company asks for
suggestions from the audience and
builds routines around them, a dif
ferent show every night.
On the Edge will perform again at
The Brass Raii on April 28-30, May 5-7
and 12-14. Tickets are $3. Be advised
that the last show sold out its original
three-week run and was held over for
another three weeks, which also sold
out. The Brass Rail can only seat
50-60 people, depending on the con
figuration needed for a particular
show. Calling 342-2298 for reserva
tions is a very good idea.
On the Edge was the first show
ever done at The Brass Rail and
owner Lloyd McKinlay was impress
ed. So much so that he let it be known
via the theatrical grapevine that his
place was open to other performance
possibilities.
According to McKinlay, “I always
wanted to own my own business, one
that would be something different,
and would provide something you
SjjjjT Page 3B
Horace Robinson is more than a
big name in University Theater; he
is University Theater. Jonathan
Siegle looks at the man who almost
single-handedly created the
University’s dramatic arts program.
couldn’t get anywhere else. The
cabaret theater really provides that
for me. It’s an experience you can’t
get anywhere else in Eugene.”
“Lloyd has graciously opened his
doors to us,” says actress Rebecca
Proctor, “which allows us to offer
good theater at an affordable price in
a comfortable atmosphere."
Proctor is an ORT alum who is in
volved with the next play to be hosted
by The Brass Rail. That next play is
“The Public Eye," by Peter Shaffer,
produced by the Cascade Balzac
Company.
The play is “a light Peter Sellers
style comedy of character and situa
tion," according to John Duncan, ac
tor, co-producer and University
English teacher. It concerns an older
husband (played by co-producer Don
Scorby) who suspects his much
younger wife (Proctor) of being un
faithful. He hires a detective (Duncan)
to check up on her. But the detective
develops an interest in the situation
which goes beyond the usually
accepted professional parameters of
his work and begins mixing and
manipulating the events into a mad
cap maelstrom of comedic
confusion.
“The Public Eye” opens Thursday
and plays Friday and Saturday as well
as April 14-16 and 21-23. Showtime is
9 p.m., and tickets are $2.50. Again,
the number to call for reservations is
342-2298.
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