just out V juno 1092 ▼ 30
W hat price humor? NO ONE MEASURES
While this play has many good one-liners and some
clever plot twists , it also contains a very humiliatingly
UP
TO
racist story line
M
im
b
lin
d
WE’RE NOT JUST MINIBLINDS ANYMORE.
by Meg Grace, Ariel Waterwoman and Renée LaChance
ays of Our Lives is the production under
way at the Portland Women’s Theater
Company. The play was conceived by
Claudia Allen and LeeRay Rogers. The
play is promoted as a “lively soap opera
spoof’and it is the
Reproduction to
include men.
The play is
poorly directed
by Stephanie
Torres
and
Candace
Ohannesian. The
technical work-
ings of the play involve a fast string of ‘black-out’
skits that sometimes don’t last as long as the scene
changes do. This makes for a tedious two hours.
There is some really fine acting that brought some
enjoyment to this otherwise embarassing produc
tion. Mikael Eriksson was believable and enter
taining as the crusty Cajun sailor who had seen it
all. Nan Gatchel was excellent as the rough and
rude inmate. Her comic timing had the audience
rolling with laughter. James Peppers juggled his
character’s multiple personalities with ease. [Af
ter we first saw the play, some actor changes
happened and Peppers was switched to play the
role of Peter and the Geisha.] Amanda Colorado
butches it up for her role as a sailor with a femme
in every port.
While this play has many good one-liners and
some clever plot twists, it also contains a very
humiliatingly racist story line. Tip, a mother on
her way “out”, travels aboard a ship that takes her
to Hong Kong, where she meets an Asian woman
named Ming and indirectly meets a male Geisha.
Both Ming and the Geisha are played by Euro
pean-Americans. All ‘jokes’ in the Hong Kong
scenes are at the expense of Asian culture. The
story is not forwarded at all by being in Hong
Kong. Any story line that does develop could
have taken place just as easily in London or
Norway, where white people could then mock
their own heritage. As it is written, the play is
offensive and racist.
These concerns were brought to the attention
of the directors and the board of PWTC who all
said they had had the same concerns when they
first read the script. Dialogue took place about the
issue and the company decided to simply modify
the script somewhat instead of completely rewrit
ing the rascist content. In addition they chose to
print a disclaimer. The disclaimer states in part:
“It is PWTC’s intention to be as responsible with,
as well as true to, the satirical content of the work
as possible. If the balance we strive for seems
inadequate, we ask your pardon. One aim may be
irreverence, but not insensitivity.”
We saw nothing comedic about sterotyping
Asian people and Asian culture; adults having sex
when infants where in the bed; the majority of the
sex scenes being precipitated by fights and verbal
assaults. This production brings up many ques
tions about the PWTC. What, if any, criteria and
screening do they have for material? Is there a
new audience that they are trying to reach? Is the
production of this play a failing of the leaders in
our community to work to create a better forum
for people to come together safely and unlearn
oppression?
Bigelow gets the ax
ith very little fan-fare, or warning, the
Oregon Shakespeare Festival (OSF)
eliminated its Portland Producer posi
tion, which was held by Dennis Bigelow. OSF
Artistic Director Henry Woronicz announced the
restructuring of the company in conjunction with
the announcement of the 1992-93 season. Citing
“greater integration between the Portland and
Ashland operations,” one of the most talented and
inspirational theater people has been set adrift.
Bigelow has been the creative genius behind
the OSF Portland company establishing itself. He
turned around the entire theater scene in Portland.
At a time when nationwide theater attendance is
declining, Bigelow was able to attract a 27 percent
increase in theater-going in Portland. This in
crease is partly due to Bigelow’s production of
pieces like S u Characters in Search o f an Author,
Fences, Burn This and M Butterfly-\he list goes
on. Bigelow’s philosophy of making theater
available and appealing to a diverse audience
contributed to the remarkable success enjoyed by
OSF Portland.
As the shock has begun to wear off, Bigelow
was happy to talk to Just Out, “I’m in the middle
of directing two great shows; Romeo and Juliet, in
San Francisco, and The Heidi Chronicles in Sac
ramento, Calif. I’m doing great!” says Bigelow.
“You know, I haven’t had a vacation since 1975.
This break has been pretty fun! I’m doing some
free-lance directing, which is exciting.” He just
finished casting for the production in San Fran
cisco and is off to London for most of June.
“My home, for now, is Portland. I just love it
here. It’s a city that has everything for me. I’m
turning 40 this summer, so I’m still young enough
to explore all of my career opportunities,” said
Bigelow.
However life plays itself out for Dennis
Bigelow, Portland will miss his inspired direction
and creativity sorely. There’s certainly no envy
for whoever tries to fill his shoes.
Ariel Waterwoman
f
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