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About Just out. (Portland, OR) 1983-2013 | View Entire Issue (Aug. 17, 2001)
34 j**st M it * august 17, 200 t THEATER ...... ▼ ....... H ow do you explain the meaning of a Zen koan? Surely not by writing a formal, structured essay about it. How do you dramatize the story of a Zen masters life? Surely not by beginning at the beginning and ending at the end. The Posture Queen portrays the life of Tommy “Issan” Dorsey, a onetime drug-abusing drag queen who eventually became one of the country’s most respected and adored Zen mas ters. It is a dynamic, multisensory exploration of his journey of transformation, but the story does not unfold in a linear way. The audience enters the theater space to find four Buddhist monks meditating before altars that are odd assemblages of hats, shoes, shirts and coats. The action begins as Issan, the master, approaches the meditators, who then rise and join him for a lesson. But with just a few changes in costume, the scene shifts right before our eyes and the monastic room becomes a sleazy bar, in which Issan, now Tommy Dee, an elegant drag queen, vamps to the song “Hard Hearted Hannah.” The pattern is set. The play unfolds as a series of episodes, each of which begins in the monastery but then leaps across space and time to reveal more and more of Dorsey’s story. Although the staging is rich in sights and sounds, the prixluction is somewhat understat ed, almost minimalist. It takes only a black dress and pumps and a small feathered hairpin to change Issan into Tommy Dee. No wig, no makeup, no glitter. But it works, thanks in no small part to actor Marc W eavers skill in matching his posture and his movements to his character’s changing roles. Similarly, the monks become sailors just by draping themselves in middy collars and wearing navy hats. And, o f course, by adding THE BEST ROCK M O V IE E V E R ! ■ ■ U H I R IO N I C L E V E R . FUNNY. AND WI L DL Y INNOVATI VE!' From spotlight to Inner light The Posture Queen tells the true story of a drag queen who found enlightenment by A ndy some swagger to their steps. A hospital gurney is an omnipresent prop. It becomes a bar, a kitchen table, an altar, even a four-passenger car, without ever ceasing to be a gurney. Given we know Dorsey died of A ID S, the gurney haunts every scene with the foreshadowing that it eventually will return to its hospital function and become a deathbed. The aural environment that envelops the production makes a significant contribution to the plays success. It is the work of soundscape artists Michael Northam and Seth Nehil, for whom The Posture Queen is a theatrical debut; their previous work has been mostly in connec tion with art installations. Their sounds include almost comic accompa niments to the actors’ pantomimed door knocks, for instance, but most of its impact is more sub tle. Nonmelodic music creates a meditative sound space for the monastery scenes, while other unrecognizable noises create tension and heighten the drama at pivotal moments. Light is also a major element of the play. At times the action is lit only by ritual flames, at others by flashlights. Moving images are projected on a winglike screen. At one point the real-action choreography interacts with the video images, a stunning effect. There are, however, some problems with the play. The subject matter itself creates one for writer/director Jonathan Walters. S im o n How do you portray Zen enlightenment? Even worse, given Dorsey’s transformation from a hard-hearted, cross-dressing hustler to a Zen master took place mostly on the inside, how can it be shown on the stage? Walters wisely avoids focusing on these aspects of his story in ways that might seem trite or cliched. But perhaps he avoids too much. It is one thing to ask the audience to change the settings in their imaginations with just the help of a few props and costume changes. But it is another to ask us to fill in the central drama of the piece, to figure out for ourselves just what changed Dorsey and why he became so adored by his followers. O n the other hand, maybe we demand too much if we ask for explanations that satisfy our minds. After all, the point of a Zen koan might just be that there is no point. Portland is fortunate to be home to several theater companies that work hard at pushing the boundaries of what can be done on the stage. With The Posture Queen, Hand 2 Mouth takes its place among those that give us much more than a story set in dialogue. Surprisingly, several of the artists collaborat ing on this piece are theater rookies. Set design er Sara Thompson is a multimedia artist and builder; this is her first set. Michael Mateyko is a talented video artist and filmmaker; this is his first video projection work for theater. Choreog S h a re y o u r t h o u g h t s ... Faith Helma comforts Marc Weaver rapher Mark Hayes is a dancer/performer with an international reputation. Walters brings it all together. He is proud that almost all of the events portrayed on the stage are true to life. But turning real life into art takes cre ative vision, and Walters does it in a way that, despite its problems, results in an exciting and rewarding theater experience. In addition to his vision, the production fea tures fine acting all around, a stimulating sound and light environment and even a little Zen wis dom. It doesn’t answer all the questions it raises, but it’s a great play to see with a friend— you’ll have a lot to talk about on the way home. |H T he P osture Q ueen plays 8 :3 0 p.m . Thursday to Sunday and 4 p.m . Sunday through Sept. 2 at Rose City Ballroom, 700 N .E . Dekum St. Tickets are $8-$ / 0 from 5 0 3 -283-3311. A ndy S imon is a teacher and free-lance writer who lives in Southeast Portland. ñm (D®mc£(grrÉ Saturday, Sept. 29 • 8pm Portland Community College— Sylvania Performing Arts Center 12000 SW 49th Ave. (Capitol Hwy) $16/$18 at the door S l e » l t « i i R a l l a n . TNI N I W TORN T I M I B A RIP ROARING ROCK M USICAL!’ N O T T O DE M I S S E D E d w a ra Ja y la t ía la . T R I m i l l S T R U T JB H R N M CD Release Concert and Benefit for PCC's Diversity Fund. Tickets available at all FASTIXX locations and It's My Pleasure. w A Conversation with Margie Adam Respond to this issue's Just Asking question (Page 5) Sunday, Sep t. 30 1 pm-3pm PCC—Sylvania PAC Lobby Portland Community College Open-ended discussion of women's music and culture, and strategies for supporting positive change. No admission charge. For more information, call 503-460-3803. Visit Margie's website at: www.margieadam.com E rotic A dventures for the 5 oul “Celebrating the Body E ro tic ” Come alive to the power o f your erotic energy. Open your body, mind and spirit to a world o f ecstasy. Discover deeper levels o f communication with yourself and others. Honor yourself with the gift o f touch. T ffiw rc PHninH» Min» Hiifu www.get-hed.com ©MOI FINE UNE FEATURES AU. RIGHTS RESERVED bill,, film. 503-225-5555+4604 ¡FOX TOWER 10 J PLAYING REGAL CINEMAS CALL T M tA IH t F O « SM LiW UM LS at www.¡ustout.com ju s t e • m h B o d ij E l e c t r i c S c h o o l Nov 3 rd & 4 th , Portland Call (5 0 3 ) 790-2141
