34 j**st M it * august 17, 200 t
THEATER
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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
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N
O T T O DE M I S S E D
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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
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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
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“Celebrating the Body E ro tic
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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.
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