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About Just out. (Portland, OR) 1983-2013 | View Entire Issue (Nov. 5, 2004)
nntfomhar 5 2004 G Sponsored In/ Uilj.l.Hl-S just P T T T * p re s e n ts Boston^ case” to the Algonquin Hotel. Robert Goulet stole silverware from the automat. Betty Car- rett and her m other put off buying an ironing board for two years in order to buy theater tickets. And their initial forays into being working actors weren’t always glamorous. Carol Lawrence laughingly recalls rehearsing for a month on West Side Story with no pay. Despite such deprivations, this was a dazzling time, and those interviewed here know it. The camaraderie, the spontaneity, the on- and off stage dramas, the lack of prerecorded sound tracks and over-the-top special effects and even microphones— these are what made this art form so seductive for players and audiences. The personalities— and voices— were larger than life, carrying to the farthest reaches of the theater. A bittersweet subtext to this story is that by the early 1970s, the Broadway inhabited by these legends was virtually gone, replaced by the tired bombast of Andrew Lloyd Weber et al. But at least we have this wonderful reminder of that time. — GM B roadway : T he G olden A ge Nov. 5 to 11 , Hollywood Theatre irector Rob McKay set out to discover what, if anything, was “golden” about the classic era of plays and musicals from the 1940s through the 1960s. For this composite portrait, he interviewed 100 luminaries from that era: stars like Angela Lansbury, Carol Channing, Eli Wallach; composers Stephen Sondheim and Fred Ebb; dancer Fayard Nicholas of the Nicholas Brothers; and many others. Balancing their insights is plenty of rare perfonnance fcx>tage and period photographs. T he result is a captivating picture of an excit ing but long-vanished America, one in which ordinary people could experience the cream of U.S. theatrical talent for as little as 85 cents a perfonnance. This was the era of the 10-cent hamburger, the 5-cent coffee and actors and singers raising hell in New York’s bars and streets until the wee hours. T he “actor’s life" as seen here is one of happy chaos, pressure and promise. Carol Bur nett talks about arriving in New York with no money and bursting into tears but, having seen the bright lights of Broadway, refusing to go home, taking herself and her “cardboard suit- D M y M other L ikes W omen Nov. 12 to 18, Hollywood Theatre nés Paris and Daniela Fejerman’s expertly acted intergenerational dyke comedy/drama has been compared to fellow Spaniard Pedro Almodovar’s work, and no wonder— the “mother” of the title is the fabulous Rosa Maria Sarda from All About My Mother. But th at’s not the only similarity. The film begins as a frothy farce, with Sofia’s three daughters scheming to separate their mother from the beautiful, much younger Czech woman she’s taken up with. But the farce turns increasingly grim as the girls’ plots backfire. The directors’ modulation of emotions and the actors’ ability to be funny and sad almost at the same time make this a good choice. — GM j H 'Remember when music was f u n ? M W Lv n j j c & as do his grandparents to some extent. But from the opening scenes of the director puking, crying in close-up, whining, bitching and bemoaning his fate, through scenes of him try ing to force “revelation" out of his panicky, schizophrenic mother and trying to evoke con trition from his decrepit grandpa, this is Caou- ette’s story all the way. There is remarkable footage here, particu larly eerie shots of 11 -year-old Caouette as a drag queen re-enacting tearful scenarios of abuse, but he’s no Diane Arbus, and this movie, inexplicably acclaimed by mainstream critics as “harrowing” and even “important,” is ultimately a not very grand Guignol. — Gary Morris In this hilarious comedy of manners, Anna and Claire are two bantering, scheming Victorian "women of fashion" who live together in a "Boston Marriage” (a euphemism for a committed relationship between two women) Anna has just taken a maie protector” to fund the women’s lifestyle. Claire meanwhile, is infatuated with a younger woman and wants to enlist the jealous Anna's help for a tryst The two women exchange barbs and taunt their hapless Scottish maid, but when the object of Claire’s desire arrives, she sets off a crisis that puts the women's future at risk Mamet brings his trademark tart dialogue and impeccable plotting, spiced with Oscar Wilde wit, to this wickedly funny comedy. Directed by Micki Selvitella, starring JoAnn Johnson (Memoir). Karen Trumbo (M ercy Seat, Claire o f JoAnn Johmon os Anna <£• the Moon), and Brooke Lynne Fletcher (Face Reader) Karen Trumbo as Claire u <> h Rhys Ifans’ Jed is the laughably outdated Deranged Homo Killer in Enduring Love avid Mamet Boston Marriage by David Mamet October 29-December 4, 2004 Perform ances are Thurs.-Sat. at 8pm, Sun. at 2pm At the CoHo Theater, 2257 N W Raleigh Street (off 23rd Ave.) Season Tickets: $27-$54 for all three shows (including Recent Tragic Events and Boy Gets Girt) Single Tickets: Adults $21; Students/Seniors/G roups (8+): $19 Come jom us for a J u s t Out night at the theater! J u s t O ut is hosting "Boston M arriage” on Friday, Novem ber 12, 2004, including a reception after the perform ance w here you can meet the perform ers, and a prize drawing! Seating is limited, so make your reservations today! Reservations: (503) 220-CoHo (2646) A N N A IN T H E T 1 0 P I C S b,NILOCRUZ CENTER f STAGE THEATER LI VE SPICED SMOKE. JASMINE NIGHTS. R O M A N C E D E V E L O P S . THE RESULTS: I NTOXI CATI NG. 8 ...it stiff is FINE AUDIO EQUPMENT AND HOME THEATRE SYSTEMS STEREOI YRES AUDI O ' I ...... 2627 NE BROADW AYÉBPRíflíAND 1 www.stereotypesaudio.com OR D IK N tn -------- 503-280-0910 m 503 274 6588 NEWMARK www P C S org THEATRE NOV 9 28 2004 llll sw BROADWAY KeyBank O -K ,. k d I 1 ‘JJJJMtft'l 30 :;.,.SI 5
