Image provided by: Clackamas Community College; Oregon City, OR
About The Clackamas print. (Oregon City, Oregon) 1989-2019 | View Entire Issue (Feb. 23, 2011)
Follow us on twitter facebook Volume 44. Issue 14 First copy FREE; additional copies 10 PBv Joshua Baird Lrts & Culture Editor Lyourxar.an ugly hunk of ¡¿at would make Adam Sandler's He from “Ode to My Car” look like pure? What can you do with it besides iit or keep driving that ugly hoopty? You brays sign up for the auto restoration class lack, i nas Community College and fix it up Ihe , estoration class is part of an integral I program for modem students. In fact, with- pese future mechanics being trained here on ¡pus. many of our vehicles would be unable to I moving over the years. If all of these men and Ben didn’t pursue a career doing what they love jinsti- id went for a law or medical degree, the lie notiOTt could stop running. What is the driving I [for tliese dirty, oil-covered grease monkeys? At ’ L the answer is clear the instructors. The cachets are really awesome, (they give you) istn ction to do what you need to do to get ahead B casco;” said Darren Spain, a Clackamas student iis currently painting a 1988 Mustang LX. According to instructor Russ Peterson, the college is of the most advanced training facilities in the area for Math' i classes, with students returning every term to ¡part in the action. lut what is auto restoration? Is it just about painting »make them look cool? Not by any means; resto- pals< ■ includes cutting, welding and Bondo, in Leases lots of Bondo. - seeACnO, Page 4 ws Brian Beldin cleans the surface in preparation to paint a Mini Cooper in one of the college’s new state-of-the-art paint booths. John Shufelt Clackamas Print et your ‘Flu’ fix with theater this winter season By Nathan Sturgess Associate Photo Editor Mien Michael Gerber, pamas Community College’s to director, first pitched the play te term to his latest crop of is, the reaction was mixed. In ¡ some of the actors, being dra- types, were quite disturbed I 'Men we first did our reading, J|ited to slap Michael. I was like, ‘What is this? This is like Swahili,*” said Dylan Marchek, one of Gerber’s assistant directors for the play. But, along with the other actors, Marchek soon came to appreciate the play for its depth and complex ity. Writtenby William Eno, the play is titled “The Flu Season” and was first published in 2005. According to Gerber, a play written within the last decade means it’s a fairly new work. In a nutshell, the play is a tragic comedy surrounding the romantic relationship of a man and woman in an insane asylum. Gerber came across the play sev eral years ago, and it quickly went on his short list of plays he would like to one day direct When this term came around it just seemed to fit “We brought it in and had a reading. Their initial reaction was, ‘I don’t know what to make of this.’ But they were intrigued by it and by the end of the two-and-a-half-hour reading session they were just fired up about it,” said Gerber. Eno is an American playwright that in many of his plays, pushes the boundaries on what is commonly understood as theater; or as Gerber puts it he is “meta-theatrical.” In “The Flu Season,” Eno explicitly explores what it means to be an audi ence observing a production. The characters Prologue and Epilogue, played by Branden McFarland and Heather Ovalle, respectively, actu ally talk to the audience and com ment on the action in the scenes, even making remarks about how the author could have done a better job. “The constructs we use in (the play) kind of stretch what people think of as theater, but most impor tantly it speaks about things that peo ple don’t like to speak about... in a very gracefill way,” said Donovan Eilert, who plays a character named Doctor in the play. Please see FLU, Page 5
