Minority & Small Business Week
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and theater, working class people
aren’t portrayed with much com-
plexity; not so here. For example,
several white and black charac-
ters all have (or had) union jobs,
yet the white characters speak
with a sense of entitlement that
the black characters don’t quite
share. All of them talk as though
their union card is the ticket to
their American dreams, yet the
black characters speak as later
entrants into that club; they are
still aspiring, looking for ways
to climb, or exploring other op-
tions. The characters also vary in
their reactions to the loss of their
hopes. And none of them notice
that the American-born son of
Dominican parents who cleans
up after them at the bar they fre-
quent can’t break into the union
no matter how hard he tries.
As the world of the union
workers begins to crumble, we
see how easily they can be pitted
against each other. Their anger
and powerlessness quickly be-
comes anger at one another; with
no agency and no access to the
real decision makers, they blame
each other for betrayals that are
varying degrees of real and imag-
ined. These are folks we might
recognize, good people struggling
under extreme pressure. Their an-
ger and fear is understandable and
sympathetic, even if their respons-
es to one another are far from he-
roic.
The reality for all these charac-
ters is messy. I must admit that I
had not focused on the specifics
that this play brings to light; the
characters go from being able to
save for a very nice vacation to
working multiple menial jobs in
order to pay the rent in a slum or
falling into addiction. The uni-
formly excellent cast makes you
live in the skin of these charac-
ters, and conveys a real sense of
how quickly and cataclysmically
their worlds shifted -- showing up
to work to find that the machines
have been sold; lockouts that last-
Obituary
In Loving Memory
Shirley Stanton-Frazier
Shirley Stanton-Frazier was born April 19, 1947
and died Sept. 22, 2015.
Funeral services will be held at 10 a.m. on
Monday, Oct. 5 at Evergreen Memorial Gardens,
1101 N.E. 112th Ave., in Vancouver.
September 30, 2015
ed for endless months; contract of-
fers involving paycuts as high as
60 percent; the pressures that lead
a person to cross a union picket
line.
This is not territory well-cov-
ered in American theater, and OSF
is capitalizing on the opportunities
for dialogue that this play presents
with its “Living Ideas” series of
discussions, some of which can
be accessed online. (www.osfash-
land.org/experience-osf/upcom-
ing/living-ideas.aspx.) Whether or
not you join in on those conversa-
tions, this is a play to watch. It is
playing in Ashland until the end
of October, and then moving to
Arena Stage in Washington, DC.
I expect the play will live on, and
will bring needed attention to the
lives of many whose experience
of the knife edge of what we term
progress tends to be ignored.
Darleen Ortega is a judge on
the Oregon Court of Appeals and
the first woman of color to serve in
that capacity. She also serves on
the Oregon Shakespeare Festival
Board. Her movie review column
Opinionated Judge appears reg-
ularly in The Portland Observer.