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(no subject) [Oct. 1st, 2010|01:53 pm]
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Student Productions Association of Lane Community College Presents the Eugene Premiere of RENT the musical!

A portion of this weekends proceeds will go to HIV Alliance


October 1st-2nd, 7th-9th, 8pm curtain
Matinee on October 3rd, 2pm curtain

Please arrive at least 15 minutes before the production.

No late arrivals will be seated

Reserve tickets on-line at lanecc.edu/tickets,
Call 541-463-5761,
Or buy them at the door before the performance.

Location: Main Stage, the Ed Ragozzino Performance Hall at Lane Community College

Tickets: General-$15
Student/Staff/Senior-$10

Box office opens @ 7:00pm

If you need disability accommodations to attend this event, please call Disability Services 541-463-5150, 541-463-5150, or 541-463-3079 one week before the event.

RENT follows eight friends living in New York City facing the trials of HIV/AIDS and being homeless while maintaining importance of being alive and staying in the present. Rent, written by the late Jonathon Larson, is the eighth longest running show on Broadway history, which is 8 years behind of phantom of the opera. The rock opera musical brought in a whole new generation of musical attendants and inspired future rock opera, such as American idiot and Spring Awakening.
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(no subject) [Feb. 11th, 2010|11:40 pm]
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Student Productions Association of LCC presents their Winter Term show: MOVE OVER, MRS. MARKHAM , written by Ray Cooney and John Chapman, directed by Chris Pinto.

This hilarious British sex farce is a fast paced romp filled with mistaken identities, titillating situations, and risque remarks. Philip Markham (Aaron Archer) and Henry Lodge (Andrew Ghai) run a small but successful children's book publishing company. Philip and Johanna Markham(Melissa DeHart) have been happily, if sexlessly, married for 12 years. That all changes in one eventful evening as Henry (Andrew Ghai) and Linda Lodge's(Leela Gouveia) extramarital affairs intrude on their lives. Johanna is flung into the arms of her interior decorator Alistair (Jesse Ferreira), and Philip ends up being pursued by a naked phone operator. Everyone loses their shirts, the maid runs through in her nightie, and in the middle of it all a successful author arrives looking for a publisher who doesn't go in for sex.

Chris Pinto does his usual brilliant job with an action packed show and quick witted dialog. Past shows of his include the highly successful GODSPELL at LCC last year, and RUMORS, FUNNY MONEY, and ON THE RAZZLE at the VLT.

Other cast members are Rhea Gates, Lilith Lincoln-Dinan, Jimmie Berguin, and Savana Wilson.

MOVE OVER, MRS. MARKHAM will open February 5th and run February 6th, 7th, 11th, 12th, 13th, 18th, 19th, and 20th. Shows start at 8:00pm, with the matinee on the 14th starting at 2:00pm. Tickets are $8 for students/seniors/LCC staff, and $10 for the general public. For more information and reservations call (541)463-5761. Tickets can also be purchased online at www.lanecc.edu/tickets

This show is intended for mature audiences, ages 13 and up please.
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(no subject) [Nov. 18th, 2009|12:36 am]
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‘Dwarfman’ is thinly sketched but amusing
By Dorothy Velasco
For The Register-Guard
Tuesday, Nov 10, 2009

“Dwarfman, Master of a Million Shapes” by acclaimed playwright Michael Weller, is playing in an inventive production at Lane Community College’s Blue Door Theatre.

Director Judith Roberts is a longtime friend of Weller’s, who graciously came for a weekend and gave a master playwriting class at LCC. He wrote the rarely produced “Dwarfman” nearly 30 years ago, and the student production must give him an interesting view of his younger self.

The play does seem to be the work of a young writer, even though the main character, Stanley Dorfman (Chad Kushuba), is about 50, in his third marriage, and having a midlife crisis. He has been creating a comic strip about Dwarfman, a diminutive superhero, for 28 years. He feels trapped. Well, he’s not the only one. Imagine how Dwarfman must feel. He has a sexy sidekick with a powerful body, Elektra, but his creator still hasn’t allowed him to even contemplate kissing her.

Leigh Holliday, who plays Elektra, is a real-life superhero, stepping into the role for a flu-struck performer on one day’s notice. She memorized the substantial role and performs heroically. We will likely see more instances of actor replacements during this season of ill health.

Meanwhile, no matter what happens, little Dwarfman continues working hard to save the world from evil. Mark Siegel, in a fascinating performance, acts with every muscle in his body, showing us ripples of fear running through his abdomen. Siegel gives the one-dimensional comic creation so much angst about his possible demise that he becomes the most sympathetic character in the whole play.

We do have to acknowledge that he is Stanley’s alter ego, thus revealing Stanley’s character for him. Even so, the comic creatures are more interesting than the real-life characters. Who could compete with the Roach King? Kyle Cooper, in a fabulous, high-fashion cockroach costume, fills the stage with weirdness.

Mark Mullaney as mad scientist Dr. Azabov, Dwarfman’s intellectual support, is as bizarrely appealing as a Monty Python character. Rhea Gates sparkles as Betty, Stanley’s teenage muse. Rachel Pasley is Stanley’s smart, pregnant wife and Donald Aday is eerie as his dead father. Adam Leonard is Stanley’s manager/brother Leon, Andrew Ghai is an Igor-type character, Donna Wyrick is a schoolgirl and Steve Coatsworth is the recorded narrator.

In spite of all the entertaining bits, the characters seem underdeveloped and the play runs long. By the end I didn’t care much whether Stanley came out of it sane or shattered.

However, I very much like the style of the show. As director, Roberts always has a strong sense of whimsy, and the design elements all contribute to the show’s unified style.

The costumes by Vickie Machado and Mari De Witt, design consultation by David Sackeroff, cartoon art by Juan Fierro, lighting (good use of black light) by Alex Hannon and Matt Levine and sound by Brian Lewis are fresh and fun. The bas-relief sets are works of art and the revolving stage makes changes quick and efficient.
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(no subject) [Nov. 18th, 2009|12:32 am]
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Old Friends and the Dwarfman
A Q&A with LCC’s Sparky Roberts
by Anna Grace
For Eugene Weekly
11/12/09


In keeping with their proud tradition of pushing the envelope, The Student Productions Association of Lane Community College will stage Michael Weller’s experimental, unpublished work Dwarfman, Master of a Million Shapes. The play follows comic book creator Stanley Dorfman as he cracks under the pressure of reality, only to find himself plagued by the characters of his fantasy. Because one of the leads had H1N1 and the play was cancelled the night our reviewer went, director Judith “Sparky” Roberts chats with the EW over email about this unorthodox production.

Michael Weller is a well-known playwright (Moonchildren, Loose Ends) Can you explain the connection that has led to LCC producing some of his lesser known plays (last year’s Buying Time) two years in a row and having him present at performances?

Michael Weller is an old friend of mine from Brandeis University; we’ve stayed in touch all these years.

Your cast includes student actors along side of area professionals. How has it worked to have seasoned performers like Marc Siegel and Don Aday working along side of students?

Marc Siegel has been in LCC productions before — he brings his skills as a choreographer, musician and comedian. I’m always honored to work with him (he has directed me before, too). He and Don Aday both have an exemplary work ethic, and they are at home on the stage. Naturally, they’re great models for our students — their presence extends the curriculum, from classroom onto the stage.

In your press release, you write, “At its heart, Dwarfman is about an artist who needs to escape the onus of his own public success.” Is this a play you and the other experienced artists associated with this project connect to on a personal level?

Artists can’t help what they do — they are ‘called’ to create. Artists mirror society back to itself, in their different mediums. It’s their job. Everybody, at some point, suffers a crisis of confidence. For artists, the definition of competence or greatness is somewhat nebulous, so self-doubt is almost inevitable: “Is my work worthwhile? Am I good?” Stanley Dorfman, the superhero comic-book creator in the play, is in the midst of an identity crisis. It’s extraordinarily amusing to watch his struggle, because his cartoon creations come alive and try to help. But they’re clueless.

Dwarfman coincides with the “Superheroes” exhibit at the Jordan Schnitzer Museum at the UO. Was that planned?

It’s a happy coincidence that the run of our play is contemporaneous with the exhibit. Timely, yet totally unplanned.

Dwarfman has only been produced twice before, one of the productions at our own Lord Leebrick. Why is that? What do you see happening with this play in the future?

Michael laughed right along with the audience while he watched the play. But if he ever mounts it again, he wants to make changes. It’s unpublished, but it should be published some day. The play was intended for much grander production, but our treatment offers it directly to the audience’s imagination.

For me, beyond Shakespeare and other classics, no doors are closed. I always think that in theater, anything is possible. My appetite is whetted by the challenges of interpreting new work. As an artist in theater, I have to be willing to take risks. I feel lucky to have a life full of collaborations with other artists, writers, musicians and composers.

Your (Thursday) opening night performance was cancelled due to the illness of a lead actress. Referring to the swine flu that thwarted your opening, you said, “You know it’s real when it hits the fantasy world.” Can you make any connections between your hero’s journey and our struggle with the flu?

The show must go on ... Friday night a young man named Jordon Nowotny played an androgynous version of Elektra, Dwarfman’s female sidekick. We put blue hair and a body suit on him. He carried the script, but the audience didn’t even notice that. The play stood on its own, and people laughed a lot. (There were many compliments for the choice of Jordon.) That night, another young actress, Leigh Holliday, watched; she memorized the whole part, rehearsed it all day, and played it the next night. Heroic. Now our original Elektra, Rhiannon Cantanello, returns for the rest of the run, and we’re back on track.

Is there anything else you’d like audiences to consider before seeing your play?

The play is outrageous. It’s profound and funny. Only people over age 10 admitted. It’s definitely not a play for kids, but it appeals to the kid in us all
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(no subject) [Nov. 1st, 2009|11:21 pm]
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The Student Productions Association of Lane Community College will stage Dwarfman, Master of a Million Shapes, a comedy in two acts by Michael Weller.

Performances are in the Blue Door Theater at L.C.C.’s main campus, Thursday through Sunday, November 5-6-7; 12-13-14; and 19-20-21. Curtain is at 8:00 P.M. There will be one matinee, Sunday, November 15 at 2:00 P.M.

Tickets are $10 for general admission; $8 for seniors, students and staff.

November 12, 13, 14, 15 bring 3 cans of food and get in for $5! (Food will be donated to Food for Lane County)

For more information and tickets, call 541-463-5761, or purchase tickets online at www.lanecc.edu/tickets.

Audience members must be age 10 or older.

Dwarfman is an unpublished work, produced only twice before - at Chicago’s Goodman Theater, and in 1995 at Eugene’s Lord Leebrick Theater (which had in the cast both artistic directors, Randall Lord and Christopher Leebrick.)

In the play, comic-book creator Stanley Dorfman is having a nervous breakdown due to his constant pressure to meet deadlines, create a new villain, pay child support, and attend to his lawyer wife, who is pregnant. As he loses his grip on reality, his wild and hapless cartoon characters come alive to help and plague him. They include Stanley’s alter-ego, the superhero Dwarfman and his partner Elektra, mad scientist Dr. Azabov, and the formidable Roach King. In the midst of Stanley’s desperate search for his own identity, he retreats to a remote cabin in Maine, where his dead father pays him a visit.

Assisting in the production of Dwarfman is a team of accomplished theater professionals. Director Judith Roberts says, “It’s exciting that our students are able to work alongside these generous creative artists. Such an experience catapults the students to the next level of their craft.”

Michael Weller is renowned for his plays Moonchildren and Loose Ends and the screenplays for Ragtime and Hair. He is founder/director of a program for young playwrights in New York, which each year produces several of the new works professionally. Mr. Weller has been in Eugene as a guest artist at the University of Oregon and L.C.C., and he plans another visit during the run of Dwarfman.

Chad Kushuba makes his local acting debut as cartoon-artist Stanley Dorfman. Before his recent move to Eugene, he was the artistic director of The Abreact, a cutting-edge theater group in Detroit, Michigan.

The comic-book hero Dwarfman is played by multi-talented dancer/choreographer Marc Siegel. He is the co-director of Dance Theater of Oregon, and has been a frequent guest artist at L.C.C.

The cast also includes community actor Don Aday, and students Rhiannon Catalanello, Steven Coatsworth, Kyle Cooper, Rhea Gates, Andrew Ghai, Adam Leonard, Donna Wyrick, Mark Mullaney and Rachel Paslay.

The set consultant is David Sackeroff, a former Hollywood production designer whose long list of credits includes Home Improvement, The Jamie Foxx Show, Sabrina the Teenage Witch, Dr. Science, and the pilot for Seinfeld.

The master carpenter for Dwarfman is Scott Williams (Ret. I.A.T.S.E.#16), builder of L.C.C.’s Globe Theater replica. During his long career, he has built sets for Las Vegas shows, ballets, and the San Francisco Opera, as well as a mile of freeway for The Matrix.

The cartoon art created for the play is by Juan Fierro, who was born in Ecuador, lived in Eugene as a child and now lives in Virginia.

Director Roberts says, “At its heart, Dwarfman is about an artist who needs to escape the onus of his own public success. Playwright Weller injects the struggle with hilarity.”
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Fall of the House of Brewster [Oct. 9th, 2009|12:57 am]
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For Eugene Weekly 10/8/2009

Fall of the House of Brewster
Arsenic & Old Lace held together by sharp direction, strong performances
by Rick Levin

Leave it to Friedrich Nietzsche — the prophetic philosopher who notoriously pronounced God’s demise — to capture the disturbing truth lurking behind one of our screwball comedies. “One has watched life badly if one has not also seen the hand that in a considerate manner — kills,” Nietzsche wrote in 1886, anticipating not only the subject matter, but also the spirit and dark humor of Joseph Kesselring’s 1939 play, Arsenic & Old Lace. Too bad old Fred didn’t live nearly long enough to see it staged; he might have gotten a kick out of watching his existential theories personified in the form of two spinster sisters who, very considerately indeed, euthanize their bachelor wards out of pity for the men’s loneliness.

The play was brought to the screen by director Frank Capra, whose 1944 adaptation features Cary Grant in the role of Mortimer Brewster, nephew of the matronly murderers, Abby and Martha Brewster. Likely this is the Arsenic & Old Lace most of us think of when we hear the title, whether we’ve seen the movie or not. And if, like me, your memories of the movie are a bit befogged by time, LCC’s current production should come as something of a surprise, and a pleasant one at that.

Under Michael P. Watkins’ orthodox and sure-handed direction, and thanks to some exemplary performances, Arsenic & Old Lace comes off as the splendidly mean-spirited and cleverly layered piece of inverted and self-referential satire its author surely intended it to be, while at the same time moving at a breezy clip that is downright infectious. It is at once entirely shallow and complexly philosophical, a laugh riot that leaves an aftertaste of cyanide and cynicism.

The play presents the bare outlines of a standard romantic comedy, complete with issues of mistaken identity, thwarted desires and miscommunications real and imagined and with everything ending in happy commitment — though not to the institution of marriage. Mortimer (Richard Burton) is a charming if distracted bachelor whose forbearing girlfriend, Elaine (Ailiah Schafer), waits with strained patience for a proposal of marriage. Mort’s childhood home — presided over by his doting, sweetly naïve-seeming aunts Abigail (Christina St. Charles) and Martha (Lorna Bridges) — does seem a bit nutty at times, what with his uncle Teddy (Johnny Rogers) believing himself to be Teddy Roosevelt and all. And there is the hushed, vaguely sinister talk about Mort’s long-lost brother Jonathan (Chas King), but what family doesn’t have its peccadilloes and little secrets?

Kesselring took this archetypal scenario and turned it inside out and upside down. In the subtlest and most hilarious of manners, the play brings the outside world to bear on this seemingly hermetic family, introducing timely issues of jingoism, homophobia and rampant nationalism, while at the same time tackling the prickly ethical question of justifiable homicide. The amazing thing is how giddy it all is — like Dostoyevsky on nitrous oxide.

LCC’s production gets it right in allowing the script to do its work. The stage design is simultaneously spacious and cozy, lulling the audience into a false sense of security while also giving the cast plenty of room to move. Watkins keeps the action tight, with few wasted gestures, and his pacing is snappy. In the best sense, he gets out of the way of the material.

Beyond the sheer enjoyment of Kesselring’s script, there are some noteworthy performances that give this production an added zing. In terms of talent and range, the cast is quite uneven; fortunately, the old adage about a team being only as strong as its weakest link doesn’t apply in this instance. The strongest performances are exactly where they need to be. Burton’s Mortimer is a bit tepid in the early scenes, but he catches stride by the second act. Rogers, who has an obvious knack for physical humor, walks a fine tightrope as the delusional, quirky Teddy, but his antics remain just this side of overindulgence. Ultimately, however, it is Bridges and St. Charles, as the pious, pleasantly poisonous Brewster sisters, who carry the show. Their repartee, a blend of sibling intimacy, homespun malarkey and conspiratorial commitment to their own twisted cause, is a pleasure to behold. Like that one song, they kill you — softly.
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(no subject) [Sep. 28th, 2009|03:27 am]
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The Student Productions Association of Lane Community College presents the classic Joseph Kesselring comedy Arsenic and Old Lace on the Main Stage of the Performance Hall at Lane Community College; directed by Michael P. Watkins.

Arsenic and Old Lace opened on Broadway on January 10, 1941; providing much-needed comic relief to New Yorkers fearful of the war raging in Europe. The play revolves around two spinster aunts and their innocently sinister way of helping lonely old men seeking lodging in their home find peace. A review in Theatre Arts Magazine at the time called Arsenic and Old Lace “the ultimate in the genre. Arsenic and Old Lace lives up to its beguiling title and succeeds in turning homicide into side-splitting farce.” The play continued on Broadway for 1,444 performances. It was such a hit in London that the English lined up for tickets during the London Blitz. In 1944, Arsenic and Old Lace was made into a hit movie starring Cary Grant.

Arsenic and Old Lace opens Thursday, October 1 on the Main Stage in Lane's Performing Arts Hall, which was renovated this summer with new seating. Performances continue on weekends through October 17. Curtain is at 8:00pm. A Sunday matinee is scheduled on October 11th at 2:00pm.

Tickets for the show are $12.50 for Adults, $10 for Students. Tickets may be reserved by calling the Student Production Association office at 541-463-5761; purchased at the door or in advance at Lane's on-line box office.
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Shakespeare Showcase at Blue Door Theatre, June 6! [Jun. 3rd, 2009|02:32 am]
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Professional actors will join students and community actors in the Shakespeare Showcase at Lane Community College. Two performances will be presented on Saturday, June 6 - a matinee at 2:00 p.m. and an evening show at 7:00 p.m., in the Blue Door Theatre, Building 6, on the main campus. (Entrance at Eldon Schafer Drive, off 30th Avenue.)

The full program of more than 20 pieces runs just under two hours, with intermission.

Scenes or monologues will be presented from more than half the canon of Shakespeare's plays, including: Hamlet, Macbeth, A Midsummer Night's Dream, Two Gentlemen of Verona, King Lear, The Merry Wives of Windsor, Romeo and Juliet, Henry V, Henry VI, Richard III, Measure for Measure, Merchant of Venice, Titus Andronicus, Julius Caesar, As You Like It, Much Ado About Nothing, and The Tempest.

Director Judith Roberts says, "Students benefit from working with seasoned actors, who like to 'keep their chops up' in the welcoming atmosphere of the Showcase." Roberts coaches the actors, with help from Patrick Torelle and Joe Cronin.

Audience members familiar with Shakespeare, as well as those who come for a first taste, will see comedy, tragedy and history, presented in a wide range of acting styles, with ever-changing passions. To newcomers, Roberts says, "There's much in Shakespeare's writing that you might not expect. It might be 400 years old, but it's very much alive."

Admission is Free, and donations to help support quality Theatre at Lane are gratefully accepted. Seating is by General Admission. No one under age 10 will be admitted.

For more information please call 463-5761
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Pretty good! [Apr. 9th, 2009|02:24 am]
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Impermanence, Persistence, Death
Stoppard’s Arcadia fires the mind at LCC
by suzi steffen
For The Eugene Weekly 4/9/2009

Tender, tenuous threads connect past and present, science and literature, love and death — and don’t forget the tortoise!

British playwright Tom Stoppard weaves these and more in his gorgeous comedy/romance Arcadia, playing now at LCC’s Blue Door Theatre.

Arcadia, as art history majors will know and as a lengthy note outside of the theater tells others, refers in part to the 17th-century artist Nicholas Poussin’s two paintings Et In Arcadia Ego. In these paintings (which also refer to other, older paintings and to Virgil’s Eclogues), four rural folks gather around a gravestone on which the words of the painting’s title are chiseled.

Knowing about Tom Stoppard’s limitless curiosity and intellect, I surmise that he was aware of both potential meanings of the Latin phrase. The most accepted now means something like “Even in Paradise, I (Death) exist,” but Romantics were fond of thinking that the phrase meant that the dead person meant “I lived in Paradise.”

In the play, Paradise is represented by a large English manor, where two times meet. The first time is during the Napoleonic Wars, an era when Lord Byron was traipsing about England and when wealthy, exceptionally gifted, noble girls like Thomasina Coverly (Leela Gouveia, in a fine performance) had their education cut off when they hit the age of marriage. Thomasina’s tutor Septimus Hodge (Chas King, also quite strong) vies for the attentions of Thomasina’s mother (played last weekend by Lilith Lincoln-Dinan and, if she’s recovered from laryngitis, by Kim Wilson from now on) and writes scathing if anonymous reviews of the poetry of Ezra Chater (Adam Leonard) while avoiding duels caused by his “carnal knowledge” of Mrs. Chater.

That’s rather too much plot, but much of this strand concerns a world balanced on the brink between rational and Romantic, between analysis and emotion, between the English garden of Capability Brown with its classical gazebos and that of neo-Gothic “ruins” and wild tangles. The second is represented in the person of gardener Richard Noakes (Benjamin Newman, in a quietly competent performance). Discussions between Thomasina and her tutor cover Euclidean geometry, calculus, gravity and a variety of other topics; especially important discussions revolve around the nature of heat. Gouveia and King do an excellent job of engaging with the ideas while maintaining their characters.

In alternating scenes, at the same manor but in the present, the objects (memento mori) touched by the earlier set of people become a puzzle for the modern folk. The modern Coverly family is hosting a popular author and scholar, Hannah Jarvis (Margot Delaittre), who’s writing a follow-up to her bestselling but harshly reviewed book about Lord Byron’s lover, Lady Caroline Lamb. Then a stranger comes to the country: Bernard Nightingale (Simon Strange, who’s simply superb in the first act and would be near-perfect if he could tone down the exaggerated gestures of the second act). Nightengale, a Byron scholar, penned one of the rudest reviews but now needs the cooperation and help of Jarvis in solving a puzzle about Lord Byron.

There’s much more to the script, more than this list can convey, but here’s a start: Literature vs. science (Should there be a split?); the loss of female genius under a system gamed for noblemen; intellectual arrogance that turns to humiliation and, perhaps, humility; the unbearably poignant exhalations of past centuries and their documents (a reflection of, and on, both 18th-century fascination with Roman ruins and 19th-century fascination with wilderness?); rivulets of power and how they’re distributed among humans of above-average intelligence; math that can change the world.

Or can it? Every human, even those in the paradise of new thoughts and discoveries and desires, dies. Directory Mary Unruh writes in her notes, “This is a story of life and love, which a memento mori reminds us to embrace.” True, and also a gloss on the partly Romantic, faintly pleasurable ache that pervades the second act. The final scene plays out as the audience agonizes over what we know will happen to the characters, and by extension to the actors and to us all.

The play both is and feels long, and several actors simply can’t keep up either with the script or the skills of others. But Arcadia remains sharply funny, wonderfully packed with ideas and a complex mingling of mind and body. Read the script for an appreciation of Stoppard’s brain, and engage with the performed play at LCC for hard-won rewards.
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Sex, literature, and death [Mar. 29th, 2009|01:53 am]
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Student Productions Association(S.P.A.) of Lane Community College presents Tom Stoppard's ARCADIA, directed by Mary Unruh.

One of Stoppard's best loved plays, ARCADIA is fast paced comedy that combines Stoppard's quick wit and mastery of language with the beauty of poetry and the elegance of math. It is a story of love, sex scandal, philosophy, and grouse. The characters engage in torrid love affairs, while dueling with each other both literally and intellectually. The plot shuttles back and forth through time; starting in 1809, and then jumping to the present, and then back again. We watch as the both those in the past and future struggle to understand life through poetry, landscaping, mathematical chaos theory, and history. ARCADIA is a masterful mix of light hearted comedy, and bitter-sweet drama; just like life.

ARCADIA runs April 3-4, 9-12, 16-18. Curtain is at 8 PM, with a Sunday April 12 matinée at 2 PM. Tickets are $10 general admission, and $8 for students, staff, and seniors. Performances are in The Blue Door Theatre, Building 6, at LCC. Advanced reservations are recommended.

Buy tickets online at www.lanecc.edu/tickets, or call the box office at 463-5761 for reservations.

(Audience members must be 10 years of age or older.)
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