Category Archives: Bob Hicks

The first thing let’s do, let’s kill the critics

By Bob Hicks

Bless me, reader, for I have sinned.

For 40 years Moses wandered in the wilderness. And for roughly the same amount of time I have stumbled through the landmines of contemporary culture, wearing the sackcloth of the most extreme form of penitent journalist.

Honore Daumier, "The Critic"I have been a critic.

Well, apparently I have. That’s what everyone tells me. Lord knows I’ve denied it over the years. For a long time, when people called me a critic, I’d correct them. “I’m a writer,” I’d gently explain, “and these days I happen to be writing about theater.”

It did no good. No one believed me. And “Writer Who Writes About Theater” doesn’t fit in a byline, anyway.

A few years ago I was chatting with Libby Appel, who at the time was artistic director of the Oregon Shakespeare Festival. “You know, I’ve never really thought of myself as a critic,” I told her.

Libby’s eyebrow arched. (Sometimes eyebrows actually do that.) “Oh, you’re a critic,” she said emphatically.

I like to think she was delivering a description, not an accusation. I like her and respect her, even though I’ve sometimes argued in print with shows she’s directed, and I think the feeling’s been mutual. Still. There was no question in her mind. I was, without doubt, One of Those People. And Those People occupy a curious position in the artistic firmament. “Critics never worry me unless they are right,” Noel Coward once commented. “But that does not often occur.”

Then again, what exactly is right?

Continue reading The first thing let’s do, let’s kill the critics

MHCC: The day the music died?

By Bob Hicks

At Oregon Music News, Dot Rust has been shouting an alarm over what she considers an administration/board attempt to shut down or severely curtail the internationally lauded music program at Mt. Hood Community College. She’s written two long posts about it (the one above is the second, and links to the first), and her assertions, if accurate, are worth raising an alarm about. You can lose yourself inside this thing, following the comment threads and considering the many implications of hobbling what has been for decades probably the college’s cover-image program.

trumpetChris Botti, Michele Mariana, Gary Hobbs, Patrick Lamb, Marilyn Keller, Phil Baker, Jeff Uusitalo, Lindsay Wagner, Sandin Wilson — the list of people who’ve gone through the MHCC program and made their marks locally and internationally in jazz, classical and pop circles goes on and on. Further, the MHCC program has attracted a lot of talent to the Portland area that otherwise probably would have landed elsewhere. So it’s a fair question: What’s up? And why kill the golden goose?

Rust is herself a product of the MHCC music program, and teaches there, so she has a dog in this fight. Doesn’t mean the fight’s not real. Flip on over to Oregon Music News and see what’s up.

A wake for Jimmy Caputo tonight

THE MORNING AFTER — It’s a rare and wonderful thing to be in a room filled with love the way that Lincoln Performance Hall was last night for the celebration of Jim Caputo’s life. The hall was filled to overflowing, which must have meant about 700 people were on hand for a night of music, videos (including Caputo’s infamous and oft-repeated dance steps, and his belly-rolling routine that eventually made it onstage in “The Full Monty”),  reminiscences and food. It was a bringing-together of a very broad clan, and Jim was the thread that united the pieces. It’s hard to say who’s more blessed: the man or woman who gives such a gift to a community, or the community that gratefully accepts the gift. Time after time, someone turned to someone else in the crowd and said, “Jimmy woulda loved this.” So he would have. It’s obvious that in the memories and lives of many people he’ll live on for a very long time.

By Bob Hicks

At last night’s loud and rousing celebration of the past season’s Portland theater, the Drammy Awards, Greg Tamblyn took time out from his outstanding-director acceptance speech to remind the crowd that it was a few people short this year, and especially, to his mind, it was missing Jim Caputo, the big-spirited actor who died at age 50 last month.

Jim Caputo in "The Gohosts of Treasure Island" at Oregon Children's Theare. Leah Nash/Special to The OregonianTamblyn and Caputo had been especially close — Greg directed Jimmy in more shows than you could count on the fingers of both of your hands — but Jim was in general one of the best-liked people on the city’s theater scene, a local boy who stuck around, learned well from the likes of the late great Peter Fornara, and became in turn a veteran hand always happy to help the next generation. In fact, he spent a lot of time doing shows with young actors at Oregon Children’s Theatre and elsewhere.

Tamblyn reminded the crowd that there’ll be a celebration of Caputo’s life tonight, Tuesday, at Lincoln Performance Hall on the Portland State University campus. The gathering begins at 6 p.m., and the memorial a half-hour later. Caputo’s widow, Karen Voss, gives this advice: “Please no somber dress — let’s fill the room with the bright colors of his light and laughter.”

The Drammy Committee, among its many other services, published a memoriam list in last night’s program of theater people who have died in the past year. Besides Caputo, they include:

  • Janet Bradley, the longtime and much-loved leader of Tears of Joy Theatre
  • Jack Wellington Cantwell, a true gentleman, a Portlander, and a veteran of many seasons at the Oregon Shakespeare Festival
  • Roger Cole
  • Judi Dreier
  • Bob Ellenstein
  • Bruce Fraser
  • Lannie Hurst, a genuine old-time leading lady
  • Dale Long
  • Kenneth Mars, the Hollywood star (The Producers, Young Frankenstein) who appeared onstage here with his daughter, Susannah Mars
  • Katie Myers and Michael Myers, effusive and good-hearted mainstays of Portland TheatreSports, who were swept out to sea by waves on the south jetty at Yaquina Bay
  • Bill Patton, the gentlemanly and supremely competent former executive director of the Oregon Shakespeare Festival, who began there when it was a little community summer theater and helped shape it into an internationally renowned company
  • James Peppers
  • Bob Rindt
  • Billy Rose

Each one of these people was extremely important in the lives of a lot of other people, from families to coworkers to audiences. Take a moment to remember them and the many roles they played.

And we’ll see you tonight to reminisce about Jimmy.

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Photo: Jim Caputo in “The Ghosts of Treasure Island” at Oregon Children’s Theatre. Leah Nash/Special to The Oregonian

Reminder: Drammy Awards tonight

By Bob Hicks

One night after the Tony Awards (hurrah for The Normal Heart) Portland’s own celebration of the year’s best stuff onstage, the Drammy Awards, happens tonight at the Crystal Ballroom just off West Burnside.

Jean-Marc Nattier, "Thalia, Muse of Comedy," oil on canvas, 1739. Fine Arts Museums of San Francisco/Wikimedia Commons.

In a season of roughly 125 eligible shows, plenty of good work has hit the stage, from Profile’s Great Falls way back in the rainy season to CoHo/Lucky Apple’s still-running Reasons To Be Pretty, which opened just a month ago in the, um, rainy season. Out of those 125 shows in Puddletown, why didn’t someone revive Singin’ in the Rain? Interesting side note: If Mr. Scatter counted correctly, the scripts for 41 of those shows were developed here in PDX.

The Crystal’s doors open at 6 p.m. and the presentations start at 7. Darius Pierce will be master of ceremonies. See you there. One final side note: The last time Mr. Scatter was carded was at the Crystal door for a Drammy ceremony four or five years ago. He wasn’t sure whether to laugh or cry.

Illustration: Jean-Marc Nattier, “Thalia, Muse of Comedy,” oil on canvas, 1739. Fine Arts Museums of San Francisco/Wikimedia Commons.

Criticism: what’s it all about, Alfie?

By Bob Hicks

Shoving Deborah Jowitt out the door because she’s not “negative” enough is like firing God because he took that seventh day off. It’s short-sighted, presumptuous, and bound to come back and bite you in the butt.

So, ouch to Village Voice arts editor Brian Parks, who pulled the plug — at least, in the pages of his once-vital publication — on one of the most important voices in American dance writing. Not to wish plagues of locusts in his cornfield, but what was the man thinking? (To give Parks his due, he explained his disagreements with Howitt clearly, and he didn’t fire her: She decided she wasn’t willing to do the things he wanted her to do.)

Over at Arts Dispatch, Barry Johnson tackles this troubling question and broadens it to a consideration of the nature of criticism itself: what is it we want from a critic, and why? It’s a provocative analysis, and we highly recommend you read it for yourself. Get off this blog and haul on over to AD.

Cars, beasts & museums: art by design

"Flayed Man," Richard Barnes/Blue Sky GalleryRichard Barnes

By Bob Hicks

It’s Friday, the morning’s dead trees have been delivered, and they bear proof that Mr. Scatter’s been a busy beaver lately (although he does not claim responsibility for chewing through the timber that became the newsprint that bears his words).

1937 Talbot-Lago T150-C-SS “Teardrop” Coupe  Lent by Arturo and Deborah Keller  Petaluma, California  Friday’s A&E magazine of The Oregonian includes Beautiful Bodies, Mr. Scatter’s cover story on the Portland Art Museum‘s new show The Allure of the Automobile, plus a review of Richard Barnes’s new show of behind-the-scenes photographs of natural history museums at Blue Sky Gallery and a brief look at the first group photo exhibit in the new gallery space at Newspace Center for Photography. Such a lot of stuff!

Since the cars are hogging the cover, let’s take a look at Barnes’s beasts first.

Continue reading Cars, beasts & museums: art by design

A few conclusions on Obstacle Allusions

By Bob Hicks

Mr. and Mrs. Scatter spent Friday night — or at least a short part of it — at BodyVox for the opening performance of Obstacle Allusions, Eric Skinner’s new half-hour dance for Skinner/Kirk Dance Ensemble.

skinnerkirkb2011It was the second recent new contemporary dance piece in town in which the music was an essential and equal partner to the dancemaking, defining and pushing the ideas as much as the choreography itself. (The first was Jim McGinn’s Gust for TopShakeDance, a piece that was woven inseparably with Loren Chasse’s score based on field recordings of the sounds of wind.) In Obstacle Allusions the music isn’t original: it’s taken from works by Haydn, Aarvo Part and the film composer Ennio Morricone.

But the performance — by pianist Bill Crane, who is always an enlightenment and a pleasure to hear — was a highlight of the evening and a welcome reminder of the essential partnership of music and physical movement in dance.

Continue reading A few conclusions on Obstacle Allusions

YU, new art and the transparency issue

UPDATE: Jeff Jahn, who has followed the fortunes of YU from its beginnings, has kicked in with his own take at PORT. He argues that YU has “a general art world sophistication several tiers above” some earlier attempts at a nationally linked contemporary arts center, but also that it is severely harmed by its lack of a community board — its three-member board is also its three-member staff. Row made the same point in his Oregonian story, and it’s worth stressing: an independent, unpaid board is essential. ALSO: Some excellent points from Barry Johnson of Arts Dispatch in the comments below this post. Be sure to give ’em a look. Of note: Is YU hamstrung by its main donor’s restrictions?

By Bob Hicks

The Oregonian’s D.K. Row set off a micro-explosion with his front-page story in this morning’s paper about the cloudy picture at YU Contemporary Art Center, the fledgling nonprofit in the inner east side’s old Yale Union Laundry Building. Central to the issues that Row called into question: the center’s three principal figures (four if you count the building’s owner, who is divorced from one of the founders) have repeatedly sidestepped questions about the organization’s finances and structure.

D.K. is taking a bit of a beating in the online version’s comments thread, with people accusing him of making something out of nothing or, worse, engaging in some sort of hatchet job in an effort to kill off a good idea. Yet there’s very little in the story that I haven’t heard a lot of arts people saying privately for months. Few people think there’s anything nefarious going on. A lot of people wonder whether the founders aren’t in over their heads, and question both how much money this project is going to cost (the building will be very expensive to operate) and where the money’s coming from. I’ve also heard more than a few people ask the exact question that is central to Row’s story: Why won’t the people at YU just say what the financial situation is? D.K. didn’t invent these questions. He simply had the impertinence to ask them in public.

Continue reading YU, new art and the transparency issue

It’s First Thursday: can you see your art?

Storm Tharp, Bokashi, 2011 softground print, edition of 12. 30" x 22"/PDX Contemporary ArtBokashi, Storm Tharp/PDX Contemporary Art

By Bob Hicks

This evening is First Thursday, Portland’s monthly movable feast of gallery-hopping, and Mr. Scatter published this guide in this morning’s Oregonian. Lots of options, and as usual it’s just part of the picture: a lot of gallery openings and other art events aren’t included.

Well, it’s a big town. You can list all of the people some of the time, and some of the people all of the time, but you can’t list all of the people all of the time. And that’s probably a very good thing: no sense exploding your brain with too much information.

Hiroshige, from "100 Views of Edo," Wikimedia CommonsSo of the 40 zillion or so images we might show you, we’ve chosen just one: Storm Tharp’s Bokashi, above, a 2011 softground print in an edition of 12 in the group show Oomph at PDX Contemporary Art. And we’re showing this one not just because we like it but also because it comes with a small but intriguing art-history connection, as PDX’s Jane Beebe points out. “One can see the influence of Japanese prints and masks in the trajectory of Storm’s artistic thought and work,” she writes, and then adds: “also I think it is interesting that Bokashi can refer to swipe….. the swipe of the eyes in the print.” She passes along as evidence this image (from One Hundred Famous Views of Edo)  by the legendary 19th century Japanese printmaker Hiroshige, along with this explanation from Wikipedia:

Bokashi  is a technique used in Japanese woodblock printmaking. It achieves a variation in lightness and darkness (value) of a single color by hand applying a gradation of ink to a moistened wooden printing block, rather than inking the block uniformly. This hand-application had to be repeated for each sheet of paper that was printed.

The best-known examples of bokashi are the shadings of a color often used by Hiroshige on landscape prints to depict the sky at the top of the print.

Most of the galleries participating in First Thursday are open from 6 to 8 or 9 p.m. Put on your walking shoes. And remember two things. First, most of the shows will be up all month, so don’t worry about hitting all of them (or any of them, for that matter) tonight. Second, a lot of other good exhibits aren’t taking part in First Thursday at all. Weekend jaunts are good.

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  • Storm Tharp, “Bokashi,” 2011 softground print, edition of 12. 30″ x 22″/PDX Contemporary Art.
  • Hiroshige, from “One Hundred Famous Views of Edo,” Wikimedia Commons.

Jim Caputo memorial gathering June 14

Marty Hughley writes in The Oregonian that friends and family of Jim Caputo, the veteran Portland actor who died May 12 of a heart attack, have set his memorial service for Tuesday, June 14. It’ll be at Lincoln Performance Hall on the campus of Portland State University.

That’ll be the evening after the Drammy Awards, Portland’s annual celebration of the year’s best theater work, and Jimmy will be deeply missed at that party. We’re guessing more than a few words will be said on his behalf from the stage. The Drammys are at 7 p.m. (drinks and socializing from 6) in the Crystal Ballroom.

Pretty much everybody liked Jimmy a lot, and that included crusty old theater critics: He was one of those people who exuded the vitality and spirit and joy of the theater scene. We wrote this post about him after he died.

The June 14 memorial will start at 6:30 p.m., gathering a half-hour earlier. As his widow, Karen Voss, posted on pdxbackstage: “Please no somber dress – let’s fill the room with the bright colors of his light and laughter.”

Marty also notes that the theater community has set up a fund to benefit Jim’s family. You can make donations to the James M. Caputo Fund at any Key Bank branch.