Tag Archives: Imaginary Invalid

OSF beats the curse of the Scottish play

"Love's Labor's Lost" at Oregon Shakespeare Festival, 2011. Photo: T. Charles Erickson/OSFT. Charles Erickson/OSF

By Bob Hicks

Mr. Noah, will this downpour never end?

The Scatters have disembarked in Ashland, Oregon, hometown of the Oregon Shakespeare Festival. Ashland is in the foothills of the Siskiyou Mountains, a prodigious distance from Mount Ararat, and also a fair trot from the creeping trees of Birnam Wood. Yet the festival must be wondering just whose curse has descended on it this summer, and when that wandering dove is going to return with the olive branch in its beak. As the puckish Marty Hughley commented, somebody down here must have actually uttered the title of The Scottish Play.

At about 7:15 on Friday evening, the lights went out in the little pink rental house where the Scatters are staying on the south end of town. Lights, clocks, fans, air-conditioner. Mr. Scatter ambled next door to see if anyone knew what was up.

“Excuse me,” he said. “Are your lights out?”

He was speaking to a smiling woman relaxing on a porch chair with her legs tucked beneath her. “Yeah,” she said. “The whole neighborhood’s hit.” She paused and gazed southwest. “Storm coming in from the coast,” she said. “Better just sit back and enjoy the show.”

By “show,” she didn’t mean The Imaginary Invalid. She meant the fireworks she hoped would soon be visible in the sky.

A little later the Scatters hopped into the Scattermobile and motored downtown toward the festival grounds. All the traffic lights were out. All the lights in all the houses and shops were out. The word “neighborhood” was beginning to take on a larger than usual meaning.

They approached the big white tent where they were going to see Moliere’s Invalid. Curtain time was approaching. Still no power. The Scatters began to get nervous. Had the Ashland curse bitten again?

Continue reading OSF beats the curse of the Scottish play

Reviewing the review: a Moliere muddle

By Bob Hicks

And so it came to pass that on the first night, Mr. Scatter went to the opening of Moliere‘s comedy The Imaginary Invalid at Portland Center Stage.

Nicolas Mignard, "Portrait of Molière as Julius Ceasar," 1658. Musée Carnavalet, Paris. Wikimedia Commons.And on the second morning he got up, made coffee, and wrote his review, which was subsequently published (the review, not the coffee) in The Oregonian. And the review praised some and quibbled some, and was not, in the terminology of the great god Variety, boffo.

And lo, the director, Chris Coleman, took issue (firmly but very politely) in an email message to the reviewer. And Mr. Coleman made some worthy points.

And on the next day Mr. Scatter replied. And Mr. Coleman replied in return, “Mind if I run this exchange on my blog?” And Mr. Scatter said, “Good idea.” For indeed, it was.

So here you have it: three parts of an exchange that is really about the way we look at theater, and think about it, and write about it (about classic theater in particular), and about the different approaches that the people who make theater and the people who analyze it take to that process. Plus, as a bonus, some thoughts about what a reviewer should do when he senses that pretty much everyone else in the audience disagrees with him.

Chris has gathered the three parts together on his PCS blog, under the title Is My Review Your Review? To get you in the mood to wade into the fray, I’ve included a pertinent teaser from each of the three parts. Comment here, or on Chris’s blog, or preferably on both (that’s what the copy-block function’s for):

  • The original review, which ran in Monday editions of the paper and online here at Oregon Live: “(F)or all its surface frivolity, something’s missing from Center Stage’s ‘Invalid’ — the sense that what’s happening inside Argan’s anarchic household is connected to the larger culture outside its doors.”
  • Chris Coleman’s response: “… I have, of late, found myself impatient with reviewers (the world over) bringing so much of their own ‘expectations’ to a production of a classic, and judging its merits based on what they walked in hoping to see.”
  • My response to Chris’s response: “With any adaptation, a pertinent question to ask is whether it is faithful to the original. That’s not necessarily a question of traditionalist versus radical …”

Already our old sidekick Barry Johnson of Arts Dispatch, who put in considerable time in the theater critic’s chair at the Big O, has chipped in with some intriguing thoughts at Coleman’s blog. Give ‘er a look.

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Nicolas Mignard, “Portrait of Molière as Julius Ceasar,” 1658. Musée Carnavalet, Paris. Wikimedia Commons.

Link: suddenly, it’s Moliere time in PDX

David Margulies as the hypochondriac Argan and Sharonlee McLean as the sassy and practical servant Toinette in "The Imaginary Invalid." Photo: Owen Carey/Portland Center Stage.

By Bob Hicks

Mr. Scatter spent his Friday and Saturday nights at the theater — first at Portland Center Stage, for the opening of its version of Moliere‘s The Imaginary Invalid; then at the little Shoebox Theater, where Twilight Repertory Theatre had just opened its own version of The Doctor Despite Himself. Two utterly different productions, on vastly differing scales, with one link beyond Jean-Baptiste Poquelin (Moliere’s given name) himself: the medical profession gets the bum’s rush.

Mr. Scatter reviewed the two shows in this morning’s editions of The Oregonian. Read it on the How We Live cover, or online here at Oregon Live.

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David Margulies as the hypochondriac Argan and Sharonlee McLean as the sassy and practical servant Toinette in “The Imaginary Invalid.” Photo: Owen Carey/Portland Center Stage.