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Visual Art: Theater: Theater: Wine:
Land
and Water's Natural Balance Jon Jay Cruson is both a painter and a master printmaker. His exhibit at the Springfield Museum offers a sample of Cruson's exquisite lithographs printed on a 19th century lithograph press from stones quarried in Bavaria. The Victoria and Albert Museum in London earlier acquired several of Cruson's lithographs.
Before settling in Eugene, Cruson lived on the Oregon Coast. The prints on display are the result of intense observation and study of coastal landscape elements: rock formations, vegetation and the ever-changing ocean surface. With an unerring aesthetic sensibility, Cruson shows his precise understanding of the dynamic patterns of light on water, the shapes of waves breaking, and the structure, texture and mood of the coastal landscape. He's never tempted to reproduce in photographic detail what he sees. Cruson merely suggests, albeit with great delicacy and economy of means and with such convincing power that we experience a delightful sense of detail. Cruson often uses color sparingly. In White Sands, most of the print is left black-and-white: waves gently splash two dark rocks in the foreground before reaching a white sandy slope topped by stunted shrubs and pines. The only color, a light green, suggests hills in the background. In Storm Warnings, an elegant lithograph and woodblock combination, the black-and-white lithograph is divided into three images. The result is a study in value and texture (from smooth shading to stippling) offset by the light-green oak-pattern of the woodblock print. An element of stylization appears in the stippled outline of the waves, unlike the naturalistic wave patterns in the other prints. Showing Asian influence, some of the prints are bounded at the top and bottom by a frieze-like band. In the splendid triptych created by Summer Sun, Spring Winds and Southwest Winds, abstract motif bands in black and ochre with sienna and blue accents also serve to indicate the colors of the landscape, which remain black-and-white. A rich texture is balanced by extensive use of white negative space that confers light and airiness to the image. The movement and rhythm possess a peaceful, almost ethereal quality, as grays in the background pale as if from mist. Other prints are inked in gradated but vibrant orange-and-red tones (Evening Off the Shore) or blues (Blue Waters, A Special Evening, Changes in Blue). These colors are enriched by their interaction with the primary black-ink drawing. Water's Edge and Blue Waters make use of the tension between complementary colors to create a strong statement with a limited palette of blue, yellow, orange and black. Each printed color requires the use of a different stone. The degree of detail varies from the more naturalistic renditions of Water's Edge and Blue Waters to the lightness of touch in Beachland and After Sunset. In the latter, strongly horizontal compositions, the land is a barely suggested band between water and sky, with silhouetted conifers and rocks. Cruson captures the mood of overcast days on the Oregon Coast through such renditions, which are no less vivid for their discretion. The gray scale is as varied and seductive as a colored palette to Cruson, and he obtains a range of delicate gray values that rival the expressiveness of color. He uses pure black sparingly, as an accent. In The Rock and Two Rocks, ocean waves lightly crest and foam, their dynamic pattern leading the eye vertically toward the small black rocks that provide the focal point. The thin inner borders of the bottom and top horizontal friezes echo the same intense black, where it serves to further anchor and stabilize the design. A number of images take the shape of a circle, within which a rectangular window is framed by vertical screens. The screens are placed slightly asymmetrically, thus creating a series of interesting structural tensions. The screens add a geometric motif as a counterpoint to the landscape's organic shapes, while also gently referring to the influence of Asian art on the artist. Often the screens are decorated with abstract, mottled or floral patterns, but sometimes they are merely colored. A border with motifs surrounds the circumference of the image. A Special Evening and From the Porch were inspired by the walkway at Salishan Lodge built in 1965 on the central Oregon Coast by John and Betty Gray, who supported Oregon artists. A Special Evening portrays a luminous scene with a foreground of low shrubs, three pine trees and a portion of walkway leading to an ocean vista beyond, all bathed in blue light. The dynamism of strong verticals is balanced by soft horizontals, the vibrancy of the blue by the serenity of the view, the geometric elements by the softness of organic forms. Symmetry is subtly avoided, and harmony is achieved. View of Mt. Hood similarly balances abstract geometry and the figuratively organic with its checkered floor, which follows the rules of one-point perspective. Its asymmetrically-placed screens — one with a floral motif, the other evoking a Pollock painting — open onto a vista of snowy Hood. This representation of an open interior subverts notions of indoors and outdoors, yet it does so without conflict by a logic of its own. It offers viewers a clear directional path to enter deep into the image, in which they may well remain caught. The exhibit includes a commercial lithographic stone featuring inverted lettering (since the image is reversed when printed) and samples of lithographic drawing tools such as crayons and tusche, a lithographic ink. The lithographic process requires mastering a complex technique. The stone must be ground absolutely smooth and true before being drawn upon with a greasy crayon or with tusche. The drawing is then stabilized or "etched" with a solution of nitric acid and gum Arabic, which must be precisely proportioned depending on the desired effect. The stone is cleaned with a water-based solvent. From then on, the stone must be kept wet at all times with just the right amount of water. Mixing the ink and applying it to the stone are the next two steps, followed by printing over dampened paper with a lithographic press. A hand-cranked press, such as that used by Cruson, allows the artist to feel whether the pressure is appropriate for each different stone. The whole process is repeated for each print or for each color of each print. To tie the exhibit into the museum's historic purpose, Cruson also brought in examples of old commercial lithographs, tools and an instructional textbook, The Tamarind Book of Lithography. This exhibit is not to be missed. Cruson's recent paintings are also being shown through November at the Gottlieb Gallery in Portland.
The
Producers What has 404 costumes, 400 props, 130 wigs, 40 tap shoes, 27 actors, 24 orchestra members, 22 Hitler moustaches, 16 horny old ladies, 10 semi-trucks and one trick sausage? No, it's not a Nazi circus invasion, but close; it's the national tour of Mel Brook's new musical, The Producers. It was the hottest show on Broadway when it opened in 2001, and it will likely be equally toasty when it opens at The Hult Center next week.
If you think a show where the women wear pretzels, sausages and beer on their hips and an entire entourage performs a "gay romp" in praise of a queer Hitler is strange, then you haven't experienced the comedy of Mel Brooks. He wrote every song in the quirky musical, from "Der Guten Tag Hop-Clop," to "Keep it Gay," to "Prisoner's of Love," and let's not forget "Springtime for Hitler." When Brooks originally wrote and directed The Producers as a feature film in 1968, the film won an Academy Award for best original screenplay written directly for the screen. Three decades later, The Producers hit the Broadway stage in 2001 and swooped up a dozen Tony Awards, a record in Broadway history. The musical won for almost every aspect of the production, from music, to book, to choreography, to costumes to the actors. "The thing that makes this thing special is a great script," says Andy Taylor who plays Leo Bloom in the national tour. "Mel hired the New York Yankees of actors and he made the all-stars out of the production." Taylor is a native of Eugene and though he moved away when he was too young to remember, he says he is looking forward to performing for the community. Taylor plays the nerdy accountant to a famous Broadway producer, Max Bialystock (Bob Amaral). When he mentions that a flop musical could make more money than a hit, Bialystock tries to sway Bloom into going into business with him to make just that kind of flop. Though his initial reaction is to turn down the offer, when Bloom is back at the drab life in the accounting office he drifts off into a fantasy of the life of a Broadway producer. "I get to do a big number with chorus girls, it's not usually a part mid-aged guys get," says Taylor. He knows that he isn't the tall handsome stud that usually pulls lead characters, but he says that is why the show has such appeal to the audience. "Everyone has underappreciated aspirations to be what they are," he says. "Everyone can relate to Bloom's role." Taylor can definitely relate to his character. When he auditioned to the show, Brooks almost didn't hire him because he was not well known. The musical takes the audience on a wild ride once Bloom (Taylor) finally agrees to be partner of the worst musical in Broadway history. We follow them through the hilarious selection of the worst script submitted and the worst director on Broadway to the final production; "Springtime for Hitler" is something you won't want to miss. Taylor knows the show is an once-in-a-lifetime opportunity. "I'm going to miss playing one of the best roles in one of the best musicals in Broadway history," he says, " but I'll really miss making 2,000 people laugh." To be one of the 2,000 laughing audience members, catch the national tour of The Producers at The Hult Center Nov. 9-14. Tickets are $35-$60. Call the box office at 682-5000 or visit www.hultcenter.org
A
Fine Mess Eugene's Very Little Theatre kicks off its 76th season with Oscar Wilde's classic The Importance of Being Earnest, a wildly witty farce that pokes fun at the polite machinations of 19th century high society. And in these serious issue-laden days, the triviality of Earnest provides an entertaining and welcome escape. The three-act play opens at the posh London flat of Algernon Moncrieff, a clever slacker and confirmed bachelor who is preparing to entertain his aristocratic Aunt Augusta Bracknell and her lovely daughter Gwendolen Fairfax. But before they arrive, Algernon's good friend Ernest Worthing drops in unexpectedly. During their exchange, it is revealed that Ernest isn't really Ernest after all. As a convenient excuse to steal away from his country estate to visit his love interest, Gwendolen in London, John Worthing has invented a wayward brother named Ernest, to whom he must frequently rush to rescue from various unsavory escapades. Indeed, Algernon also has an imaginary stratagem for escaping the confines of civility — an invalid named Bunbury. By and by, Gwendolen arrives and Worthing asks for her hand in marriage, but must first pass muster with her class-conscious mother Lady Bracknell. He fails the pedigree test, however, when she learns that as a baby he was abandoned in a handbag in the cloakroom of a busy train station. In Act II Algernon, hoping to meet John's enchanting young ward Cecily Cardew, arrives unannounced at Worthing's country manor posing as his rogue brother Ernest. Misunderstanding and hilarity ensue when Gwendolen too arrives and she and Cecily realize that they are both engaged to "Ernest." In the final act, however, all the players assemble to sort out this fine mess. Under Chris Pinto's fine direction, the cast is superb, beginning with Michael Walker as John (Ernest) Worthing and Bruce McArthur as Algernon Moncrieff. Perhaps providing a glimpse into the duality of the playwright's own life these two characters are clearly defined in Worthing's distaste for the mundane and polite rituals required of exclusive membership in the London aristocracy and Algernon's wicked pursuit of worldly "pleasures." McArthur is terrific and suitably arrogant and flip as the roguish Algernon and likewise, Walker's performance as conflicted John (Ernest) is first-rate. Nancy Boyett puts in a solid performance as the pompous upper crust matriarch Lady Bracknell, and Emily Peterson is delightful as the fickle Gwendolen. A standout performance from Brette Marie Gentry, whose melodious voice and coquettish demeanor capture the essence of the impetuous Cecily Cardew. Rounding out the fine cast is Jennifer Sellers Andersen as Miss Prism, Don Aday as the Reverend Canon Chasuble, and Steve Mandell playing the dual roles of acerbic butler/manservant Merriman and Lane. Kudos to the production staff for the rich and elegantly designed set, as well as to the costume department. From Lady Bracknell's brightly colored silk dresses and befeathered hats and Gwendolen's well-heeled style to Cecily's simpler, countrified attire, the exquisite costumes perfectly reflect each character's unique personality. Oscar would be pleased. The show runs through Nov. 13.
Drinking
in Life I wheeled my wheezing flivver through Eugene's dank and soggy streets, headlights piercing an early autumn rain, tires cutting wakes into the parking lot below the soot-stained high-rise that houses my office and lab. I rolled into an empty slot and let the water make rivulets down the windshield while Eva Cassidy sang the closing notes of Lennon's "Imagine." My eyes burned, dry, stinging heat. Pulling my battered fedora tightly onto my head, I switched off the music, climbed into the steady mist and shuffled toward the "security" door, open as usual. Most autumns I'm as gooey as warm taffy; this night I ached. My stomach boiled as if I'd swallowed a scoop of hot coals. It wasn't only the horrors of war and filthy election-year politics; I'd just learned that little Davey Untz, 5, had lost his year-long struggle with leukemia. How, I wondered, would I tell all the local wine-folk who'd given so generously to helping the little guy last spring? The ancient Otis rattled up to the 18th floor, stopped a couple of inches short of flush, did an imitation of opening. I stepped into the dim hallway and dragged my feet past silent, empty doors to the pebbled glass that read "Investigations." Through the grimy translucence I detected faint yellow glows where there should be utter darkness. Silent, careful, I tried the knob: turned easily, unlocked, a wrongness. Stepping back, I pushed the door with one finger, keeping my other hand under my jacket where a gat oughtta be; all I had there was my tasting notebook, but who'd know. The door squeaked to full open. I froze at the tableau before me. My eyes were drawn first to the glowing candles illuminating a golden-brown roast turkey set on the white tablecloth that covered my battle-scarred desk. Then I looked up in the warm, dim light: arrayed around the desk and room were most of my closest friends, holding champagne flutes — the ever-elegant Mouse in his English tweeds; Soho Sandy, red dress, big hair, big smile; Peter Poet, white Christopher Marlowe shirt, floppy hat; beaming Molly, laughing eyes under silver curls, white apron; and my lovely Kat, in Chinese silks, gleaming ebony hair, luscious red-lipped smile. A sharp Pop! spun me right. From the shadows emerged Mole, in full pilgrim regalia, pouring pale bubbles into a flute extended toward me. "Heah, pal," he said, "sip summa dis. You'll feel betta. Ya been a little sick, 'n' we come to bring ya home." One by one, I embraced these dear people. Then we raised glasses, "To life!" Together, we sipped wines, shared foods, a simple feast of friends. The wines wrote their own message: Fine bubblies lighten hearts. They're often expensive for the best, and cheap schlock is awful, but the middle level offers grand imbibing at fair prices. Our current favorite is Chandon Reserve Blanc de Noirs ($24); made mostly from Pinot noir grapes, the wine is rich, creamy in texture, with flavors of baked apples and allspice, powered by pin-prick bubbles. Lately, Domaine Chandon has reached new peaks in quality, priced for real-people access. Roast turkey offers challenges and opportunities for wines, so we sampled freely in whites and reds. First-off, mystery wine: Briggs Hill White Table Wine ($10) is Ron Kuhn's creation: no varietal name appears on the label, but the wine is a pretty pale straw color, with flowers and citrus notes in aroma, then bone-dry, lively citrus/banana flavors, refreshing. But what is it? Ain't wine fun? We tend to shy away from chardonnay with turkey; the flavors of bird and grape seem to conflict, one being lost in the other. Instead, we like crisper, zingy juice, especially gewurztraminer. A consistent favorite is Amity Dry Gewurztraminer ($12) with its spice and grapefruit notes that reach right to the heart of Thanksgiving feasts, not only the turkey but the traditional trimmings. Pinot blanc, in the right maker's hands, makes a versatile wine, with enough flavor and body to match big bird and stuffing. Bethel Heights 2003 Pinot Blanc ($14) delivers bright fruit flavors (pears, apples, tropicals) on a finely balanced frame, delicious with food or as pre-grub sipper. Ignore naysayers: Pinot noir meets roast turkey and makes big smiles. Before it's all gone, find Dieter Boehm's High Pass 2002 Pinot Noir Walnut Vineyard ($28), this year's gold medal red at the Oregon State Fair, just a lovely wine from a passionate grower. Alternatively, watch for something very special, coming soon: Bryce Bagnall, widely respected owner/winemaker of Witness Tree (Salem foothills), has been stricken with ALS (Lou Gehrig's disease), one of the nastiest afflictions known to human beings. Bryce's friends in the Oregon wine/food community have rallied to offer support. Many activities are planned (check the web, supportersofbryce.org), but perhaps the most poignant involves very special wine. Vineyards state-wide have contributed quarter, half or whole barrels of their pinot juice, which has then been taken to Witness Tree and there blended and ultimately bottled as St. Bartholomew's Pinot Noir. This special bottling will be available Nov. 15 at $25/btl., realistically a bargain, considering the love behind the label. That's what friends do, gather when you need them, without your having asked, to offer their love and support. For Davey Untz, for Bryce Bagnall, for myself: Thanks, friends.
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