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Eugene Weekly : Bravo! : 09.22.05


EW's Guide to the Performing Arts



at the altar of musical diversity

By Melissa Bearns

A Baptist church service is often a raucous affair, full of passionate singing and powerful warnings, fire and brimstone. So it seems fitting that Jim and Ginevra Ralph would set up shop to promote music and culture in a setting that was once a place of worship. Through The Shedd Institute for the Arts, they continue their own sort of worship in the former First Baptist Church at 868 High St. Except theirs is a worship of creativity, collective spirit, collaboration and the drive to see downtown Eugene live up to its now-official slogan, ÒEugene: The WorldÕs Greatest City of the Arts and Outdoors.Ó

Ladysmith Black Mambazo is just one of the diverse acts The Shedd Institute for the arts has brought to town. Photo credit: Tim Giraudier

When the Ralphs founded the Oregon Festival of American Music (OFAM) 14 years ago, it was primarily a summer festival to showcase classical pops music. Most of EugeneÕs classical companies formed decades earlier and in Jim RalphÕs own

ÒOFAM was very, very late in the game.Ó But that gave the organization, which recently changed its name to The Shedd Institute for the Arts, one big advantage: the opportunity to fill the very large void left by the existing companies that were then, and still are, focused on classical music.

By its very definition and mission, The Shedd brings inherently diverse music and performers to Eugene. It has defined itself as the only organization in town, aside from the UO, that brings in top tier performers of world music, jazz, country and many other genres. Smaller venues such as Luna, DIVA and even Cozmic Pizza help to improve the diversity of shows coming through as well, but they donÕt have big enough venues to court the expensive first-rate performers. And itÕs no secret that the venues that do have that kind of clout focus on other types of music.

Jim and Ginevra Ralph

ÒIn this society, itÕs OK to be a cultural bigot,Ó Ralph said as he walked through the labyrinth of hallways and levels of the sprawling 65,000 sq. ft. building. ÒNot only do we tolerate it, we encourage it. There is a bigotry that arises, and institutions actually cultivate that. There are clear exceptions to this, of course, but because of the

very nature of the art form, music tends to be pretty closed. One problem with traditional arts groups is that their very mission statement assumes limited access. What we were trying to do [when we founded OFAM] was create an institution that, in philosophy and attitude is open, to emulate that characteristic you find in some people who approach the world with a generosity of spirit.Ó

One of the things Ralph is clearly the proudest of is the American Music Institute. With more than 400 music students ages 2.5 on up to elder hostelers, kids and adults mix together in classes studying everything from vaudeville to cello to rock. Summer camps, pre-school programs and after school programs help take up the slack as public schools slash and hack their arts programs in desperate budget cuts.

When Ralph starts talking about opening up the arts to more people and teaching kids to play music, a side of him few see comes out. Gesturing with his hands for emphasis, his gaze intensified as he talked about inclusion in the music programs. ÒI had one public school teacher tell me that they didnÕt want mentally disabled kids in their music class because they would ruin the performance,Ó he said with a scathing emphasis on the last three words. ÒMusic is the only place you could do that. Even in sports thereÕs a place for that fat kid who canÕt run very fast. You might not be on the best team and you might have to sit on the bench, but you still get to be part of it. What weÕre trying to do is create an institution thatÕs not a monastery.Ó

A big step toward realizing that dream was purchasing the High Street building in 2001. ÒWhen we moved in here everyone thought we were crazy,Ó Ginevra Ralph said. ÒBut the minute we did, everybody stopped asking all those questions. ÔWhy are you doing all these different kinds of music?Õ ÔI donÕt get it, whatÕs up with the music school.Õ When we bought this building, those questions stopped. And people have fallen in love with hearing live music in this setting. They understand now that itÕs a different experience, sitting in that room and having your bones vibrate when the bass plays, or to be able to sit with your arms around someone, or have the kids lie down. ItÕs not precious, itÕs comfortable.Ó

Ricky Skaggs playing at the Shedd Institute May 2004.

And while many people think of The Shedd as just the acoustically gorgeous chapel where the big acts perform, it was the music programs and the general mission of The Shedd that motivated Robin and John Jaqua to donate $1 million to help The Shedd Institute for the Arts buy the building from the Ralphs, who currently own it. Now that amazing chapel is called the Jaqua Concert Hall.

Shedd is a home for the arts and for education, for senior citizens and summer camps, music and so many different things,Ó said Robin Jaqua, adding that her granddaughter went to one of the summer camps this year. ÒI know itÕs important to get the music back in schools but in the meantime, this has served an important purpose.Ó She also emphasized that she sees The Shedd as an integral piece in revitalizing EugeneÕs downtown core.

But with so many other organizations in town scrambling to make ends meet, the question hanging in the air has been, why so much to one organization?

ÒThe Hult CenterÕs been here for 10 years and they didnÕt do it,Ó John Jaqua responded. ÒNeither have any of the others. They donÕt have the facilities to provide instrumental and group lessons, to put on these kinds of programs. ThereÕs nothing else in town that even comes close to presenting the artists and music that can inspire them [kids and local musicians] to reach the potential in their hopes if they have them.Ó

Violin Virtuoso

Andrew Manze does right by the 18th century masters.

By Brett Campbell

One of the best things to happen to music in the 20th century was musiciansÕ increasing use of the instruments, tunings and styles of the period in which Western classics were written. Building on years of scholarly research in unearthed ancient manuscripts and performance treatises, a group of young instrumentalists discarded decades or even centuries of accreted anachronisms: bloated orchestras appropriate for Tchaikovsky or Mahler that made Baroque and classical music sound clotted and ponderous; industrial age, equal tempered tunings that robbed pre-20th century music of the mood-shifting nuances intended by great composers like Bach or Vivaldi; plodding, overwrought, performance styles that destroyed the delicate, transparent balances among instruments and players and brisk tempos that make pre-Romantic music - heard as its creators intended - sound so appealing, even to listeners who grew up on rock or jazz or pop. Suddenly, hitherto lumbering classics like the Four Seasons and Brandenburg Concertos sounded as lively, fresh and adventurous as they had when they were written.

Unfortunately, the first generation of period-instrument performers often lacked the sheer technical skills of the finest virtuosos. And in their admirable desire to strip away inappropriate Romantic excess, they sometimes overcompensated, producing tight-lipped music that sounded too austere, too thin, even too out of tune. Not to engage in cultural stereotyping or anything, but much of the greatest music of the 17th and 18th centuries came from or was inspired by Italy and demanded passionate interpretation.

Enter the next generation of historically informed performers, equipped with the latest scholarship that revealed how to play with passion in the style appropriate to the period, which sounded nothing like the angst of Beethoven or Scriabin. And they had the chops to execute those virtuosic moves. Most of all, they restored a crucial element of Baroque practice: improvisation. Not jazz as we know it, but leaving a lot more room for interpretation than the bare-bones scores would indicate.

The musician who best embodies those qualities of scholarly knowledge, improvisatory quick-wittedness and virtuosic skills is Andrew Manze, an awesome fiddler whoÕs been compared to jazz violinist Stephan Grappelli for his elegant to ferocious improvising. But I think a better comparison is Jimi Hendrix, not just because they share assertive sound and sheer power, but because they expanded the possibilities of their instruments in a musically (and in ManzeÕs case, historically) appropriate way. Even jazz fansÕ jaws will drop at his melodic and harmonic excursions.

Manze has been a leader of two of the most prominent and accomplished period instrument groups, the Amsterdam Baroque Orchestra and Academy of Ancient Music, and now has taken over perhaps the finest: the English Concert, directed since its founding 30 years ago by harpsichordist Trevor Pinnock. They combine the virtues of ÒauthenticÓ performance style and robust interpretation that previous generations missed.

The ensemble appears at the UOÕs Beall Concert Hall on Sunday, Oct. 30, and anyone who thinks classical music is too heavy, too boring, too stuffy should join the fans who already know just how rich, energetic, and downright exciting 18th century music can be - when itÕs played the way the composers intended, by musicians who can do it right.



Behind the Scenes

Willamette RepÕs Kirk Boyd

By Melissa Bearns

When Kirk Boyd first started Willamette Repertory Theatre nine years ago, he had no idea how hard it would be to run a successful theater that uses equity (paid union) actors in Eugene. Now in its seventh season, Boyd is finally starting to see all the hard work pay off. Last year Willamette Repertory reached its profit goals on every show for the first time in the companyÕs history.

ÒI just finished working with a consultant on a long-range plan,Ó he said. ÒIÕm allowing myself to dream a little bit, which is not something IÕve been able to do since I started. ItÕs just been left foot, right foot since the beginning.Ó

Kirk Boyd on the set at Willamette Rep.

A native Eugenean, Boyd started his career here working with the Oregon Repertory Theatre before he was hired by AshlandÕs Oregon Shakespeare Festival. In his bio, he states that founding Willamette Rep was the fulfillment of a 30-year dream.

While the success Boyd dreams of, performing four or five shows a year to a packed hall, may be slower in coming than he hoped, people whoÕve worked with him say that if anybody out there can make it work, itÕs Kirk Boyd.

Kimberly Barry, production stage manager for the Oregon Shakespeare Festival, worked with him for many years and watched his steady progression up the ladder of that organization. ÒHe went from being a non-union stage manager to being a director at the largest professional Shakespeare theater in America,Ó she said. ÒThat progression shows how insightful he is. HeÕs able to look at the big picture. HeÕs so creative because heÕs been an actor, but heÕs also able to step into the position of director. He does the show part of show business and the business side of show business. ItÕs very rare for someone to have both of those qualities.Ó

Boyd is looking forward to the seventh season, commenting that the hardest and most enjoyable part of his job is picking the upcoming plays for each year. ÒFor me, itÕs all about balance, new plays with old plays, contemporary issues with time-tested issues, balancing good roles for men with good roles for women. And of course that all has to fit within the framework of the budget.Ó

So whatÕs he excited about in upcoming season? ÒWell, IÕm excited about all of them for one reason or another,Ó he said. ÒI hope that the plays weÕve chosen this year will generate the kind of word of mouth [AlwaysÉ] Patsy Cline and You CanÕt Take It With You did last year. We need that support from the community.Ó



A Stitch for the Stage

The costume magic of Joe Zingo at ACE.

By Sharleen Nelson

Actors Cabaret of Eugene is one of the busiest community theaters in the area, producing roughly 14 shows per year, so one might be curious, with all those productions, just how many costumes have they actually accumulated over the years. Well, letÕs do the math: ACE has been putting on shows for 27 years; 14 shows per year with approximately 20 costumes per show; 280 costumes per year - thatÕs a whopping 7,560 costumes!

Joe Zingo, who runs ACE with Jim Roberts, is a former Sheldon High School art and drama teacher. He not only often directs shows at ACE, but also coordinates the costuming for each and every show and says that currently they stock around 3,000 costumes. In the backstage area, several dressing rooms overflow with costumes and accessories including exquisite French gowns and corsets, feathered headdresses and shoes. ItÕs a mishmash of eras in which items are assembled and disassembled, swapped and recycled. Overhead, neatly arranged and labeled on shelves, are boxes upon boxes reaching clear to the ceiling.

Some of the thousands of costumes Joe Zingo has created for ACE, the French, Louis the 14th costumes are his favorites.

ÒEventually weÕre going to try renting costumes online because every show weÕve done has been packed,Ó Zingo says. ÒTheyÕre all boxed; theyÕre all stored. The only time that I go into those shows is if I need to do the same kind of period, and then IÕll cannibalize them, pull the costumes out, use them for the present show, and then stick them back in.Ó

Each show presents a unique set of costuming challenges, and though many costumes can be culled from their existing stock, a good portion of them were conceptualized, designed and sewn entirely by Zingo himself.

For instance, just for ACEÕs production of Beauty and the Beast, Zingo sewed an astounding 150 costumes. Equipped with five sewing machines (two sergers and three straight stitch - one of which is his favorite, a rugged and reliable, 25-year-old Sears Kenmore), two commercial, heavy duty irons and several steamers, Zingo has streamlined the sewing process with assembly-line efficiency. ÒWhen I cut costumes, I usually cut them all at once, and then I sew them all at the same time,Ó he says. ÒI can go from one machine to another to another without changing the thread. I used to have to do that before I had all the machines.Ó

Combining his ability to sew with an artistÕs eye, Zingo drafts many of his own patterns. HeÕs also careful to preserve their collection of authentic period costumes, which can only be used onstage for dramas or comedies without a lot of action and costume changes that could damage the delicate vintage material. ÒThe costumes that are ripe, that we canÕt use anymore, I will meticulously take apart and draft a pattern.Ó He creates his own original designs as well, and has also come up with a few ingenious tailoring inventions, such as a ÒcomfortableÓ corset for women or using a baseball cap as a base for a chic headdress.

When it comes to fabric, Zingo believes in buying local. ÒJim [Roberts] and I believe in benefiting our local economy,Ó he says. ÒAll of our lumber; everything that we can possibly buy locally, weÕll buy.Ó Unfortunately, because people donÕt sew as much as they used to, heÕs found the selection in the local fabric stores lacking. Hence, whenever heÕs in New York, he goes on a fabric shopping spree. ÒI donÕt like doing it,Ó he says. ÒBut you know when you have a theater that operates through ticket sales, you need to go where the best buy is. It doesnÕt mean the fabric is any better; it just means you have more options.Ó In addition to buying fabric, Zingo also trolls the local thrift shops for bargains. ÒWhen you do 14 shows a year and half of those are brand new shows that you have to build costumes for, you are constantly buying. St. Vincent de Paul, Salvation Army, Value Village - we are their best friends.Ó Conversely, ACE gladly returns the favor. ÒWe take truckloads of costumes and clothing to Goodwill,Ó he says. ÒWe give about eight or nine boxes and we spread them around town. We buy from every place, so we figure, letÕs return them.Ó Additionally, every two years or so, ACE opens its doors to the public for a colossal costumes and props sale.

So, of all of those 7,560 costumes, which ones are ZingoÕs favorites? Hands down, he says, it has to be the French, Louis the 14th costumes from Dangerous Liaisons. ÒI love those. I loved learning how to make them; understanding how to put a human in one of those costumes.Ó

Finally, what would live theater be without a few wardrobe malfunctions? According to Zingo, although none has ever eclipsed the magnitude of Janet JacksonÕs SuperBowl disaster, there was the pregnant actress whose costume had to be let out weekly to accommodate her expanding waistline. But probably the funniest story comes from the recent production of Beauty and the Beast. During a dance number, one of the dancers took a dance step and the whole crotch ripped out of his pants. He had to finish the entire scene that way.

ÒYou never have a show where there isnÕt something that you have to fix,Ó he said.



Crme de la Crme

EWÕs top picks for the 2005-2006 season


EWÕs dance writer Rachael CarnesÕ top picks for the season.

A-Laska Dance

Triumphant combination of fierce choreography and tender music. See highlighted article in this issue p. 9. Oct. 26 at the WOW Hall.

Ballet Fantastique: Mosaico de Danza

Brazilian bossa nova meets classical ballet in this collaboration between Ballet Fantastique and Traduza Dance Company. Oct. 15 at the Soreng Theater.

BREAK! The Urban Funk Spectacular

Pulsing NYC breakdance show celebrates 30 years of hip-hop, a dance revolution with roots in Africa, the West Indies, Brazil and inner city America. Nov. 29 in Silva Concert Hall.

Dance Theatre of Oregon: LCCÕs Fall Collage Dance Concert

DTO II ChildrenÕs Company will perform an original dance theater production based on Antoine de St. ExuperyÕs The Little Prince.Ó Oct. 27 and 28 at LCC.

DTO performs with Eugene Concert Choir in The Twelve Days of Christmas. Dec. 4 at Silva Concert Hall.

En Masse Arts Ensemble: Domain

Dance, music, video, and multi-mediaÊinstallations transform DIVAÕs downtown space. With Sarah Nemecek, Heidi Diaz, Christian Cherry, Bonnie Simoa, Aaron Barnhart, and Laura Hiszczynskyj. Oct. 21 and 22 at DIVA.

Eugene Ballet Company: Giselle

A classically romantic ballet set in the Rhine: Innocent farm girls, philandering counts and the spirits of brides who die before their wedding day: Happy Halloween! Oct. 8 and 9 in Silva Concert Hall

The Nutcracker

WhatÕs sweeter than a whole basket full of kittens sitting on top of a hot fudge sundae? Why, itÕs this holiday tradition, which never fails to make people either reach for each other, or for the Extra Strength Tylenol. Nov. 16-18 in Silva Concert Hall.

Phenomenon Hip Hop: Explode!

Hip Hop Company with musicians Genus Pro share the story that inspired these local hip hop artists to dedicate their lives to what they love to do: I said a hip, a hop, a hippity-hop. Nov. 12 in the Hult CenterÕs Soreng Theater.

White Bird Series, Portland

National and international series brings first-rate dance to the Northwest. See cutting-edge current work of the highest caliber.

Ronald K Brown/ Evidence & Nnenna Freelon, Oct. 19

Hubbard St. Dance Chicago, Nov. 9

Compagnie Marie Chouinard, Oct. 13-15

Alanzo KingÕs Ballet Lines, Dec. 8-10

ZAPP Dance: S.U.R.G.E. II

High-octane youth dancers lock, pop, break and boogie: dazzling the young and making the old feel É older. Nov. 18 and 19 at the Hult CenterÕs Soreng Theater.


Recommendations from EWÕs classical music writer, Brett Campbell.

This overview of the fall music scene focuses on major institutions like the symphony, UO, The Shedd and so on. For information on other perform-ances in clubs and elsewhere, check EWÕs calendar and music columns every week.

Eugene Concert Choir & Eugene Opera

Anyone who enjoyed HaydnÕs oratorio The Creation at last summerÕs Oregon Bach Festival should check out the composerÕs great Lord Nelson Mass at the ECCÕs Oct. 29-30 concerts. The hidebound Eugene Opera continues to program operaÕs greatest hits; this time itÕs RossiniÕs The Barber of Seville on New YearÕs Eve. If you want to hear opera thatÕs relevant to our century, youÕll have to head to San Francisco for the world premiere of John AdamsÕs Dr. Atomic in October.

Eugene Symphony

The 2005-06 season represents a welcome return to musical innovation for the ESO, after last seasonÕs sojourn in dusty 19th century museum music. Unfortunately, the exciting stuff doesnÕt happen Õtil spring, so listeners will have to be content with deservedly popular masterworks like HolstÕs The Planets Oct. 20 (with a 20th century viola showcase by William Walton), MussorgskyÕs Pictures at an Exhibition on Sept. 22, and an always welcome Mozart piano concerto Nov. 17.

Oregon Mozart Players

The Oct. 1-2 concert features two dazzling works that cheerfully confound listenersÕ expectations. Aaron Copland fans who regard as Copland a composer of cowboy/folk tunes in classical guise will thrill to his frenetic Music for the Theatre, a wild Jazz Age work that manages to simultaneously sound tuneful and avant garde - a different approach to similar ideas that George Gershwin was exploring at the same time. And anyone who fears Dmitri Shostakovich as a dour exponent of Russian angst will be pleasantly surprised by his jaunty Piano Concerto #1, a brilliant piano and trumpet showcase that culminates in a dizzying gallop to the finish line. OMPÕs Nov. 5-6 concert features one of the most somber and poignant works of the 20th century, Maurice RavelÕs Le Tombou de Couperin, as well as one of MozartÕs liveliest symphonies.

The Shedd

The Oregon Festival of American Music is now the Shedd Institute for the Arts, but the musical quality of its presentations remains undiminished. My top pick is the return of one of AmericaÕs most thoughtfully exploratory musicians, trumpeter/composer Dave Douglas, whose annual jazz-based concerts have been among the highlights of the last few music seasons. Douglas operates at such a high level and in so many ensembles and genres that you can confidently attend any of his concerts without fear of repetition, tedium or clichŽ. At his Oct. 25 concert at the Shedd, DouglasÕ sextet (trumpet, saxophone, Wurlitzer organ, electric bass, drums, and turntables) will play his new, electric music inspired by the comic-turned-tragic story of one of AmericaÕs greatest film stars, ÔFattyÕ Arbuckle, with the films projected behind the band.

Jazz and bluegrass fans, as well as anyone who values progressive acoustic music, will want to hear banjo virtuosa Alison Brown on Oct. 27. Like Bela Fleck, the former Union Station member proves that a traditional instrument doesnÕt have to stay mired in traditional tunes. And Japanese performance artists/Òparallel-world electriciansÓ/noisemakers Maywa Denki should really catch the ears of the townÕs most adventurous listeners on Nov. 18.

University of Oregon

Beall Concert Hall is an ideal venue for chamber music, and the English ConcertÕs Oct. 30 concert (see story pg. 4) will be a feast for Baroque music fans. Other top chamber picks include the Mozart Piano Quartet on Oct. 6 and cellist Ronald Leonard with the Oregon String Quartet on Nov. 8.

Guest artist William Chapman NyahoÕs Nov. 15 piano recital features music of the African diaspora; his recent CD includes composers from Jamaica, Nigeria, Ghana, Britain, Egypt, and - oh yeah - the USA. Piano fans might also go for Emily WhiteÕs Oct. 9 recital.

Several dynamic duos look promising: the saxophone and piano pair of Otis and Haruko Murphy on Oct. 13, the harp and flute duo of Laura Zaerr and Nancy Andrew playing otherworldly music on Oct. 25, and the cello and piano twosome of Steve Pologe and David Riley on Nov. 20. If you want a good overview of the UOÕs premier music groups, check out the Spirit of Oregon concert at the Hult Center on Nov. 13.



The best of this season from EWÕs theater writer, Sharleen Nelson.

Actors Cabaret of Eugene

The Rocky Horror Show
, directed by Jesse Lally

LetÕs do the time warp again! Renowned for their exuberant and recurring off-beat musicals, Actors Cabaret of Eugene returns this fall with the cult classic The Rocky Horror Show (Oct. 21-23; Hult/Soreng Oct. 28-31). A twisted mix of classic horror/sci-fi and rock ÔnÕ roll, and a favorite party venue for late-night moviegoers, fans can revisit onstage the madcap events of one unforgettable night in which a couple of straight-laced kids take refuge from a storm at a mysterious castle. Adam Goldthwaite, who played Hedwig in ACEÕs 2004 production of Hedwig and the Angry Inch, takes on another gender-bending lead role, this time as that sweet transsexual, Dr. Frank-N-Furter.

Corvallis Community Theatre

, directed by Mike Aronson

Corvallis Community Theatre ushers in spring with its March 10 opening of Pygmalion. From the Greek Pygmalion: a king of Cyprus makes a female figure of ivory that is brought to life for him by Aphrodite. In Pygmalion, Henry Higgins, a snobbish phonetics expert, attempts as a social experiment to mold and breathe new life into Eliza Doolittle, an uneducated Cockney flower girl. Although his effort to transform her into a respectable society lady is successful, the play raises important questions about social class, human behavior and relations between the sexes.

Cottage Theatre

A É My Name is Alice
, directed by Peg Major

If youÕre looking for something upbeat in December, the Cottage Theatre opens on Dec. 2, A É My Name is Alice, a lively all-female musical review comprising sketches, monologues, dance numbers, poems and music ranging from gospel and country western to the blues. Created by a host of acclaimed comedy writers, lyricists and composers, the review is described as Òsophisticated, bawdy, funny and insightful.Ó Representing a variety of diverse backgrounds, including a high-powered executive, a kindergarten teacher, a secretary and an all-female traveling basketball team, 20 characters portraying friends, rivals and sisters reflect on the female experience, search for their identities, share their insightful contemporary views of the world and draw strength from one another.

Lane Community College Theatre

Noises Off, directed by Chris Pinto

From playwright Michael Frayne, whose Copenhagen recently premiered locally, Lane Community College Theatre presents Noises Off Sept. 16-Oct. 8. Employing the technique of a play-within-a-play with a twist, FrayneÕs Noises Off is a farce-within-a-farce. The plot centers on a second-rate British acting company presenting the farce Nothing On; however, whatÕs happening on stage is nothing compared to whatÕs happening backstage as the actorsÕ and actressesÕ madcap behind-the-scenes antics mirror and overshadow the farce they are presenting, proving that real-life drama such as workplace romance, jealousy and professional envy can be even more absurd than theatrical farce.

Lord Leebrick

Assassins, directed by Craig Willis

DonÕt miss Lord Leebrick TheatreÕs musical production of Assassins, opening Sept. 23. Winner of four Tony awards, the play is a thought experiment that explores the lives of nine individuals who either successfully assassinated or attempted to assassinate a U.S. president. Assassins such as Don Kelley (Garfield) and Lee Harvey Oswald (Kennedy) meet and interact with would-be assassins including Squeaky Fromme (Ford) and John Hinkley (Reagan) to share their historical misdeeds. The first musical to be staged at Lord Leebrick in 10 years, the theater is expanding and arranging seating on all four sides to accommodate this particular show.

UOÕs Robinson Theatre

A Midsummer NightÕs Dream, directed by John Schmor

A combination of lavish sets, energetic actors and exquisite costumes make Shakespeare performances at the Robinson Theatre a delightful experience. On May 19, the UO presents A Midsummer NightÕs Dream, one of the best-loved of ShakespeareÕs slapstick comedies. The plot: Hermia loves Lysander and Helena loves Demetrius. Unwanted intervention from hapless fairy Puck, and then from Oberon, king of the fairies, along with his wife Titania, who mix up a certain love-potion to remedy matters, only triggers an absurd chain of events based on irrational jealousy and sexual tension.

Very Little Theatre

Lend Me a Tenor, directed by Chris Pinto

Banking on the success of a prior Ken Ludwig farce (Moon Over Buffalo presented by VLT in 2002), Very Little Theatre opens its 76th season with Lend Me a Tenor on Oct. 21. In an effort to make a name for itself, the struggling Cleveland Opera Company enlists world-famous Italian tenor Tito Merelli for its gala performance of Otello. But when Merelli falls unconscious, the assistant goes on secretly in his place. Everything goes wrong in this behind-the-scenes romp - an apparent suicide, ardent backstage rendezvous and mistaken identity when Morelli comes to and the audience suddenly has two Otellos performing onstage.

Willamette Repertory Theatre

Cyrano, directed by Kirk M. Boyd

If you missed last yearÕs spectacular Willamette Repertory Theatre production of The Drawer Boy, you wonÕt want to miss another three-actor presentation, the Oregon premiere of Cyrano, opening Jan. 25. Based on the classic love story, a 17th-century French cavalier, poet and swordsman falls madly in love with the beautiful Roxanne, but assumes that sheÕd never love him back because of his rather gargantuan nose. Handsome Christian is also in love with Roxanne, but hasnÕt the capacity to convey it, prompting Cyrano to help Christian win Roxanne by supplying him with romantic prose, thus allowing Cyrano to vicariously express his own secret love.



One Night Only

Irreverent, ambitious and mythological dance theater

By Rachael Carnes

Eugene, ÒThe WorldÕs Greatest City for the Arts and Outdoors,Ó seems to have a whole lot of inner-tubing and disk golf in the summer months, and sure, music is pretty easy to come by, as are galleries and a few museums. But dance? One can almost imagine tumbleweeds whisking across any of the stages in town during these dry and dusty dance-free days. Note to companies, producers and city planners: How Õbout some dance in the parks next year? IÕll bring the guacamole.

But take heart: Rain is on its way in the thunderous performance by one of the Northwest regionÕs hottest young companies, A-Laska Dance. Hailing from Portland, A-Laska brings parched dance fans a tall drink with choreography by Polish-born Agnieszka Laska and music by New Zealander flutist Tessa Brinckman. Their collaborative dance-theater efforts have been heralded throughout the west as irreverent, ambitious and mythological. Walking the line between modern and classical, their work is at once rooted in indigenous music, Polish folk skits and formal theater.

Joining A-Laska Dance on stage are Brinckman and one member of her performance group, East West Continuo. As movement plays out, guest cellist Adam Esbensen offers BachÕs dazzling Suite No. 6. Koto-player Mitsuki DazaiÕs accompanies on her Japanese harp with Tomas SvobodaÕs delicate Autumn. Brinckman herself, on alto, C flute and piccolo, fleshes out the performance with Jack GabelÕs Through a Gentle Rain. ItÕs a simple pleasure, pairing live music and dance, but it happens all too infrequently, especially in the age of canned music. But doesnÕt memorable performance sometimes demand the wonderment of the real? Some of the best theater IÕve seen takes the simplest form: People making, presenting and watching new art unfold.

Performances are one night only, Oct. 26, at the WOW Hall with two shows, back-to-back at 7 and 8:30. Tickets are $10 general seating, available at the door.


Spectacle For The Ages

Eugene Opera provides a stunning visual feast.

By Emily Freeman

The stereotypes surrounding opera are many, and most of the time downright laughable. The lead soprano must be obese and have blonde braids. At least 12 people in the audience have to fall asleep during the performance. SomeoneÕs eyeglasses are bound to shatter from the rogue high note. But at least one of the stereotypes is accurate: The operaÕs breathtaking set design and scenery will more often than not be the highlight of many a concert-goerÕs night.

Even if youÕre not a Rossini connoisseur, or havenÕt the slightest idea who Rossini might be, you can still enjoy a night at the opera due to the spectacle. Historically, opera was first performed as a kind of highly commissioned talent show for royalty and people of high status. But even if the singers were the most talented in the land, and the composer one of the most revered, if the costumes and scenery werenÕt up to par, the opera was generally considered a failure. As opera moved out of sterile palaces and started to gain popularity among middle class citizens, the vocal and compositional elements of opera began to edge their way into a more permanent indicator of a particular operaÕs value. But one thing still remained the same: The costumes and set design had to be lavish and aesthetically superb.

Fast-forward to the present time and place. ItÕs evident that Eugene residents like their dose of cultural music; for a city of our size to have a successful symphony, ballet and opera is, sadly, a rare occurrence. This season, the Eugene Opera is staging two performances: RossiniÕs classic The Barber of Seville and HumperdinkÕs morbidly fascinating Hansel and Gretel. And although the vocal and compositional elements are important to putting on a good show, the folks running the show at the Eugene Opera realize the importance of set and scenery in making the productions truly successful.

The Barber of Seville will be the first opera of the season, and Production Manager Jim Bradford says that the design process for the sets started over the summer. Although actual construction on pieces of the set wonÕt begin until a few months before the show, the designs are in the works up to a year beforehand. For The Barber of Seville, Bradford says the Eugene Opera is planning to rent much of the set and scenery - such as Italian Renaissance style paintings - from a company based out of New York.

Artistic Director and Conductor Robert Ashens says that itÕs standard for some operas to rent or borrow sets for a portion of the season. ÒFor Barber weÕre going to rent some of the set, but that means that other material goods like props come from local resources,Ó Ashens says. He added that things like glasses or a chandelier for a ballroom scene could even be taken from a friendÕs home if they have the right stage look.

For the production of Hansel and Gretel, the Eugene Opera is bringing in renowned designer Don Carson to take charge of the set and scenery plans. ÒAs artistic director, I get an idea about what would be interesting to see onstage,Ó Ashens says, Òand then I contact Don Carson and see what he can do with it.Ó The scenery and staging of Hansel and Gretel will be more modern and fanciful than the traditional beauty of The Barber of Seville. Ashens and Carson plan to draw on the folklore of the fairy tale, while giving the characters and props more of a psychological significance than implied in the simple childrenÕs story.

ÒIn one of the scenes Hansel is locked in the witchÕs cage so he fattens up,Ó Ashens explains. ÒBut we [Ashens and Carson] got to thinking ÔHow about every time you see the cage itÕs not something that is rolled across the stage, but elevated from the ground? What does the padlock look like?Õ The gingerbread people, the door of the house, the cage, the oven, all have a subliminal representation.Ó

Ashens also says that instead of outfitting the witch as the often seen green monster with a gnarly face, the witch will be costumed as a plump and sickly-sweet grandmother type who lures the children in with her supposed kindness. ÒTo me, thatÕs even scarier,Ó Ashens says.

Although the two productions will have very different types of scenery, expect a stunning visual experience at both productions. As for the vocal and compositional elements, well, it goes without saying theyÕll be splendid. But if youÕre one of those 12 who might fall asleep, or one who expects to see a buxom blonde belting out some serious ear-splitters, maybe youÕd better pick up a copy of Opera For Dummies É just in case.



All That! Dance Company

688-1523 ¥ www.allthatdancecompany.com

Jan. 21 Tea With Tights

Dance Theatre of Oregon

689-5189 ¥ www.dtodance.org

Sept. 24 The Steadfast Tin Soldier, others

(Tillamook, Ore.)

Oct. 26 Arts Northwest Booking Conference (Hult Center)

Oct. 27 & 28 LCC Fall Collage Dance Concert (Performance Hall, LCC)

Dec. 4 The Twelve Days of Christmas with Eugene Concert Choir (Hult Center)

Feb. 10 & 11 SOS Cabaret Exhibit 2b (Lord Leebrick Theatre)



Oct. 21 & 22 En Masse Arts Ensemble: Domain

Elsinore Theatre, Salem

503-375-3574 ¥ www.elsinoretheatre.com

Nov. 5 Rainbow Dance Theatre

Nov. 21 Cs‡rd‡s: Tango of the East

Nov. 25 Eugene Ballet Company: The Nutcracker

Eugene Ballet Company

485-3992 ¥ www.eugeneballet.org ¥ Tickets: 682-5000

Performances at the Hult Center

Oct. 8 & 9 Giselle

Dec. 16-18 The Nutcracker

Feb. 25 & 26 The Princess and the Pea

May 6 & 7 Performances with Pink Martini

Florence Events Center

997-1994 ¥ www.eventcenter.org

Oct. 28 Body Vox

Hult Center

682-5000 ¥ www.hultcenter.org

Oct. 15 Ballet Fantastique: Mosaico de Danza

Nov. 12 Phenomenon Hip Hop Company: Explode!

Nov. 18 & 19 ZAPP Dance: S.U.R.G.E. II

Nov. 29 BREAK! The Urban Funk Spectacular

Jan. 22 Martha Graham Dance Company

Lane Community College

Dance Department

www.lanecc.edu ¥ Tickets: 463-5202

Performances at Performance Hall

Oct. 28 & 29 Fall Collage Dance Concert

Jan. 27 & 28 Collaborations

May 20 & 22 The Works Student Dance Concert

May 11-13 Spring Dance Concert

Musical Feet

485-2938 ¥ www.musicalfeet.com

Jan. 28 Winter Showcase (Agate Auditorium)

April 8 Spring Showcase (Agate Auditorium)

June 17 & 18 Final Student Concerts (Hult Center)

Oregon Coast Ballet Company

Tickets: 265-ARTS

Performances at the Newport Performing Arts Center

Dec. 16-18 The Little Nutcracker

UO Dance Department


Performances at Dougherty Dance Theatre

Nov. 11 & 12 Gabriel Masson and Linda K. Johnson

Nov. 30 Dance Quarterly

Dec. 2 Fall Term Loft

WOW Hall

687-2746 ¥ www.wowhall.org

Oct. 26 A-Laska Dance


Chamber Music Corvallis

www.violins.org ¥ Tickets: 757-0902

Performances at LaSells Stewart Center, OSU

Oct. 10 Quartetto Gelato

Nov. 2 Vienna Piano Trio

Jan. 11 Pacifica Quartet Berlin

Feb. 21 Debussy Quartet

March 8 Szymanowski Quartet

April 5 Peabody Piano Trio

Corvallis/OSU Symphony Orchestra

758-3052 ¥ www.symphony.peak.org

Performances at LaSells Stewart Center, OSU

Oct. 13 Mozart, Overture to The Marriage of Figaro; Beethoven, Piano Concerto No. 4 (with Andreas Klein, pianist); Schumann, Symphony No. 3

Nov. 20 Rossini, Overture to The Barber of Seville; Rachmaninoff, Piano Concert No. 1 (with Alexander Tutunov, pianist); Dvorak, Symphony No. 9: ÒThe New WorldÓ

Dec. 4 Holiday Favorites, with OSU Choirs

Feb. 12 Smetana, Overture to The Bartered Bride; Brahms, Piano Concert No. 1 (with Craig Sheppard, pianist); Shostakovitch, Symphony No. 9

March 10 Verdi, Overture to Nabucco; Schumann, Piano Concerto (with Rachelle McCabe, pianist); Sibelius, Symphony No. 2

May 23 Nielsen, Overture to Act III Saul and David; Greig, Piano Concerto (with Per Tengstrand, pianist); Brahms, Symphony No. 1

Corvallis Youth Symphony Association

752-9343 ¥ www.cysassoc.org

Dec. 11 Winter Concert (LaSells Stewart Center)

Feb. 4 CYSA with Pink Martini (CH2M Hill Alumni Center)

April 30 Young ArtistsÕ Concert (LaSells Stewart Center)

Aug. 15 ÒMondays at MonteithÓ Concert (Monteith RiverPark, Albany)

Elsinore Theatre, Salem

503-375-3574 ¥ www.elsinoretheatre.com

Oct. 11 Roberta Flack

Oct. 16 Rob Richards & Ralph Wolf

Nov. 13 Riders in the Sky

Nov. 19 Festival Chorale Oregon: Great Opera Choruses

Nov. 26 Michael Allen Harrison with Julianne Johnson

Dec. 2 The Trail Band Christmas

Dec. 15 Sprague High School Choir Holiday Concert

Dec. 24 Tuba Christmas

March 16 The Celtic Tenors

March 26 Lew Williams

May 20 Festival Chorale Oregon: An Evening with Cole Porter & Gershwin

Eugene Concert Choir

687-6865 ¥ www.eugeneconcertchoir.org

Tickets: 682-5000

Performances at the Hult Center unless noted

Oct. 29 & 30 Haydn Lord Nelson Mass

Dec. 4 An Old-Fashioned Christmas

Feb. 25 Contemporary Sounds

March 11 Misa Gaia with the Paul Winter Consort

April 8 Renaissance and Romance (The Shedd)

April 22 Dona Nobis Pacem

Eugene Opera

485-3985 ¥ www.eugeneopera.com ¥ Tickets: 682-5000

Performances at the Hult Center unless noted

Oct. 21 Belle Voci Competition and Concert (Beall Hall, UO)

Oct. 23 Belle Voci Competition and Concert

Dec. 30 & 31 Barber of Seville

Feb. 3 & 4 Hansel & Gretel

Eugene Symphonic Band


Performances at Beall Hall unless noted

Nov. 1 Fall Concert

Feb. 6 Winter Concert

March 11 Oregon Adult Band Festival (Performing Arts Center, LCC)

May 8 Spring Concert

July 4 Independence Day Concert (Washburne Park)

Eugene Symphony

www.eugenesymphony.org ¥ Tickets: 682-500

Performances at the Hult Center

Sept. 22 Opening Night: Debussy, Prelude to an Afternoon of a Faun; Rachmaninov, Rhapsody on a Theme of Paganini; Mussorgsky, Pictures at an Exhibition

Oct. 20 Webern, Variations for Orchestra; Walton, Viola Concerto (with Nokuthula Ngwenyama, viola); Holst, The Planets

Nov. 17 Winter Dreams, with pianist and guest conductor Ignat Solzhenitsyn: Mozart, Overture to La Clemensa di Tito and Piano Concerto No. 19; Tchaikovsky, Symphony No. 1, ÒWinter DreamsÓ

Jan. 19 Glass, ÒFacades,Ó from Glassworks; Mozart, Violin Concerto No. 5 (with Martin Chalifour, violin), ÒTurkishÓ; Stravinsky, The Rite of Spring

Feb. 9 Haydn, Symphony No. 100, ÒMilitaryÓ; Brahms, A German Requiem (with the Eugene Symphony Chorus)

March 16 American Legends: Bernstein, Three Dance Episodes from On the Town; Gershwin, Concerto in F; Copland, Suite from Billy the Kid; Gershwin, Rhapsody in Blue (with Kevin Cole, piano)

April 27 With Carlos Miguel Prieto, guest conductor: Beethoven, Egmont Overture; Schubert, Symphony No. 5; Revueltas, Suite from Redes; Liszt, Les PrŽludes

May 18 Season Finale: Raise the Roof: Michael Daugherty, featured composer-in-residence, Raise the Roof, Route 66 and Red Cape Tango, Desi; Shostakovich, Symphony No. 1

Special events for subscribers:

Oct. 17 Itzhak Perlman 40th Anniversary Celebration

Dec. 10 HandelÕs Messiah

Dec. 22 Yuletide Celebration

Florence Events Center

997-1994 ¥ www.eventcenter.org

Sept. 30 Flo-Tones Concert

Oct. 7 Emerald City Jazz Kings: ÒÕTaint What You Do (ItÕs the Way Howcha Do It) - Black Dance Bands of the 1930s and 1940sÓ

Nov. 18 Marc Olivia

Dec. 4 Oregon Coast Chamber Orchestra

Dec. 11 Community Chorus Christmas Concert

Dec. 16 Misty River Christmas Concert

Jan. 20-22 Winter Folk Festival

Jan. 21 Randy Sparks and the Minstrels

Jan. 22 John Denver Tribute Concert

Jan. 25 Cantabile

Feb. 15 George Winston

Feb. 17 Jeri Fleming Trio

March 10 Emerald City Jazz Kings: ÒDays of Wine and Roses: Songwriters After the Rock RevolutionÓ

March 17 David Kaplan

May 12 Emerald City Jazz Kings: ÒHarry and Hoagy: What a Pair!Ó

Heart of the Valley ChildrenÕs Choir, Corvallis


Performances at LaSells Stewart Center, OSU, unless noted

Sept. 24 Fall Festival (Presbyterian Church)

Dec. 6 Festival of Lights (First Presbyterian Church)

Dec. 10 Holiday Concert

March 12 Spring Concert

June 4 Elizabeth Powell Scholarship Concert

Hult Center

www.hultcenter.org ¥ Tickets: 682-5000

oct. 12 Anne Murray

nov. 14 Bonnie Raitt

Jan. 28 Leahy!

March 22 Nrityagram

April 15 Harlem Gospel Choir

Lane Community College

www.lanecc.edu ¥ Tickets: 463-5202

Performances at Performance Hall unless noted

Oct. 14 Music Faculty Concert

Nov. 20 Lane Chamber Orchestra (Newman Center)

Nov. 22 Lane Symphonic Band

Nov. 29 Concert & Chamber Choirs

& Spectrum Vocal Jazz

Dec. 2 Lane Jazz Band & Spectrum Vocal Jazz

Jan. 14 Music Faculty Concert (Blue Door Theatre)

Jan. 20 & 21 Oregon Jazz Festival Concerts

March 9 Lane Symphonic Band

March 14 Chamber & Concert Choirs

March 17 Spectrum & Jazz Band

March 19 Lane Chamber Orchestra (Newman Center)

May 9 Faculty Jazz Concert (Blue Door Theatre)

May 16 & 18 Vocal Jazz Invitationals

May 31 Lane Jazz Band & Guests

June 1 Lane Symphonic Band

June 4 Lane Chamber Orchestra (Newman Center)

June 6 Choirs & Spectrum Vocal Jazz

June 9 Jazz Combos (Blue Door Theatre)

LaSells Stewart Center, Corvallis

737-2402 ¥ oregonstate.edu/lasells/events.html

Oct. 8 Emerald City Jazz Kings: ÒÕTaint What You Do (ItÕs the Way Howcha Do It) - Black Dance Bands of the 1930s and 1940sÓ

Oct. 15 United Way Benefit Concert with Reggie Houston, Charmaine Neville and Amasa Miller

March 11 Emerald City Jazz Kings: ÒDays of Wine and Roses: Songwriters After the Rock RevolutionÓ

May 20 Emerald City Jazz Kings: ÒHarry and Hoagy: What a Pair!Ó

Linn-Benton Concert Band, Albany


Nov. 19 Fall VeteransÕ Day Concert (Lebanon Elks Lodge)

March 19 Mozart and Friends Concert (Russell Tripp Performance Center, LBCC)

May 25 Memorial Day Patriotic Concert Preview (Capital Manor, Salem)

May 28 Memorial Day Patrotic Concert (Majestic Theatre, Corvallis)

July 2 Joint concert with Monmouth-Independence Town Band (Monmouth Main Street Park)


Newport Performing Arts Center

265-ARTS ¥ www.coastarts.org

Sept. 23 & 24 Culture Shock Festival

Sept. 25 Opera Recital with Kathleen Lacey

Oct. 1 William Jenks

Oct. 2 Teresa Walters

Oct. 8 Kim Angelis & Josef

Oct. 14 Bill Mays Trio

Nov. 1 An Evening with Cole Porter, featuring Glen Rose

Nov. 11 Danny OÕFlaherty

Nov. 12 Bay Music Association Guest Performance

Nov. 22 Battlefield Band

Dec. 9 Central Coast Chorale

Dec. 11 Chie Nagatani

Dec. 20 Pink Martini

Dec. 31 & Jan. 1 Misty River & Pieces of Eight

Jan. 15 Mika Sunago & Rody Ortega

Newport Symphony Orchestra

265-ARTS ¥ www.baymusic.org

Performances at Newport Performing Arts Center

Oct. 15 Fall Fireworks: Rossini, Overture to La Gazza Ladra; Schmann, Symphony No. 3, ÒRhenishÓ; Tchaikovsky, Piano Concerto No. 1

Dec. 10 December Drama: Elgar, Serenade for Strings; Mendelssohn, Violin Concerto; Dvorak, Symphony No. 8

Jan. 28 WolfieÕs Birthday: Mozart, Overture to The Marriage of Figaro; Mozart, Clarinet Concerto; Beethoven, Symphony No. 7

April 15 Evening at Pops: Nicolai, Overture to The Merry Wives of Windsor; Wagner, Excerpts from Die Meistersinger; Debussy/Leyden, Clair de Lune; Richard Strauss, Waltzes from Der Rosenkaalier; and more

Oregon Mozart Players

345-6648 ¥ www.oregonmozartplayers.org

Tickets: 682-5000

Performances at the Hult Center followed by Beall Hall unless noted

Oct. 1 & 2 The Nationalists, with Lisa Leonard, piano: Mozart, Overture and Janissary March from Abduction from the Seraglio; Shostakovich, Piano Concerto No. 1; Britten, Suite on English Folk Tunes, Op. 90; Copland, Music for the Theatre

Nov. 5 & 6 Music About Music, with Ronald Leonardo, cello: Ravel, Le Tombeau de Couperin, Op. 31; Tchaikovsky, Variations on a Rococo Theme, Op. 33; Mozart, Symphony in D Major, K.248b, ÒLittle HaffnerÓ

Dec. 12 & 13 Candlelight Concert - Baroque for the Holidays: Handel, Concerto Grosso Op. 6 #5; Bach, Brandenburg Concert #2; Telemann, Don Quichotte; Vivaldi, Concerto for Two Trumpets in C Major RV.537 and Bassoon Concerto in C Major RV.472 (First Christian Church)

Jan. 27 Happy Birthday to Wolfgang, with Ricardo Morales, clarinet, Lauren Flanigan, soprano and the Eugene Concert Choir. All Mozart program. (Hult Center)

March 4 & 5 Serenade for Strings, with Fritz Gearhart, violin: Mozart, Serenade, K.525 Eine kleine Nachtmusik; Danielpour, Apparitions; Bernstein, Serenade (Hult Center)

May 6 & 7 Viva Espa–a! with Sharon Isbin, guitar: Mozart, Overture to Don Giovanni; Rodrigo, Fantasia para un gentihombre; Falla, Suite from El amor brujo

Rose Garden, Portland


Dec. 12 AndrŽ Rieu

Salem Chamber Orchestra


Performances at Hudson Hall, Willamette University

Oct. 8 & 9 Inaugural Concert Celebration

Nov. 19 & 20 Paris Lights

Feb. 26 ÒGift of MusicÓ Family Concert

April 29 & 30 Mozart 250th Birthday Celebration

Salem Community Concert Association


Tickets: 503-315-2116

Performances at the Elsinore Theater

Nov. 3 Quattrocelli

Jan. 15 The Coats

March 7 Christiana Pegoraro

April 8 Manhattan Rhythm Kings

May 19 OSU Chamber Choir

Salem Concert Band

www.scb.org ¥ Tickets: 503-375-0845

Performances at the Elsinore Theatre

Nov. 6 Music of Faith

Dec. 18 Winter Holiday Concert

March 5 In the Steps of Sousa

May 7 Songs of the American West

Salem Pops Orchestra


Performances at the Elsinore Theatre

Nov. 12 Salem Does Americana

Dec. 3 Holidays with the Pops featuring the Willamette Girlchoir

March 4 Pops Goes the Pops

May 13 Pops Extravaganza Latina

Shedd Institute

Info: 687-6526 ¥ Tickets: 434-7000

Performances at the Jacqua Concert Hall at the Shedd unless noted

Sept. 24 Rickie Lee Jones

Oct. 6 & 9 Emerald City Jazz Kings: ÒÕTaint What You Do (ItÕs the Way Howcha Do It) - Black Dance Bands of the 1930s and 1940sÓ

Oct. 25 Dave Douglas & Keystone

Oct. 27 Alison Brown

Nov. 9 Ian Tyson

Nov. 11 Ken Peplowski with the Emerald City Jazz Kings

Nov. 18 Maywa Denki

Dec. 2 Iris DeMent

Jan. 26 Alasdair Fraser & Natalie Haas

Feb. 4 Chick Corea & Touchstone

Feb. 15 Philip Glass

Feb. 19 Blind Boys of Alabama

March 2 & 5 Emerald City Jazz Kings: ÒDays of Wine and Roses: Songwriters After the Rock RevolutionÓ

March 7 Oak Ridge Boys (Hult Center)

March 11 Hapa

April 4 Kathy Mattea

April 6 Luciana Souza & Romero Lubambo

April 25 Ladysmith Black Mambazo

May 11 & 14 Emerald City Jazz Kings: ÒHarry and Hoagy: What a Pair!Ó

May 17 Mark OÕConnorÕs Appalachia Waltz Trio

UO Music


Performances at Beall Hall

Oct. 6 Mozart Piano Quartet

Oct. 9 Emily White, piano

Oct. 13 Otis Murphy, saxophone, and Haruko Murphy, piano

Oct. 24 Jazz Arrangers Concert

Oct. 25 Laura Zaerr, harp, and Nancy Andrew, flute

Oct. 30 Andrew Manze, violin, and the English Concert

Oct. 31 University Symphony

Nov. 8 Ronald Leonard, cello, and the Oregon String Quartet

Nov. 9 Oregon Composers Forum

Nov. 10 Octubafest

Nov. 15 William Chapman Nyaho, piano

Nov. 16 Poetry in Song

Nov. 20 Steven Pologe, cello, and David Riley, piano

Nov. 21 Wayne Bennett, clarinet

Nov. 28 Oregon Percussion Ensemble

Nov. 29 Oregon Wind Ensemble

Nov. 30 University Symphony

Dec. 1 Holiday Choral Concert

Dec. 2 Oregon Jazz Ensemble and Jazz Lab Bands

Dec. 3 Harp Class Recital

Dec. 4 University Gospel Ensembles

Performances elsewhere:

Oct. 11 Sam Pilafian, tuba (198 Music)

Oct. 12 Sam Pilfian, tuba, and Mike Denny, jazz guitar (198 Music)

Oct. 14 Faculty Jazz Concert (178 Music)

Oct. 22 Festival of Bands (Autzen Stadium)

Nov. 7 Jazz Lab Bands I & II (178 Music)

Nov. 11 The Jazz CafŽ (178 Music)

Nov. 13 ÒThe Spirit of Oregon: Music Takes FlightÓ with many UO ensembles (Hult Center)

Nov. 18 Collegium Musicum (Collier House)

Nov. 19 Future Music Oregon (198 Music)

Nov. 20 The Jazz CafŽ (178 Music)

Nov. 29 Collegium Musicum (Collier House)

Dec. 4 University Percussion Ensemble (198 Music)


Actors Cabaret of Eugene

683-4368 ¥ www.actorscabaret.org

Performances at ACE theater and the Hult Center

Sept. 23-Oct. 8 Urinetown

Sept. 24-Oct. 9 Youth Academy: Cinderella

Oct. 21-31 The Rocky Horror Show

Nov. 11-Dec. 17 A Christmas Carol

Jan. 27-Feb. 27 I Love You, YouÕre Perfect, Now Change

May 19-June 17 Girls and Poise

July 7-Aug. 5 Evita

Aug. 10-26 First Annual ChildrenÕs Theater Festival

Albany Civic Theater

928-4603 ¥ www.albanycivic.org

Sept. 23-Oct. 8 The Seven Year Itch

Oct. 22 The Big Night (annual awards show)

Oct. 28-Nov. 5 Rope

Nov. 25-Dec. 17 Rosencrantz & Guildenstern Are Dead

Jan. 13-Feb. 4 Seussical

Feb. 24-March 11 The Underpants

March 31-April 15 Enchanted April

May 5-20 The Miser

June 9-24 On Golden Pond

July 14-22 Gross Indecency: The Three Trials of Oscar Wilde

Aug. 18-Sept. 9 Into the Woods

Corvallis Community Theatre

www.corvalliscommunitytheater.org ¥ Tickets: 738-SHOW

Performances at the Majestic Theatre

Nov. 4-13 Blithe Spirit

Dec. 30-Jan. 8 Bullshot Crummond

March 10-19 Pygmalion

May 11-28 Jesus Christ Superstar

Aug. 11-27 Passion

Cottage Theatre, Cottage Grove

942-8001 ¥ www.cottagetheatre.org ¥ Tickets: 942-9195

Oct. 7-29 Sugar

Dec. 2-17 A É My Name is Alice

Feb. 3-18 The Diary of Anne Frank

March 30-April 22 1776

June 9-24 Parallel Lives

Aug. 11-26 Ruthless

Elsinore Theatre, Salem

503-375-3574 ¥ www.elsinoretheatre.com

Oct. 27 The Stinky Cheese Man and Other Fair(l)y (Stoopid) Tales

FlinnÕs Living History Institute Playhouse, Albany

www.flinns.com ¥ Tickets: 928-5008

Sept. 23-Oct. 1 Who Squealed on the Blind Pig?

Oct. 21-Nov. 5 Shine on Scio Moon

Dec. 2-10 An Oregon Pioneer Christmas Story

Hult Center

www.hultcenter.org ¥ Tickets: 682-5000

Oct. 25 L.A. Theatre Works: The Great Tennesse Monkey Trial

Oct. 29 Dallas ChildrenÕs Theater: The Stinky Cheese Man and Other Fair(l)y (Stoopid) Tales

Jan. 10-15 Mamma Mia!

Feb. 11-12 42nd Street

April 4-6 Oklahoma!

Lane Community College

www.lanecc.edu ¥ Tickets: 463-5202

Performances at the Blue Door Theatre unless noted

Sept. 16-Oct. 8 Noises Off (Performance Hall)

Feb. 3-18 The Good Doctor

April 14-May 6 Much Ado About Nothing

May 26-June 3 Spring Inspirations

Last Resort Players

Performances at Florence Events Center

Nov. 4-13 LilÕ Abner

Lord Leebrick Theatre

www.lordleebrick.com ¥ Tickets: 465-1506

Sept. 23-Oct. 16 Assassins

Nov. 11-Dec. 3 Fully Committed

Jan. 13-Feb. 4 Betrayal

March 17-April 8 Suddenly Last Summer

May 12-June 3 Sex Habits of American Women

Newport Performing Arts Center

265-ARTS ¥ www.coastarts.org

Oct. 21-Nov. 6 Porthole Players: The Music Man

Nov. 18-Dec. 4 Red Octopus Theatre Company: Chicago

Oregon Shakespeare Festival

www.osfashland.org ¥ Tickets: 482-4331

At the Angus Bowmer Theatre:

Through Oct. 29 Room Service; The BelleÕs Stratagem

Through Oct. 30 Richard III; Napoli Milionaria!

At the New Theatre:

Through Oct. 30 Ma RaineyÕs Black Bottom; Gibraltar

At the Elizabethan Stage:

Through Oct. 7 The Tragical History of Doctor Faustus

Through Oct. 8 LoveÕs LaborÕs Lost

Through Oct. 9 Twelfth Night

OSU Theatre, Corvallis

737-2853 ¥ oregonstate.edu/dept/theatre

Performances at Withycombe Lab & Main Stage Theatres

Sept. 22-25 Complete Works of Shakespeare

Sept. 30 & Oct. 1 Steel Magnolias

Oct. 14 & 15 Treehouses

Oct. 30 American Gothic

Nov. 10-19 The World We Live In/The Insect Comedy

Jan. 25-29 Woyzek

Feb. 9-18 Antigone

April 27-30 Opera Workshop/One-Act American Operas

May 11-20 Silent Woman

June 7-10 Student One-Act Festival

Pentacle Theatre, Salem

503-485-4300 ¥ www.pentacletheatre.org

Oct. 7-29 Bus Stop

Nov. 18-Dec. 10 Holiday Memories

Jan. 27-Feb. 18 The Curious Savage

March 10-April 1 Misery

April 21-May 13 Inherit the Wind

June 2-24 The Musical Comedy Murders of 1940

July 14-Aug. 5 WhoÕs Afraid of Virginia Woolf?

University Theatre

darkwing.uoregon.edu/~theatre/ ¥ Tickets: 346-4363

Performances at the Robinson Theatre

Nov. 11-26 Rumors

March 3-18 After Mrs. Rochester

May 19-June 3 A Midsummer NightÕs Dream

Performances at the Arena Theatre

Oct. 26-Nov. 5 A Piece of My Heart

Feb. 8-18 The Night Thoreau Spent in Jail

April 26-May 6 The Baltimore Waltz

Upstart Crow Studios


Feb. 3-5 Snow White (Willamette Powers Auditorium)

Very Little Theatre

344-7751 ¥ www.thevlt.com

Oct. 21-Nov. 12 Lend Me a Tenor

Jan. 20-Feb. 11 Amadeus

March 24-April 15 Woman in Mind

June 2-24 The Visit

August 4-26 Picasso at the Lapin Agile

Willamette Repertory Theatre

343-9903 ¥ willrep.org

Tickets: 682-5000

Performances at the Hult Center

Oct. 3 Ashland Salutes Willamette Rep

Nov. 23-Dec. 11 Chaps - A Jingle Jangle Christmas

Jan. 25-Feb. 12 Cyrano

March 29-April 16 All in the Timing

May 19-21 Readings in Rep