A subtle aesthetic is starting to emerge at Oregon Contemporary Theatre, which for the past couple of seasons has mounted a series of tight, powerful works by playwrights (some with ties to Eugene or the Northwest in general) who tackle the prickly issues of what it means and how it feels to live in this world right now.
For half a century, Harper Lee’s novel To Kill A Mockingbird has held an immovable place on the American bookshelf by using humor and grace to tackle one of our nation’s ugliest ongoing realities: racism.
The Very Little Theatre has mounted a winning production of this evergreen tale.
Every year the invitations roll in for white elephant parties, which leave some scratching their heads at what to bring. For novices or anyone who has experienced a past party failure, here are some DOs and DON’Ts for your holiday white elephant party.
What’s this? Twinkly lights wrapped around trees? Christmas songs in stores? People with an inherent lack of holiday cheer raging about red coffee cups? We must be nearing December!
It’s a time of rampant commercialism, but don’t fear — by buying local, you can find one-of-a-kind gifts for loved ones while also making a contribution to Lane County’s economy. We’ve rounded up some of our favorite gift ideas for all the eclectic characters in your life. Dive in and see what’s out there.
Downtown Springfield is buzzing with revitalization and, as December approaches, the Willamalane Adult Activity Center will soon kick off its annual Holiday Marketplace, bringing together a variety of local artists and crafts people, each with their own twist on the idea of “handmade gift.”
With the holidays just around the corner, finding the right gifts for family and friends can be a daunting task. But what if I told you this could be accomplished from home, in your pajamas, all while benefitting the local economy?
When the holidays roll around, families can feel the financial pinch as folks scramble to buy presents while still making ends meet. Local Kayla Powell saw a way to make holiday “shopping” fun again — and the annual “Swap Don’t Shop” began.
Every year, a local conservation group turns an otherwise staid meeting hall into a winter wonderland. It’s not so much the decorations — if there are any, aside from nicely draped tables, I’ve never noticed — but rather the spirit with which the 300 or so attendees show up ready to enjoy themselves and spend money to support Cascadia Wildlands and its work to preserve Oregon’s forests and ecosystems.
It’s the holiday season, and all across town, stages start to sparkle with gyrating gumdrops, spinning snowflakes and leaping lions. So grab a hot cocoa in the lobby and settle in for a nice break from your to-do list as you take in some of this shimmery season of dance.
Raising the Barre: Big Dreams, False Starts, & My Midlife Quest to Dance the Nutcracker (Da Capo Press) by local author Lauren Kessler begins with the moment, a little over a year ago, when — in the midst of her middle-aged working-mom life — Kessler gets a bee in her bonnet to dance The Nutcracker with the Eugene Ballet Company.
There’s no excuse for staying home — well, OK, that’s allowed, but should you want to venture out, there are plenty of world-class options this season at Eugene’s Hult Center for the arts lover in all of us.
In this month’s Symphony magazine cover story detailing the resurgence of new music in American orchestras, three of the dozen or so featured orchestras — in Baltimore, Nashville and Eugene (the only Oregon orchestra listed) — are led by current or former Eugene Symphony music directors.
Nathan Bernard strolls through the third-story lookout and swings open the door. Salty breezes from the sea float over the tiny town of Yachats and up to the rooftop. Bernard steps out to the middle of the flat roof, built into the side of a cliff. “This is where the tap house will eventually be,” he says, motioning to the open air and pointing to where a bar and wood-fired oven will sit.
More than a decade ago, in a speech at the Oregon Bach Festival, former New York Times classical music critic John Rockwell suggested that OBF bring in historically informed ensembles so audiences could hear how contemporary authentic-practice Baroque performances differed from then-OBF music director Helmuth Rilling’s “1950s and ’60s interpretations.”