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If you haven’t accomplished the banderole actuality aloft aerial aloft the hammerbeam roof of the Allen Elizabethan Theatre aloof afore the appearance begins at the Oregon Shakespeare Festival, again you haven’t absolutely lived.

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A man in a asinine hat after-effects his easily wildly, bent to adhere out of the window until he is annoyed with the akin of activity from the mob below. Finally, he raises the flag, a adumbration at what’s to come.

I allegorize it to the apathetic arise up Disney World’s Splash Mountain. 

Repertory amphitheater in accepted and OSF accurately activity a atypical acquaintance of the arts. The claiming to reinvent the caster is an approximate game, one that delights and infuriates its audience. In an absorbing hustle, the actors bouncing from one date to the next. Is that Dodo bird Lady Macbeth from aftermost night?

Ashland, the ever-bizarre host, is an bugged town, acutely absent of the average class. The streets move with the acceleration of tourism, the angelic defenders of the affronted bushing up on espresso and trinkets afore the matinee. The heroin hippie combs his beard on a curb. Not alike the dogs apprehension him.

But hey, the appearance charge go on.

Despite the whispers of anarchy from aftermost year’s wildfires and changes in both the aesthetic and controlling administration of the festival, OSF’s aperture summer weekend was none the wiser. Affectionate assemblage of the arts swarmed the Bricks Plaza for the aperture June 7-9 of the alfresco Allen Elizabethan Theatre, with Macbeth, Alice in Wonderland and All’s Able-bodied That Ends Able-bodied active now through October.

(I additionally took in a new play, the anarchic and amusing Amid Two Knees, which is active up alpha altercation — art at its best.)

Finally, the army makes its way through the moss-covered walls. The acute ones backpack ponchos and afghans; the alfresco amphitheater does not affiance comfort. The acclaimed banderole whips its appendage adjoin the Oregon sky. Wine-procured babble gives way to alert silence, and the date comes alive.

Through Oct. 11 in the Elizabethan Theatre

Fortune on its side, OSF angrily chose to accessible the weekend with the heavy-hitting Macbeth — or, if you prefer, “The Scottish Play.”

Featuring the affliction banquet affair ever, witchcraft, artistry, a awe-inspiring cantankerous ability of apparel and a above affirmation from administrator José Luis Valenzuela that is not absolutely translated on the stage, Macbeth is a alloyed bag. 

Shakespeare’s tragedy about a Scottish accepted and his murderous, witch-inspired adventure for ability is a abysmal dive into the affliction genitalia of us. Things don’t go able-bodied for anyone in this one. 

Danforth Comins is a avant-garde Macbeth. He moves and speaks with affluence and coolness, carrying choleric curve through a baited insecurity, admitting his coast into afire paranoia feels and looks a little like a rogue Vietnam soldier. 

Lady Macbeth, played by the accomplished Amy Kim Waschke, dominates the stage. Mistress of conspiracy, she parades in abounding silks as the binding host, the arrogant hot wife. The PG-13 sex arena she shares with Comins is aces of a lip bite. Her demise, admitting tragic, is additionally absolutely beautiful. 

Both Comins and Waschke are at their best (and worst) during a banquet affair that is acutely evocative of Who’s Afraid of Virginia Woolf, but with added batty delusions. I’m adequately assertive Elizabeth Taylor was a time adventurer who advised Lady Macbeth during her canicule of origin… but I digress. The astriction aural and amid these bedevilled lovers is acquainted throughout the theater. A aggregate blow is breathed at the end of the arena afterwards all of the guests acquire assuredly left. Alone bedmate and wife remain, afar by their accomplishments and a actual long, actual abandoned table. 

Chris Butler as Macduff is impassioned, boots stomping, and abundant at babble “Macbeth!” and alone Macbeth in a Scottish accent. The awe-inspiring sisters, aka witches (Robin Goodrin Nordli, Miriam A. Laube and Erica Sullivan), ball a beyond role on the date than in the text; their attendance is an earthy, aerial one. And praises to the Porter (Rex Young) for arresting this affliction with some snarky dick jokes. 

The apparel (Chrisi Karvonides-Dushenko), admitting stunning, are a bit of a mismatch, like article the witches conjured in a bathtub. Hecate (Michele Mais), backlit by flames, is the ablaze apotheosis of the Heat Miser or The Little Mermaid‘s Ursula — a beauteous arena on a clement night. Lady Macbeth additionally sports some appealing angry digs. But the men alternating amid Victorianesque suits, avant-garde covering jackets, ripped jeans, blackmailer warfare apparel and Black Panther berets — and I anticipate I spotted a kilt in there. 

From the lighting and set architecture (Christopher Acebo), which is dark, adverse and raw, to the movement and corybantic activity amid the players on stage, best aggregate you’d appetite is there. If you appear to apprehend the director’s note, however, you ability apprehension a bit of a hit-and-miss premise.

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Director Valenzuela, in an accomplishment to accomplish Shakespeare added modern, claims Macbeth’s motivations and ultimately his self-destruction are apprenticed by his abhorrence of the “other.” Now it’s accurate that best of Macbeth’s counterparts are played by either bodies of blush — or, in the case of Fleance (Will Wilhelm), gay — but their “otherness” compared to Macbeth’s own heteronormative, white advantage seems to be of unimportance, as it should be.

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Sure, we alive and acquire lived in times in which the “other” is feared, and with abundant consequences, but it’s a adamantine advertise on the stage. We never see Macbeth as fearing the “other,” but rather fearing anyone who ability attenuate his power, abnormally anyone who ability be advised an beneficiary to the throne, because he himself cannot ancestor children.

I acquire I don’t absolutely acquire the call to reinvent Macbeth’s motivation. Power, deceit, love, murder, aberration — these are accepted and abiding truths of animal affairs, the actual acumen there is and consistently will be an anniversary Shakespeare festival.

Human beings are power-hungry shit-bags sometimes. Period. 

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Royer Bockus (Helen), Brooke Ishibashi (Diana), Lauren Modica (Widow). Photo by Jenny Graham.

Through Oct. 13 in the Elizabethan Theatre

The aperture arena of Shakespeare’s All’s Able-bodied that Ends Able-bodied appearance a accustomed stop-start actinic beat. A advance of atrocious characters files in through adherent rhythm. Is that Pat Benatar? But the music ends afterwards any words, and the wind lets out of our aggregate sails. 

Introductions chase at a funeral. There’s the Countess of Rossillion (Vilma Silva), who is afflicted the accident of her husband; her blue-blooded blockhead son, Bertram (Daisuke Tsuji); and Helen (Royer Bockus), the quirky, punk-rock adherent of said blockhead son, all reminding us that the affection wants what it wants. 

All’s Able-bodied has been dubbed one of Shakespeare’s ambiguous plays, but that’s alone because arcane advisers can’t accompany themselves to use the chat “dramedy.” It’s smart, it’s ugly, it’s funny, it’s — delay a minute, is that…?

“We accord to the light, we accord to the thunder…” 

At the end of the aperture scene, Bockus flips her blush beard and belts out the words we were all acquisitive for, with Pat Benatar reminding us that all is well. Mostly.

It’s still a blowzy story. Girl loves boy, boy prefers active abroad to war and a lot of abhorrent decisions are fabricated in the name of desire. 

All in all, administrator Tracy Young delivers the best avant-garde of the Elizabethan plays in OSF’s accepted rotation. Bockus is acutely accustomed as the admiring misfit (who hasn’t marveled at the eyebrows of their beloved?). The Antic (K.T. Vogt) is a arch lesbian snacking on Cheetos. The anew healed King of France (Kevin Kenerly) busts a move to “Uptown Funk,” and the ladies of Florence (Lauren Modica, Brooke Ishibashi and Jessica Ko) are a finger-snapping banana trio. 

With the assembly accompanying set in the 1600s and present day (interesting choice), apparel artist Alex Jaeger plays with the old and the new — a admired amusement of Shakespeare himself. T-shirts, hoodies, overalls and baseball caps are countered with Elizabethan accordion collars and billowy pants. Admitting the colossal heart-shaped and gold-plated bend accessory sported by the abrupt and again adored Parolles (Al Espinosa) is a bit excessive. 

Spring is in the air, and aggregate is all absolutely French! Tiffany dejected accessories and adventurous floral patterns are the focus of the set architecture by Mariana Sanchez. The Italian mural is atramentous and dark. A abounding orange covering alcove the accomplished tier, accouterment apartment for the soldiers in blooming — it’s a little Vietnam-like. Why do best war scenes, no amount the time or place, resemble Vietnam?

One antecedent of altercation is in the focus itself. All’s Able-bodied is abounding of acutely awry characters, none added so than Helen, and yet she is the acknowledged hero in OSF’s production. Granted, she is again rejected, and abused by Bertram and Parolles. Helen’s abnegation to booty Bertram’s “no” for what it is leads her to do abominable things, but she’s never captivated accountable, admitting we acquire no botheration antisocial on the men. 

Helen’s acceleration to cunning and air-conditioned in both Bockus’s alluring assuming and Young’s best to casting the ending— a accustomed abruptness — advance the botheration over the edge. The admirers has no best but to acclamation on Helen as she anxiously kisses Bertram on the eye. 

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It’s fun, but I acquire my doubts if there is abundant Pat Benatar for that akin of sympathy. 

Young is best acknowledged by artlessly arena on what is already there. The characters are inherently relatable. Accord Helen a account and Misfits T-shirt and I’m attractive at my own acquaintance with rejection. You can accomplish the antic a lesbian, the soldier a woman, the son a fuck boy. All of that works aloof fine. But you can’t affirmation it’s not a bogie account and again accord the admirers a nice, blush haired bow. The mile continued airing aback to the auberge is abounding time for you to catechism your devotions. 

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Miriam A. Laube (Red Queen), Emily Ota (Alice), Robin Goodrin Nordli (White Queen). Photo by Jenny Graham.

Through Oct. 12 in the Elizabethan Theatre

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Fair admonishing to those of complete apperception and anatomy who adopt the branch of argumentation and reason: Alice in Wonderland, admitting beating and engaging, is nonetheless a nonsensical, lexical and rather erratical tumble bottomward the aerial hole.

With no absolute plotline and alone a ambiguous adumbration of a alpha and end, administrator Sara Bruner instead fixes her absorption on the circumambages of Lewis Carroll’s aboriginal texts, as able-bodied as some anarchistic appropriate furnishings — or, as Alice prefers, “pictures and conversation.”

Adapted in 1932 by Florida Friebus and Eva Le Gallienne, architect of the acclaimed Civic Repertory Theatre in New York, Alice draws from both of Carroll’s archetypal books, Alice’s Adventures in Wonderland and Through the Attractive Glass. Purists and admirers of Carroll’s assignment will acknowledge the means in which the folio is played out on stage. Every chat in the appearance is beeline from the books. But remember, affectionate assemblage of the arts: Aloof because you can recite the “Jabberwocky” composition from your bench doesn’t beggarly you should. 

Heavily dialectic, Alice follows Alice (Emily Ota) as she gets into and out of awe-inspiring encounters with analytical creatures. Ota is a check Alice in overalls. Flailing and clomping about the stage, balked by her aberrant companions. She’s a bit added like a bratty seventh-grader than a baffled 7-year-old. 

Amy Kim Waschke shrieks and scowls as the aggressive Queen of Hearts. What the White Queen (Robin Goodrin Nordli) lacks in enthusiasm, she assets in the physical. Her beard is like white affection candy, her dress campaign arctic back she goes south. Danforth Comins is underwhelming as a cookie-cutter Mad Hatter, while Daniel T. Parker is the abrupt ringer as the achromatic and acute Mock Turtle. The admirers can hardly accumulate it calm as he sings, flippers twitching, “Beautiful Soup.”

Surprisingly absent of any admirable spectacle, Alice relies on the acuteness of the admirers to complete the accomplished picture. Alone a abandoned powder-blue clover high-backed armchair sets the stage, abrogation you to ponder: What wonders are to come? 

Kudos to movement administrator Jaclyn Miller for her absurd choreography, which brings the pictures to life. Stagehands and actors activity simple dollar abundance accomplishments to back admeasurement and activity as Alice grows abate and again larger. With annihilation added than a distinct hula-hoop, an absolute ocean of tears is lapping the stage.

The Caterpillar (Brent Hinkley), forth with a scattering of stagehands, dangles his legs over the centermost balustrade while puffing on an L-shaped axle “pipe.” The Cheshire Cat (Lauren Modica) additionally incorporates hula-hoops captained by a neon adverse grin. 

Vibrant and generally mechanical, the apparel (Helen Q. Huang) are a amusing alloy of the tie-dye ’60s and affected steampunk, with a few Elizabethan billowy sleeves befuddled in for acceptable measure. Day-Glo feathered birds apply wire heads. The White Aerial (Shyla Lefner) wears a sleek, long-eared affectation aloof awful abundant to admonish you of Frank from Donnie Darko. The Mock Turtle sports the bulky carapace of a amphitheater structure, and the Gryphon (Vilma Silva) is the goggled acme of a arid aviator and a active Sherpa. 

In a bit of apostasy from the added aesthetic and high-collared Elizabethan plays, Alice is a party. The assembly plays on the longstanding consciousness-expanding belief surrounding Alice’s mushroomed adventures. In the additional act, strobe lights accompany the “galumphing” bad acerbic cruise of a alternation ride with a terrifying, auto-tuned Goat. White balloons rain bottomward on the army in a agitated adventurous of croquet. Best of the admirers complies, accurate not to discharge their artificial cups of red wine, with the apparent aroma of a Grateful Dead appearance in the air.

The Caterpillar abides! The accomplished affair feels like a awe-inspiring admiration to the arcane stoners of the world. 

Though acutely imaginative, puns abound, and accurate to the architect himself, the abridgement of beeline storytelling does acquire its consequences. Remiss of those consequences, Wonderland asks you to leave your sensibilities behind, and to acquire the nonsense as absoluteness — an easier assignment for some than others.

You can embrace the dreamlike, disorienting storytelling, or you can debris to hit the white balloon. Either way, it’s a active appearance of asinine wonders, reminding us that “We’re all mad here.” 

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Shyla Lefner (Irma), Ensemble. Photo by Jenny Graham.

Through Oct. 27 in the Thomas Theatre

I’ll never balloon the academy history chic that apparent my negligible aerial academy education. 

“I’m sorry, did you say the colonists gave out smallpox blankets in an accomplishment to abate the aboriginal population?”

Ah, yes, the old aerial academy textbooks are abortive bit. But alike the revelations of history that appear afterwards our adolescence tend to be general, whitewashed interpretations, added allegory than active history — a bleep on the smokescreen. 

Commissioned by OSF’s American Revolutions initiative, a affairs committed to the development of actual plays, and created by the intertribal account ball affiliation the 1491s, Amid Two Knees is a laugh-out-loud bite in the gut by citizenry and for natives, and additionally anyone who appreciates a acceptable neo-shamanism joke. 

The affectionate Thomas Theatre, area the appearance has been active back its April opening, is the absolute date for the absolutely three-dimensional acquaintance of this play. The aperture scenes, crafted by artist Regina García, are article out of a carnival: a lit-up Wild West agenda agent backdrop, a assertive Land-O-Lakes spokeswoman, and the caster of built-in massacres spinning annular and annular to the complete of crickets until it assuredly acreage on a accustomed knee, Wounded Knee.

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In recognition, the admirers cheers, advancement on the less-than-stoic narrator, Larry (Justin Gauthier), and we are off to the prairies.

The adventure follows axial characters Irma Jean Snake (Shyla Lefner) and Isaiah (Derek Garza) from the after-effects of the action at Wounded Knee in 1890 all the way up to the activity of Pine Ridge (the added knee) in 1973, appropriately the appellation (so get your apperception out of the gutter). 

Irma and Isaiah anatomy a abysmal affiliation back they accommodated at a about-face abbey aimed at civilizing, fraternizing and molestersizing. Grim stuff! A Mortal Combat bluff complete with Nunjas should lighten things up. Strobe lights, slow-motion aerial bliss — it’s the best accurate action arena I’ve anytime witnessed on the alive date (featuring ablaze administration by Elizabeth Harper and action administration by Rod Kinter).

It’s additionally the arena that seems to accompany up the best altercation from the one-percenter fanny packers. Despite the acclaim the appearance has received, abounding acquire absolved out back it aboriginal opened in April, criticizing the amusement as actuality mean-spirited. I acquire they accept adolescent molesters deserve our sympathies as well. 

At one point Lefner baptizes her babyish in a “traditional” Built-in American commemoration with the tears of white women. It’s funny, and yet Lefner needs to booty a minute to admonish us that it’s OK to laugh, and that amusement is abnormally healing for the bodies who are cogent the story. 

A little Monty Python, a little Mad TV, and with a atom of Drunk History, the casting and aggregation run through a chase of skits. Lefner and Garza arch the backpack during the aboriginal half, while Sheila Tousey and Wotko Continued booty over as the post-World War I incarnations of Irma and Isaiah. Rachel Crowl is fantastic, active on and off date from all angles as a applesauce singing priest, and a accent deafened and continued asthmatic tie-dyed priestess plucked from the streets of Ashland. 

The aggressive use of accomplishments — including a actual high-tech explosion, pulsating lights, projections and caliginosity — speaks to the creators’ aboriginal YouTube platform. Administrator Eric Ting does a adept job of advancement the asperous edges that accomplish the autograph aggregation of the 1491s (Dallas Goldtooth, Sterlin Harjo, Migizi Pensoneau, Ryan RedCorn and Bobby Wilson) so affably crass. 

I laughed till I cried, and again I aloof cried. Amid Two Knees is as ardent and sobering as it is subversive. Some of the funniest jokes are followed with acute blackout back yet addition tragedy hits you upside the head. Every antic has a point, and every point hits home.

Even as you beat your accoutrements to the agreeable finale, you’ll about-face in your bench a little as Gauthier sings “Goodbye White People” in an electric affiliated amplitude suit. 

The assignment you’ll leave with is far added able than white guilt. It’s a assignment in the ability of adept storytelling, the affectionate that spans the ambit of animal affections instead of pinpointing aloof the ones that hit the politically actual bone.

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So if you’re not acute to explosions or criticism, and you appear to like funny stuff, again get thee bottomward to Ashland to see Amid Two Knees. You ability apprentice what’s in amid the larboard and the right. 

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