Molly Tinsley en The Tempest: Shakespeare’s Final Answer <p>A narcissistic ruler opts to abdicate his position of responsibility in exchange for personal freedom. He assumes that he will retain the privileges and respect afforded his former role. But the family member he has designated to take over betrays him. Instead of enjoying the comfortable life of his choice, he is exiled and undergoes a terrible ordeal. Last year at the Oregon Shakespeare Festival, this premise devolved into the darkest of denouements in <em>King Lear</em>. Mon, 31 Mar 2014 18:34:14 +0000 Molly Tinsley 10007 at The Tempest: Shakespeare’s Final Answer Buildings That Won't Fall Down <p><span style="line-height: 1.5;">Alys Holden, the new Director of Pro</span><span style="line-height: 1.5;">duction at the Oregon Shakespeare&nbsp;</span><span style="line-height: 1.5;">Festival, had held the same position at the Center </span>Theatre<span style="line-height: 1.5;"> Group in Los Angeles for over eight years. When Bill </span>Rauch<span style="line-height: 1.5;"> invited her to leave that professional pinnacle and sign on with the </span><span style="line-height: 1.5;">OSF</span><span style="line-height: 1.5;">, she had to make a tough choice. She decided to visit Ashland incognito, see a couple performances, and scout the town. Lunching in a local restaurant, she eavesdropped on the tourists—and they were all talking about the plays. “Nobody in L.A. talks about plays,” she said. She took the leap.</span></p><p> Sat, 01 Mar 2014 18:57:18 +0000 Molly Tinsley 8639 at Buildings That Won't Fall Down The [Unforgettable] White Fugue <p><span style="line-height: 1.5;">The frustration in crafting this column is the long lag-time between deadline and publication date. Add to that the tradition of orienting December articles to holiday subjects, and my enthusiasm for the Southern Oregon University production last November of </span><em style="line-height: 1.5;">The White Fugue</em><span style="line-height: 1.5;">, devised and directed by James Donlon, becomes almost a </span><em style="line-height: 1.5;">why-bother-mention-it-now?</em></p> Sat, 01 Feb 2014 23:30:34 +0000 Molly Tinsley 7166 at The [Unforgettable] White Fugue The Camelot Challenge <p><span style="line-height: 1.5;">Back in 2002, when </span>Livia<span style="line-height: 1.5;"> </span>Genise<span style="line-height: 1.5;"> became Artistic Director of Actor’s </span>Theatre<span style="line-height: 1.5;"> in Talent, she expressed her interest in producing the musical </span><em style="line-height: 1.5;">Annie</em><span style="line-height: 1.5;">, and her desire to make musicals a vital element of the </span>theatre’s<span style="line-height: 1.5;"> repertory. She heard plenty of discouraging words. Wed, 01 Jan 2014 00:16:58 +0000 Molly Tinsley 5539 at The Camelot Challenge The Heroine's Journey <p><span style="line-height: 1.5;">In her essay, <em>A Room of One’s Own</em>, Virginia Woolf imagines a gifted sister for Shakespeare and speculates on her fate. Unschooled, married as a teenager against her will, the young woman yearns to write plays so runs away to London only to find herself barred from work in the </span>theatre<span style="line-height: 1.5;">. She winds up pregnant, and commits suicide.</span></p><p></p> Fri, 01 Nov 2013 17:49:38 +0000 Molly Tinsley 3283 at The Heroine's Journey Into The Woods <p>Two heroes of the Oregon Shakespeare Festival this summer are scenic designer Michael Ganio and projection designer Alexander Nichols, who manage with a single set to turn the ornery Elizabethan Stage into a space that splendidly serves all three outdoor productions.&nbsp; In <em>Cymbeline</em>, the rocky, wooded terrain supports a primitive ancient Britain and the wilderness of Wales.&nbsp; In David Farr’s <em>The Heart of Robin Hood </em>and Shakespeare’s <em>A Midsummer Night’s Dream,</em> on the other hand, the scaffold of trees hovers over scenes of palace and town like an ironic remin Tue, 01 Oct 2013 23:38:40 +0000 Molly Tinsley 729 at Into The Woods The Myth of History <p>For its special initiative, American Revolutions, the Oregon Shakespeare Festival commissions playwrights to explore a critical moment or issue in U. S. history.&nbsp; Of the five works the OSF has developed and produced under this rubric so far, Naomi Wallace’s intriguing, disruptive <em>The Liquid Plain</em>, premiering this season in the Thomas Theatre, also questions the stability of history itself, composed as it is of competing myths.&nbsp;</p> Wed, 28 Aug 2013 18:41:41 +0000 Molly Tinsley 107 at The Myth of History