Friday, Jun 23, 2017

Archive for October, 2011

Larks Restaurant

My partner and I have eaten at Lark’s many times over the years, most recently we had lunch with a new friend, Jeff King (currently playing  XX in The Imaginary Invalid).

First off, I appreciate the fact that they offer non-Coke/Pepsi sodas, so you can actually have sugar instead of man-made chemicals in your drink. Then, they do an excellent job of providing a menu made from locally sourced and organic providers.

I had the house salad. This is a large plate of field greens (which vary by season) with goat cheese, candied hazelnuts, aged rosemary goat cheese and a marionberry balsamic vinaigrette. Served with a side of bread, this is a delicious salad that fills you up.

The boys had grilled cheese and soup. Half of a grilled Tillamook cheddar sandwich with tomato served alongside a cup of (that day) tomato-basil soup. The sandwich was golden on the outside and gooey on the inside and perfectly matched the sweet-sour tanginess of the tomato soup.

Service was a little odd; I think our server was in training. She did great, but the fact that her ‘work; was checked up on by another overly-inquisitive server was unsettling. Then again, it may be the fact that we were sitting with a celebrity. Three sodas and our meals came to less than $40 (not including our tip).

We often have a meal at Larks when we visit, and we think they are best at lunch and brunch. (Brunch is particularly fun as the menu changes based on what is available from local farmers, creameries, meat producers, and seafood providers.)

Greenleaf Restaurant

Greenleaf is a lot of fun, especially during the warmer months when you can sit outside along the river. We were there on a chilly fall morning, so we sat inside.

We had a fairly typical breakfast: French toast for me, a ‘full house’ for him (two eggs, meat, and a choice of toast, muffin, scone, or bagel). The orange juice was fresh squeezed, the apple juice top quality. I had the bacon as a side, and it was lovely to have that natural (no nitrates) taste alongside the sweetness of the syrup. All of the food was well-prepared and tasty.

Service was good – she came by enough so that our water glasses remained full and coffee (a friend sat with us) remained hot and plentiful. Our breakfast, including juice and sides, came to $31 (not including tip).

Serving breakfast until noon, Greenleaf is an excellent choice for a good meal and a good price.

Julius Caesar (2011)

I thought I knew this play, having played Portia in a school production as a child; and of course it’s deeply steeped in our culture in one way or another. But OSF revamped it, stuck to a nearly literal line reading, and transformed it into one of the top ten plays I’ve seen in more than 16 years at OSF.

The play begins outside the New theater – the first brilliant decision made was to hold this play in their most versatile and interactive space. They went for a completely stripped down set – a series of boxes create the occasionally needed stage, table, chair or bed. Many of the actors play multiple parts, and rest in the wings, rarely leaving the audience’s visual awareness. As you approach the New Theater, the walkway is lined with tall white banners which, in stark language, describe leaders from many ages and backgrounds . . . all of whom have been assassinated. The banners continue inside and upstairs, bringing you into history. I didn’t realize it the first time I saw the production (I saw it twice, and would see it again in a minute), but Cassisus (Gregory Linnington) was wandering the lobby, occasionally chatting with people in a delightfully friendly manner. As the time to begin draws near, all of the actors stand in front of one of the four seating areas,casually chatting with the people in the front row. Vilma Silvia strides out, dashing in boots and a military-style leather jacket.

“Good evening, everyone” she called out, “I’m Vilma Silvia and tonight I will be playing Julius Caesar.”  (Surprise and consternation and then a strong sense of anticipation works its way through the audience.) “I’m going to need your help tonight throughout the play. Whenever I make this motion –” and here she threw her arms up into a V over her head — “I’m going to need to you to yell and clap and shout.” Can you do that? Let’s try it.”


“That wasn’t really loud enough, can we do it again?”

*louder noise*

“Hmmm…  One more time.”

This time, we thundered, trying to be as loud as possible and just as the noise peaked the actor’s ran onstage, shouting the opening lines, and we were transported to Rome, watching the triumphant entrance of Julius Caesar, another member of the vox populi. It was extraordinary, as was the production. Vilma Silvia was magnificent — hard as nails, casually owning her power as a leader, and content with her popularity. Jonathan Haugen’s Brutus is fair-minded, but falls a bit too easily into his brother Cassius’ plotting, all the while giving one of the best performances I’ve seen from him over the years. We see clearly how envy can bring a good man down. Linnington’s Cassius is certainly “lean and hungry” and he wears his ambition like a shield, elegantly and passionately decrying the rise of a monarch who will displace the republic.

Seeing a woman stabbed to death — brutally — brought an extra dimension to the horror of her assassination, another interesting plot twist created by a strong woman as Caesar. With a simple shift in gender Cassius’ diatribe against Caesar as he makes the case for overthrow comes across as a sexist rant. I found Caesar’s cold reasoning a clever counterpoint to the impetuous and often unrealistic political scenarios of the other characters. When Mark Anthony (performed superbly by Danforth Comins) grieves, it is all the more poignant.

The 2011 Julius Caesar is one of the best OSF has produced in the past two decades.

Measure for Measure (2011)

I had the privilege of seeing Measure for Measure at OSF in 1998 at the Black Swan. Many elements of that production blew me away. I remember being surprised when audience members stood up and joined the play (being actors, not watchers) and the essential moment when the ironically named Angelo lays out his awful choice to the Isabella, sleep with me or your beloved brother will die, literally shocked me.

So it was with anticipatory pleasure that I waited all year for the new production; I was intrigued by the idea of a 70s setting, and Bill Rauch always does good work. This is a difficult play for modern audiences – the choice between the chastity required by one’s religion and the life of a brother doesn’t seem like a difficult one; but I trusted OSF to make me feel it, once again.

Sadly, this production did not wow me.

It opens beautifully, with three women cleaning a board room, singing softly. When they pull out guitars from the refuse cart and transform into mariachis, I smiled with happiness and settled in for another fascinating take on Shakespeare’s timeless scenarios. A few things felt a bit gimmicky – elegant Cristofer Jean’s transvestite Mistress Overdone was just on the edge, but several audience members were completely fooled by his transformation. And I particularly did not like the scene when the friar (Anthony Heald) and Isabella smoke cigarettes together and plan for the “greater good”; I felt it diminished her purity, which perhaps was the point. While I’m talking about the things I didn’t like, Stephanie Beatriz’s performance was stiff and awkward. I felt like I was watching a new actress, a tween even, and she never found her rhythm.

However, Kenajuan Bentley’s Lucio was prime excellence, a jive-talking stud who *owned* his part. Ramiz Monsef’s Pompey was smoothly snarky, hitting the comedic notes like a jazz musician. Rene Milan’s Angelo is tightly-wrapped passion and oily evil. I loved the 70’s counterculture, urban vibe, and the set design by Clint Ramos was excellent.

All in all, I’m glad I saw this play, but it doesn’t come close to the power of the earlier version that lives within my memory.

~review by Lisa Mc Sherry for Ashland Link