Dorothy looks for help in City of Roses
I n this unusually creative spoof of the "Wizard of Oz," Dorothy lands in Parad-Oz as a homeless, unemployed immigrant.
Scaredy Crow has been a victim of identity theft and is afraid of getting stopped by police when driving in Northeast Portland because of being black.
The young Tin Punk, who eases her stiff joints with french-fry grease, wants justice for the oppressed. And Noel Cowardly Lyin', an elderly socialite, needs to own up to "white privilege."
All are guides on the musical journey toward participation in Mayor Tom Potter's visioning process, where every voice gets heard and most everyone laughs at the one-liners.
"I think it gets under a lot of people's hesitancy," says award-winning playwright, Melinda Pittman. "If people can laugh together, then they feel freer to express themselves."
An impromptu visioning emerges during the performance of an original play, titled "If I Were the Queen of This Forest." The audience is encouraged to write suggestions on scraps of paper that are collected by robed scribes.
The ideas are then tucked into a four-pronged pathway that will guide Dorothy downtown to reclaim her quickly aging future.
"What would you do and how would you do it if the future were in your control," ask the characters, singing -- sometimes off-key -- to music played by the two-man Flying Monkeys Band. "Build community pools, fund public schools and drink fair-traded caffeine."
Later, Pittman as the Queen Wizard of the Forest asks the audience, "Well, what do you wish you could just bundle up and throw away?"
The voluntary answers are plentiful and sometimes odd: Sprawl, critical hippies and uncivil discussions.
My 12-year-old daughter, Sakile, hands her paper to the green-robed scribe. "I wrote having people without homes," she whispers. "And boys."
When Dorothy, played by Amanda Carey, kills the witch, she has to wear the dead woman's shiny red Birkenstocks. "Never take them off, Dorothy," Pittman advises. "Not even in winter. Just wear socks."
We also get introduced to Mollie Hart's characters: The Pretty Good Witch of North Portland, who likes to create soap bubbles, and the Wicked Old Witch of Payday Loans, who gets Dorothy over her head in debt.
The audience is asked: What's a good job? "Health benefits. Living wages. Subway, because you get to make yummy sandwiches and keep one for yourself."
"Mom," Sakile says in my ear, giggling, "I wrote that one."
After we meet Scaredy Crow, played by Darryl Moch, we're asked about alternative forms of transportation. The suggestions: "Foot. Bicycle. Carpooling. Skateboards. Dog sleds."
Then, we get to know Tin Punk, played by Alexandra Bradbury, who has a purple spiked Mohawk and a habit of thrusting up her power fist. "If looks would kill," Tin Punk croons, "I'd be toast every time you look at me."
What does justice look like, we're asked. "Allow children a voice. Domestic violence services. Free bus passes."
When the trio try to cross the Willamette River, we're asked: What shall we do about pollution? "Clean up illegal dumpsites. More bicycle paths. Fine every violator."
The interactive cabaret has a few more surprises and questions, too. In the end, we're offered cookies, poundcake, water and organic lemonade.
"That was fun," Sakile says.
"It was so local," adds carpenter David Bean. "So real."
BroadArts Theatre company has seven more performances -- four are free -- scheduled at various locations. The premiere show was at The City Repair Project in Southeast Portland.
For information or bookings, visit www.broadarts.org or call 503-288-5181. For other creative encounters with the visioning process, visit www.visionpdx.com.
It's your city. Your future. Your vision. So, let your voice be heard.
S. Renee Mitchell: 503-221-8142; rmitch@news.oregonian.com
Scaredy Crow has been a victim of identity theft and is afraid of getting stopped by police when driving in Northeast Portland because of being black.
The young Tin Punk, who eases her stiff joints with french-fry grease, wants justice for the oppressed. And Noel Cowardly Lyin', an elderly socialite, needs to own up to "white privilege."
All are guides on the musical journey toward participation in Mayor Tom Potter's visioning process, where every voice gets heard and most everyone laughs at the one-liners.
"I think it gets under a lot of people's hesitancy," says award-winning playwright, Melinda Pittman. "If people can laugh together, then they feel freer to express themselves."
An impromptu visioning emerges during the performance of an original play, titled "If I Were the Queen of This Forest." The audience is encouraged to write suggestions on scraps of paper that are collected by robed scribes.
The ideas are then tucked into a four-pronged pathway that will guide Dorothy downtown to reclaim her quickly aging future.
"What would you do and how would you do it if the future were in your control," ask the characters, singing -- sometimes off-key -- to music played by the two-man Flying Monkeys Band. "Build community pools, fund public schools and drink fair-traded caffeine."
Later, Pittman as the Queen Wizard of the Forest asks the audience, "Well, what do you wish you could just bundle up and throw away?"
The voluntary answers are plentiful and sometimes odd: Sprawl, critical hippies and uncivil discussions.
My 12-year-old daughter, Sakile, hands her paper to the green-robed scribe. "I wrote having people without homes," she whispers. "And boys."
When Dorothy, played by Amanda Carey, kills the witch, she has to wear the dead woman's shiny red Birkenstocks. "Never take them off, Dorothy," Pittman advises. "Not even in winter. Just wear socks."
We also get introduced to Mollie Hart's characters: The Pretty Good Witch of North Portland, who likes to create soap bubbles, and the Wicked Old Witch of Payday Loans, who gets Dorothy over her head in debt.
The audience is asked: What's a good job? "Health benefits. Living wages. Subway, because you get to make yummy sandwiches and keep one for yourself."
"Mom," Sakile says in my ear, giggling, "I wrote that one."
After we meet Scaredy Crow, played by Darryl Moch, we're asked about alternative forms of transportation. The suggestions: "Foot. Bicycle. Carpooling. Skateboards. Dog sleds."
Then, we get to know Tin Punk, played by Alexandra Bradbury, who has a purple spiked Mohawk and a habit of thrusting up her power fist. "If looks would kill," Tin Punk croons, "I'd be toast every time you look at me."
What does justice look like, we're asked. "Allow children a voice. Domestic violence services. Free bus passes."
When the trio try to cross the Willamette River, we're asked: What shall we do about pollution? "Clean up illegal dumpsites. More bicycle paths. Fine every violator."
The interactive cabaret has a few more surprises and questions, too. In the end, we're offered cookies, poundcake, water and organic lemonade.
"That was fun," Sakile says.
"It was so local," adds carpenter David Bean. "So real."
BroadArts Theatre company has seven more performances -- four are free -- scheduled at various locations. The premiere show was at The City Repair Project in Southeast Portland.
For information or bookings, visit www.broadarts.org or call 503-288-5181. For other creative encounters with the visioning process, visit www.visionpdx.com.
It's your city. Your future. Your vision. So, let your voice be heard.
S. Renee Mitchell: 503-221-8142; rmitch@news.oregonian.com
Looks nice! Awesome content. Good job guys.
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