Category Archive: 2017

In Conversation

Quiara In Conversation

Profile Theatre Presents

Quiara Alegría Hudes IN CONVERSATION

with Josh Hecht, Artistic Director at Profile Theatre

Saturday November 18th, 2017 11:00 am

Alder Stage, Artists Rep

 

This Pulitzer Prize winning dramatist is travelling to Portland for a special one time event.  She’ll be joining Artistic Director Josh Hecht on stage for an hour-long conversation about her writings and the role of art in activism.  Quiara will also read an excerpt from her forthcoming memoir and selections from her newest project Emancipated Stories: Pages From Those Behind Bars.  

Directly following the conversation there will be a hosted reception in the lobby.  Enjoy light refreshments with wine from Wildwood/Mahonia as you linger with other patrons and reflect upon the words from this open-hearted and emotionally accessible playwright.

Conversation & Reception: $65

 

EXCLUSIVE ADD-ON: Quiara will autograph your playscript!  This add-on includes one copy each of Water by the Spoonful and The Happiest Song Plays Last, both autographed just for you – and given to you at the reception by Quiara herself!

Conversation & Reception + Autographed Playscripts: $95

 

CLICK HERE FOR TICKETS

Or call the box office: 503.242.0080  Tues – Fri noon-4pm

Location: Artists Rep 1515 SW Morrison St, Portland OR 97205

 

Quiara Alegría Hudes is a playwright, professor of writing and theater at Wesleyan University, and native of West Philly, U.S.A. Hailed for her work’s exuberance, intellectual rigor, and rich imagination, her plays and musicals have been performed around the world. They are Water By the Spoonful, winner of the Pulitzer Prize for Drama; In the Heights, winner of the Tony Award for Best Musical and Pulitzer finalist; Elliot, A Soldier’s Fugue, another Pulitzer finalist; Daphne’s Dive; The Good Peaches; Miss You Like Hell; and The Happiest Song Plays Last. Hudes is a playwright in residence at New York’s Signature Theater and a proud alum of Philadelphia Young Playwrights.

In Dialogue Events: The Rep

In Dialogue Events include our series of lectures, pre-show talks, post-show discussions and concerts, as well as community events and other exciting programming, all of which explore the featured writer’s world. Through our In Dialogue programming, we extend the event of a Profile production beyond the bounds of what is onstage, bringing the community together for exciting, provocative and inspiring experiences.

Events for Water by the Spoonful

Friday, November 3rd:
Opening Night Toast | Post-Show
Join us immediately following the opening performance of Water by the Spoonful for a toast to the launch of the Rep Production.  Wine provided by 2017 Wine Sponsor Wildwood/Mahonia.
Alder Lobby

Sunday, November 5th:
Jamie Rea: Changeover Observation | Post-Show
Production Manager Jamie Rea will describe the scenic changeover from Water by the Spoonful to The Happiest Song Plays Last as it is happening in front of you, and will answer questions about the collaborative design process for this project.
Alder Stage

Wednesday, November 8th:
Ian O’Loughlin  | 6:55pm
Professor Ian O’Loughlin will discuss brain chemistry and the nature of addiction.
Mezzanine

Friday, November 10th:
Sean Davis: Art Heals the Soul | 6:55pm
Sean Davis, army veteran and military consultant for Profile on all three plays of the Elliot Trilogy, engages in a short talk about how art brings community together and how that is, “more important now than ever before in my lifetime.”

Sean Davis is the author of The Wax Bullet War, a Purple Heart Iraq War veteran, and the winner of the Legionnaire of the Year Award from the American Legion in 2015 and the recipient of the Emily Gottfried Emerging Leader, Human Rights  award for 2016. His stories, essays, and articles have appeared in the Lidia Yuknavitch’s TED Talk Book The Misfit Manifesto, Forest Avenue Press anthologyCity of Weird, Sixty Minutes, Story Corps, Flaunt Magazine, The Big Smoke, Human the movie, and much more.
Mezzanine

Saturday, November 11th:
Jamie Rea: Changeover Observation | Post-Show
Production Manager Jamie Rea will describe the scenic changeover from Water by the Spoonful to The Happiest Song Plays Last as it is happening in front of you, and will answer questions about the collaborative design process for this project.
Alder Stage

Thursday, November 16th:
Adrian Baxter*| 6:55pm

Saxophonist Adrian Baxter will tune our ears to the harmonies and dissonances of jazz – a central stylistic and structural theme in Water by the Spoonful.
Alder Lobby

Saturday, November 18th:
Mat Chat with the cast of  Water by the Spoonful | Post-show
Alder Stage

Events for The Happiest Song Plays Last

Saturday, November 4th:
Opening Night Reception | Post-Show
Join us immediately following the performance for nibbles, drinks and music.  Catering provided by 2017 Season Partner Pambiche.
Morrison Lobby

Sunday, November 5th:
The Day’s Mail by Quiara Alegría Hudes* | 6:55pm
Enjoy a reading of this short piece by our featured playwright, directed by Ashlin Hatch who is serving as the Assistant Director on both of the Rep productions.
Mezzanine

Thursday, November 9th:
Daniel Pollack-Pelzner: Art and Activism* | 6:55pm
Quiara Alegría Hudes unites music and poetry to stage her unique vision of communities in transition. Daniel recently interviewed Quiara about her musical training and theatrical influences; in this talk, he’ll discuss the dramatic and political roles that Bach, jazz, and Puerto Rican folk music play in the Elliot trilogy.

Daniel Pollack-Pelzner holds the Ronni Lacroute Chair in Shakespeare Studies at Linfield College, where he teaches courses in literary history, drama, and gender studies. A Portland native, he received his B.A. in History from Yale and his Ph.D. in English from Harvard. His articles on Shakespeare and contemporary culture have recently appeared in The New YorkerSlate, and The New York Times. A frequent speaker at the Oregon Shakespeare Festival, he is the scholar-in-residence at the Portland Shakespeare Project and a consulting scholar for Age and Gender Equity in the Arts.
Mezzanine

Saturday, November 11th:
Dr. Lindsay Benstead: Understanding the Arab Spring* | 6:55pm
Lindsay Benstead will discuss common myths surrounding the Arab spring, which shook the Arab world beginning with Tunisia in December 2010. Among these myths are that the seeds of change began only in the 2000s, or that the “Arab spring” has failed.

Lindsay J. Benstead is Associate Professor of Political Science at Portland State University, Contributing Scholar in the Women’s Rights in the Middle East Program at Rice University, and Affiliated Scholar in the Program on Governance and Local Development (GLD) at the University of Gothenburg and Yale University. She has conducted surveys in Morocco, Algeria, Tunisia, Libya, and Jordan and contributes to the Transitional Governance Project. She holds a Ph.D. in Public Policy and Political Science from the University of Michigan—Ann Arbor and served as doctoral fellow at Yale University, post-doctoral fellow at Princeton University, and Kuwait Visiting Professor at SciencesPo in Paris.
Mezzanine

Sunday, November 12th:
Mat Chat with the cast of  The Happiest Song Plays Last | Post-show
Alder Stage

Friday, November 17th:
The Day’s Mail by Quiara Alegría Hudes* | 6:55pm
Enjoy a reading of this short piece by our featured playwright, directed by Ashlin Hatch who is serving as the Assistant Director on both of the Rep productions.
Mezzanine

Saturday, November 18th:
Erin Spottswood  | 6:55pm
Professor Spottswood will speak about the changing role of technology in our lives, specifically how it impacts our relationships and connectivity to others.
Mezzanine

(*): These In Dialogue events are one aspect of Profile’s commitment to engaging with our community in conversations about equity, diversity and inclusion, and are a part of our Diversity and Inclusion Initiative.

To see past In Dialogue Events, go here.

24 Hour PlayFest

Profile is thrilled to announce our inaugural 24 Hour Playfest – a wild, exciting and vibrant way to celebrate our mainstage playwright and come together as a creative community!

On the evening of Sunday, June 18th over 30 local theatre artists, including directors, playwrights and performers will gather on the set of 26 Miles. They’ll be divided into 6 teams and given a prompt from the show. The playwrights will write into the night, delivering their new short plays to their collaborators by 9am the next morning. That afternoon, throughout the Artists Rep building, the teams will meet together to rehearse and polish their pieces. That night we share them with you in a not-to-be-missed one-night-only performance.

Join us Monday night and see what Portland’s freshest creative minds come up with!

Monday, June 19th 7:30pm
Morrison Stage

Tickets: $15
Purchase here.

Community Council

 

 

 

From the Community Council for The Rep

 

Three Haikus of Reflection
(Water by the Spoonful)

We are dysfunction
Skeletons in our closet
No one is alone

Of all emotions
Only two bond us the most
That is Love and Pain

Don’t forget to love
Give a bit of love each day
a spoonful can save

by Santos Herrera

An Artist’s Commitment to the Community Helps Heal our Veterans

It’s a beautiful Sunday morning in Portland, Oregon and I’m driving with the windows down on 84 west and take the downtown exit. I’m on my way to a rehearsal for Water by the Spoonful to see the work that goes into making a Pulitzer Prize winning play a success on a Portland stage. Water is the second play of a trilogy that Profile Theatre will be putting on, a trilogy written by Quiara Alegría Hudes inspired by a relative of hers that was a veteran. That’s how I got involved. It was important enough to Josh Hecht, the artistic director and director of the final two plays of the trilogy, to invite veterans like myself into the process. I am a Purple Heart recipient and Iraq War veteran who has spent the last ten or more years trying to help other veterans suffering from the unseen wounds of war with art. I put on art therapy groups with painting, monthly writing groups, and workshops around the country, so when I was asked to be on the community council, I jumped on it.

Spending my Sunday morning in a brown rehearsal room was an amazing experience for me. As soon as I walked in the room I felt the artistic and creative energy. There were eight people in the room. Half were actors and the other half were just some of the staff behind the scenes who work so hard to make the production come together.

I watched as the actors went through their lines. Josh listened and spoke softly. He gently coaxed out ideas from the actors about their characters, their dialogue, and the space they inhabit. He did this instead of giving obvious instructions. In this way all the actors understood the changes made. It was all very inspiring.

Josh’s commitment to community engagement is something that I wish more artistic directors across the country shared. I know that art heals the soul because it saved my life after coming back bone-broke and soul-shattered. Art helped me put my life back together again, so being able to bring veterans to the shows, having the monthly writing groups that Profile Theater has hosted and produced, and allowing our veterans to speak to the audiences and be a part of the process has done so much toward helping veterans in the Portland community.

The Happiest Song Plays Last finishes up the trilogy.  As a special bonus in all of this, Profile Theater has partnered with the Writer’s Guild Initiative… they have been bringing award winning writers across the country to work with the veterans in the monthly writing groups, and they will be showcasing the veterans’ work on stage on November 13th. I hope to see you there.
Sean Davis

 

Spoonfuls of Notes on a Scene, Rehearsed Three Times.

  • Rehearsal begins with notes.
  • “Collapse happens just a beat after his exit but before the next line”
  • During break, actors’ conversation covers road rage song and Barry Bonds, and concussions in football vs. steroids. 
  • Actress performs handstand into laying down on stage, complimented.
  • Motivation conversation. Play around with letting some of that excitement into it, so that here is a real turn, her disappointment as she waits and waits and waits.
  • Break up each sentence into a step into the realization he isn’t coming.
  • At the end of the first time, laughter and a reference to Ghost.
  • Second time a little more fuerza, all business and all shock
  • “If you need to go, then go” is more intense, more insistent.
  • She is relaxing into the sorrow.
  • Line flub on “It’s okay” allows Odessa to restart to her preference.
  • Third time, a little more sunk into the sadness, earlier.
  • More angry less insistent, claims her space, her function in the emergency.
  • Actors use laughter to get back into the scene.
  • A reminder that this is heightened, we’ll both keep our eye on it, look at the moment letting her go.
  • A characterization of the creative conversation: open, receptive, collaborative, each person has an opinion that is specific, rooted in action or text, and to be valued.
    -Katy Liljeholm

 

Upon walking in I hear, “it’s those moments of breath that allow the audience to catch up”. The actors are rehearsing a fight scene. Another actor, waiting to be called, turns to a friend and says, “what’s up sweetness and light”. I am watching scene practice for the upcoming play Water By the Spoonful.
I notice how the director starts his comments, almost always, with “I wonder…”
I notice how the actor questions how a ghost would fight.
I notice how I close my eyes when the actors say something that cuts deep, and keeps reverberating in my head.

I remember, I am a vessel for the feelings produced in each play by Profile Theatre. I realize the necessity of theatre in our modern world and it’s my duty to share, and allow you to experience these incredibly powerful moments.
-Margaret McKay

 

From the Community Council for 26 Miles.

Excerpt from blog post The Staggering Resilience of Teenage Girls:
Good theatre should always leave you feeling like you’ve watched these characters be permanently transformed by whatever moments of their life you observe onstage, and this play definitely accomplishes that.  I’m excited to see more of the journey as it moves forward to production, and to reflect on how it lands after the second, third, fourth viewing.  But for now, what I’m taking away – and what I hope anyone reading this takes away too – is to be thoughtful and intentional about the way we communicate to, and about, girls and young women.  When we make jokes about their pop music and their selfies and their eyeliner, they’re hearing us tell them they aren’t worth taking seriously.  But they are.  They so deeply, truly are.  They deserve to be heard, and seen.
(Read the full blog post here.)
Claire Willett

I attended a rehearsal of 26 Miles by Quiara Alegria Hudes presented by Profile Theatre. It was so refreshing to watch the actors work their scene, review their character’s lives, work through the social constructs their characters live in, and then see the actors make new choices for their characters, discover new things, take risks. I kid you not, I felt like I was in a Narrative Therapy session. The director was like the therapist working closely with the client helping them uncover/discover/reveal their emotional lives beneath the surface to make new bold creative choices. I’m in love with Profile Theatre! Thank you for making loud, proud choices and presenting relevant work during these trying times. Blessed be!
Joaquin Lopez

Admittedly, when I was approached with an invitation to join Profile Theatre’s Community Council for their current  show, 26 Miles, I proceeded with immense caution. In the past I’ve found these sort of invitations to be disingenuous or these experiences unwelcoming and tokenizing to an ambitious and assertive  woman of color actor such as myself. Typically in these spaces, I’m overwhelmingly surrounded by older, whiter, wealthier, more well-educated folks than myself. The end result is not the engaged and inspired one that was likely dreamed up, but one of deep resentment at being a politely checked off box of a diversity effort. It’s an appeasement of a trend towards “equity” while still keeping art, creative work, and most importantly theatre elevated and accessible mostly to those who identify with whiteness.

When I walked through the door of the rehearsal room at the first read through I was unsurprised to again find myself adrift amidst by the typical theatre patrons: affluent white folks over the age of fifty who come looking to be entertained. I took a deep breath and continued forward into the room, determined to follow through with my commitment to the Community Council. I found a seat, selected some snacks, and began to observe.

Here’s what I noticed that was different from my past experiences: There were two folks animatedly speaking in Spanish to one another. These two people turned out to be two of the actors in the cast. I was struck by the authenticity of their identity– real people cast in real roles that feel as though they’re truly written for them. While this may not seem notable, as an actor and woman of color, there a precious few strong, beautiful, authentic, and inspiring roles written with us in mind. Here, Profile Theatre has found a treasure  in the work of Quiara Alegría Hudes. In addition to doing a spectacular job in casting, they’ve also selected a director who clearly loves the play and feels some deep connection to the work as a part of the Latinx community herself. I can honestly say that Profile has a new fan.

The play itself is stunning. There were so many moments in which I felt that the anger, pain, confusion, disgust, and hope that Olivia experiences are a mirror of my own childhood. I too grew up a mixed-race child, raised by one side of my family and always feeling like I didn’t know or understand half of my own heritage– for me, raised by my Japanese family and devoid of my Mexican ancestry. I too angrily and clumsily sought to uncover the missing pieces of my identity without realizing that’s what I was doing. I too enveloped myself in creative pursuits, chased excellence, and clung to an obsessive dream of escaping someplace and seeing some distant creature (for me, it was wolves and not buffalo.) I too know how all-consuming humiliation and non-acceptance from peers can feel, and how it can make irrational and self-destructive actions feel like the only reasonable option.  I too didn’t appreciate or understand how deeply my mother loves me, how forgivably human she is, and how much we truly need one another to grow past our own pain into whole people.

The initial read through was memorable, the second rehearsal I attended was thoughtful, delightful, and deliberate. I look forward to seeing the staged production next week, where I’m sure it will be nothing short of breathtaking, heartbreaking, and immensely healing for someone like me: a young woman on a lifelong journey of fitting together the halves of my own identity.
Melissa Magaña

When I first read 26 Miles, I was surprised to find myself in the character of 15-year-old Olivia. Like Olivia, my parents were divorced and I never experienced any of the culture of my Mother’s Colombian side of the family. She was a “Spanish Beauty” in her day and I “don’t even tan right,” as Olivia quips to her Mom. Like Olivia, I was a writer with an obsession for buffalo and Yellowstone Park. Yup, odd as it seems, buffalo enthralled me and the majestic view of Yellowstone’s Hayden Meadow, with hundreds of the magnificent beasts entranced me. I desperately wanted a little stuffed animal buffalo I found in the gift shop, but I didn’t have enough money and I felt a little childish desiring a toy at age 10, so I bought this post card.

Invited to a rehearsal for Profile Theatre’s production, I walked in expecting to find myself on-stage in Olivia. But memory and nostalgia butted heads with reality and the present, and now that I am the mother of a teenaged daughter, I found myself relating to the mother character. Beatriz and I have little in common except the shared experience of loving your daughter so much that her pain cuts you so deeply, you can’t breathe. And when someone teases and hurts your child, the anger is so hot, you can’t see.  Despite this astounding love, mothers make mistakes. We need our children’s forgiveness just as much as they need our acceptance.
Diane Englert, Executive Director of Staged!

When I first heard this play I was grappling for a timeline. A direction. The second time I heard the play, it was like driving home. I knew where we were headed and I could get lost in the gush of the wind…Being on Profile’s Community Council has allowed me the incredible opportunity to practice watching theatre…this is what I wish most for my peers: the opportunity to practice. To appreciate the levels of creation in theatre one must practice.
Margaret McKay

 

From the Community Council for Elliot, A Soldier’s Fugue.

Last week, I got to eavesdrop on rehearsals for Quiara Alegría Hudes’ Elliot, A Soldier’s Fugue at Profile Theatre in Portland, and I was so pleasantly jolted back home listening to the actors and directors negotiate Spanglish, Spanglish accents, Spanglish music and Spanglish family matters, all in service to such a sharp script. The play reads to me like a critique of the US war machine and its exploitation of brown people, an amazing and kind of ruthless tribute to Rican dads, and one of the kindest provocations to Latino masculinity I’ve seen. I’m looking forward to the final production—the first in a trilogy Profile is producing throughout the year, including Water by the Spoonful, which is my favorite. Go see.
Roy Pérez

I attended the last dress rehearsal of Elliot, A Soldier’s Fugue, which was a full run-through without pause. In sitting in a theatre in which you are the only person not connected to the production, you notice so many things you might not normally think of, such as the difference the absence of an audience makes, especially when, for example, a funny line is spoken. Getting to look behind the scenes makes crystal clear how much theatre is a collaborative endeavor with hundreds of small parts coming together to make an amazing whole.
Pancho Savery

When I came in to speak to the cast of this amazing play (Pulitzer Prize finalist!), they were so welcoming and eager to hear about my story as a Purple Heart recipient with multiple tours. We all sat in a small room, with more people than chairs, and I told my story. I described the depression, rage, and guilt that comes with surviving a coordinated ambush in combat and then being sent home to attempt a transition back into the civilian life. They created an atmosphere safe enough for me to tell them some of my most vulnerable stories including past thoughts of suicide and acts of self destruction. Afterwards, they asked questions for a while. Some about their characters, other about my life, but also some questions about veterans in general. These last questions, I noticed, were changing their views on how they pictured veterans. At the end I must have hugged each one of them before leaving.
Sean Davis, Military Advisor for Elliot 

In Dialogue Events: 26 Miles

In Dialogue Events include our series of lectures, pre-show talks, post-show discussions and concerts, as well as community events and other exciting programming, all of which explore the featured writer’s world. Through our In Dialogue programming, we extend the event of a Profile production beyond the bounds of what is onstage, bringing the community together for exciting, provocative and inspiring experiences.

Saturday, June 17th:
Opening Night Reception | Post-Show

Join us immediately following the performance for nibbles, drinks and music.  Catering provided by 2017 Season Partner Pambiche.
Morrison Lobby

Sunday, June 18th:
Mat Chat with the cast of  26 Miles | Post-show

Thursday, June 22nd:
A Cultural Inner-View: Youth Honoring/Challenging Tradition*| 6:55pm

Join us for a discussion featuring Rosita Rendon, a coordinator for Latino Network’s Studio Latino after-school program, and Arts & Culture Manager, Joaquin Lopez. The two discuss the unique experience growing up bilingual and bicultural; navigating two worlds at home and at school; and what you learn along the way.

Panel Discussion Co-Hosted by Latino Network
Morrison Lobby

Friday, June 23rd:
Liz Yerby: What’s a Perzine? | 6:55pm

Liz Yerby talks about the history of zines, perzines and writing about identity.

Liz Yerby is a cartoonist and zinester out of Portland, OR.  They make surrealist comics about mental health and daily life.  Their art can be found in Visionquest and 1001 Journal as well on their website, lizyerby.com.  Liz Yerby is also one of the organizers of this year’s Portland Zine Symposium.
Morrison Lobby

Saturday, June 24th:
Patricia Schechter: Women on the Road: Some Paths to the Present | 6:55pm

Is “hitting the open road” just a guy thing? Did Thelma and Louise have to die?  There is a rich history to women, travel and ideas about freedom–especially involving the car–and it might not be what you think.  This short lecture sets the play “26 Miles” in context with a look at a few key moments in recent cultural history, with a few surprises along the way.

Patricia A. Schechter teaches women’s history at Portland State University.  She has published a number of books and articles, included the co-authored volume with Avel Louise Gordly, Remembering the Power of Words: The Life of an Oregon Activist, Legislator, and Community Leader (OSU Press, 2011).
Morrison Lobby

Sunday, June 25th:
Mat Chat with the cast of  26 Miles | Post-show

(*): This In Dialogue event is part of Profile’s commitment to engaging with our community in conversations about equity, diversity and inclusion, and are a part of our Diversity and Inclusion Initiative.

To see past In Dialogue Events go here.

In Dialogue Community Events 2017

In Dialogue Community Events are opportunities to come together to discuss, explore or experience themes and ideas that lie at the heart of the work of our featured playwright and are often presented through partnerships with other local organizations.

We currently do not have any community events scheduled, but are planning several more for the 2017 season.  Check back for more information!

Past 2017 Community Events:

February 5th
Know Your Neighbors: A Conversation with Local Veterans about Service, War and Coming Home

Moderated by Profile Community Council Member, veteran and community organizer Sean Davis, a panel of local veterans will share stories about the frontlines of both combat and of returning to our community.  Humanizing experiences most of us only witness via the news or Hollywood films, the panel will explore the challenges and pressures facing our veterans, addressing the question “What do you most wish civilians understood about you and your service?”

Location: 1515 SW Morrison Street.  Rehearsal Studio

 

In Dialogue Staged Readings

In Dialogue Staged Readings include new and contemporary plays in conversation with Quiara Alegría Hudes body of work, as well as readings of Hudes plays not included in our Main Stage season.

For the second In Dialogue Reading of our 2017 season, we are pleased to announce:

Orange Julius by Basil Kreimendahl
Directed by Tamara Carroll

Vietnam vet Julius suffers the toxic effects of Agent Orange. His youngest child Nut worries their time together may run out before they can embrace something essential about their relationship. Paging through forgotten photo albums and acting out old war movies about brothers-in-arms, Nut leaps through time and memory, in an attempt to forge a bond of recognition with Nut’s father before it’s too late.

Orange Julius was developed at the O’Neill National Playwrights Conference and La Jolla’s DNA festival of new work, and was produced by Rattlestick Playwrights Theatre and P73 in New York. Kreimendahl received an MFA from the Iowa Writers Conference and has been commissioned and produced by Actors Theatre of Louisville, among others.

Monday July 17 and Tuesday July 18
7:30pm
Alder Stage
1515 SW Morrison Street

Reserve tickets here.

The reading on Tuesday night will be ASL interpreted.

Past 2017 In Dialogue Readings:

awe/struck by christopher oscar peña
Directed by Josh Hecht

Twenty-one-year-old Denia arrives in Chicago, looking to create a place for herself in this unfamiliar country. Monique’s never left Chicago but feels more and more like a stranger in her own home. A chance encounter between them transforms their lives forever in this wildly theatrical new play about identity and perception.

Originally commissioned by The Goodman Theater. Developed at the Sundance Institute and at the LAByrinth Theater Company in New York

Monday May 15 & Tuesday May 16
MILAGRO THEATRE

Following the readings we hosted a post-show conversations between our special invited guests and Profile’s Artistic Director Josh Hecht, about issues that lay not only at the heart of awe/struck, but are deeply relevant to our Portland community as a whole.

Monday, May 15th: Jimena Alvarado, Women’s Studies Professor at Portland Community College
Tuesday, May 16th: Octaviano Merecias-Cuevas, Policy & Civic Engagement Manager at Latino Network

Tickets to In Dialogue Readings are free as part of Profile’s ongoing efforts to make quality theatre available to all members of our community.

The Happiest Song Plays Last

By Quiara Alegría Hudes 

Directed by Josh Hecht

BUY TICKETS 

November 2-19, 2017
Alder Stage

Directed by Josh Hecht

An intensely engaging new drama.Chicago Tribune

Iraq War vet Elliot has a bright new career: movie star. But shooting a film on location in Jordan, with the tumultuous Arab Spring rumbling nearby, he finds that his wartime nightmares have followed him into his new life. Back in Philadelphia, his cousin Yaz has her hands full cooking for the homeless and trying to keep her beloved community from crumbling. Set to the joyful sounds of traditional Puerto Rican folk music, this final play of Hudes’ trilogy chronicles a year in the life of these two kindred souls as they search for love, meaning and a sense of hope in a quickly changing world.

ASL interpreted performance November 17th.

Play three of the Elliot trilogy.

PLAYS IN ROTATING REPERTORY WITH  WATER BY THE SPOONFUL.

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Water by the Spoonful

By Quiara Alegría Hudes 

Directed by Josh Hecht

BUY TICKETS 

November 1-19, 2017
Alder Stage

A rich, brilliant montage of American urban life that is as dazzling to watch as it is difficult to look away from.Associated Press

Somewhere in Philadelphia, Elliot has returned from the war in Iraq and is struggling to find his place in the world. Somewhere in a chat room, recovering addicts forge an unbreakable bond of support and love. In this fearless, heart-stirring Pulitzer Prize-winner, worlds virtual and real unfold onstage, challenging our notions of family, forgiveness, community, and courage.

ASL interpreted performance November 10th.

Play two of the Elliot trilogy.

PLAYS IN ROTATING REPERTORY WITH THE HAPPIEST SONG PLAYS LAST.

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26 Miles

Dates of Run: June 15 – 25, 2017
Directed by: Rebecca Martinez
Featuring: Jimmy Garcia*, Chris Harder*, Alex Ramirez de Cruz, Julana Torres*

A desperate midnight phone call spurs a spontaneous road trip for a brilliant teen and her estranged mother. The reunited pair runs fast and furious from the secrets in their lives. So what if reality’s nipping at their heels? Colliding together, they find connection, forgiveness and a part of their identities that has been missing all along.

Creative Team: Kristeen Crosser (Lighting Design), Sarah Gahagan (Costume Design), Daniel Meeker (Scenic Design), Sharath Patel (Sound Design)
ASL interpreted performance June 23rd.

*Member Actors’ Equity Association, the professional union of actors and stage managers.

 

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