Category Archive: 2018-2019

Portland’s Space Race

Profile is featured in this article written for American Theater Magazine by local arts writer TJ Acena.  Learn more about the transitions coming at Artists Rep as well as the dire need for art spaces in Portland.

www.americantheatre.org/2018/01/30/portlands-space-race/

The Secretaries

Secretaries

Pretty Patty Johnson is thrilled to join the secretarial pool at the Cooney Lumber Mill in Big Bone, Oregon under the iron-fisted leadership of sultry office manager Susan Curtis. But she soon begins to feel that all is not right—the enforced diet of Slim-Fast shakes, the strange clicking language between the girls, the monthly disappearance of a lumberjack. By the time Patty discovers murder is part of these office killers’ skill set, it’s too late to turn back! In the guise of satiric exploitation-horror, The Secretaries takes an unflinching look at the warping cultural expectations of femininity and the ways women themselves are often the enforcers of sexism.

Click here for an ASL interpreted description.

‘The Secretaries’ is like a mashup of ‘Twin Peaks’ and ‘Portlandia’ –Chicago Tribune

 

SINGLE TICKETS AVAILABLE HERE

To contact the box office call 503-242-0080, Tu-F, 12-4pm

JUNE 14th – JULY 1st, 2018

Secretaries calendar

SUBSCRIBE to the 2018-19 Double Season featuring Lisa Kron and Anna Deavere Smith.  Full Info Here.

 


CAST & CREATIVE

Andrea White, Susan

Claire Rigsby, Patty

Foss Curtis, Ashley

Jamie Rea, Dawn

Jen Rowe, Peaches

 

Directed by Dawn Monique Williams

Stephanie Mulligan, Stage Manager

Megan Wilkerson, Scenic Design

Wanda Walden, Costume Design

Jennifer Lin, Lighting Design

Sharath Patel, Sound Design

Portland Mercury Review

Wednesday, February 7th, 2018

by Megan Burbank

“Undeniable and frightening political resonance”

https://www.portlandmercury.com/theater/2018/02/07/19660118/roller-coasters-emotional-and-otherwise-in-25-minute-ride

 

 

Willamette Week Review

Wednesday, February 7th, 2018

“A scalding standup routine and a love letter to her father.”

“Packed with affectionate jabs”

“A spectacular showcase for the talents of actress Allison Mickelson”

“2.5 Minute Ride” Recalls a Drug-Addled Trip to an Amusement Park and a Sobering Journey to Auschwitz

Profile Theatre’s new production juggles those seemingly contradictory parts with grace to create an uproarious and cathartic whole.

(David Kinder)
“A scalding standup routine and a love letter to her father.”

“Packed with affectionate jabs”

“A spectacular showcase for the talents of actress Allison Mickelson”

http://www.wweek.com/arts/theater/2018/02/07/2-5-minute-ride-recalls-a-drug-addled-trip-to-an-amusement-park-and-a-sobering-journey-to-auschwitz/

 

 

“A sift and savvy ride” Oregon Artswatch review

A comprehensive introduction to and review of 2.5 Minute Ride.

“A journey worth taking”

“Powerful in its simplicity”  

“Very funny”

“Mickelson makes the perfect Lisa”

A swift and savvy ride

Lisa Kron: In Her Own Words

2.5 Minute Ride 2 Decades Later

 

We asked Lisa to reflect on the creation of 2.5 Minute Ride, now that it’s been two decades since it first premiered.  She kindly shared an brief insightful essay on her experience making the piece and its relevancy today.

I worked on 2.5 Minute Ride for five years, from 1995 until it opened in its completed form at the Public Theater in 2000.  I was 39 years old then and I remember feeling I had reached the summit of a mountain I hadn’t realized I was climbing.  It occurred to me then that throughout the previous 20 years, which had felt distressingly aimless as I was going through them, I had actually been doggedly, if unconsciously, accumulating the craft I would need to…what?  I was going to say “tell my father’s story.”  But 2.5 Minute Ride isn’t a story.  It’s a serial deconstruction of stories I yearned to tell about my father’s life.

Before 2.5 Minute Ride, I had tried to tell those stories in a previous show.  It went badly, though at the time I thought it was aces.  It felt extremely satisfying, telling those stories on stage.  And I thought the show had been a success until, about six or eight months later, I watched the archival video.  And I was plunged into a months-long feeling of humiliation and shame.  My father had lived through a cataclysm that cost him everything.  Watching that video, I saw myself reveling in my ability to ignite a charge in the audience by repeating his accounts of that cataclysm—a narrative thrill ride that ultimately cost me and my audience nothing.   

My father spoke about the things that had happened to him with a disarming equanimity.  He always couched his recollections in the context of history’s long arc.  He never saw his experiences as singular, but as part of the human continuum.  I think that gave him comfort.  It also gave him a way to stand to the side of trauma, while remaining engaged with his past.  But there was something else, as well, something unsettled at the core of his stories, something he was still grappling with.

There’s a difference between lived experiences and the stories we tell about them. Stories are created after the fact: we choose a handful of elements from the great swirl and arrange them into constellations of comprehensibility and meaning.   But life, as we live it, has no narrative.  It sweeps us ceaselessly forward, demanding that we act and react but providing none of the context or certainty that will come with hindsight. 

At the center of my father’s cannon of stories were those about people he had known who raised their voices, even at great risk, who had the courage to stand up and say, “This way of treating other people is wrong and I will not go along with it.”  The question my father couldn’t stop asking himself, that hovered in the background of every story he told, was “How could I have behaved better?  In what ways could I have been more humane?” 

My dad died in 2015.  I miss being able to talk to him about current events.  I miss the wisdom of his long perspective.  I yearn to hear his thoughts about this current regime.  I’m also relieved he’s not here to see it.  He would have a fascinating analysis.  But so many times in this past year I’ve read the news, wondering if these events would trigger in him a fresh unleashing of old trauma. 

This weekend, as I write this essay, is the one year anniversary of the Women’s March.  This morning I was at one of the many rallies across the U.S., across the globe, where people gathered to affirm their steadfast commitment to resist, and I realized that not all of the events past year would have been a source of trauma for my father.  The hundreds of thousands rising up to say “This way of treating people is wrong and I will not go along with it,” would have moved him beyond measure.

-Lisa Kron, January 2018

In Dialogue Staged Readings

Actors Chris Murray and Jenny Newbry in Buena Vista by Edith Freni, directed by Desdamona Chiang

 

In Dialogue Staged Readings include new and contemporary plays in conversation with Lisa Kron and Anna Deavere Smith’s body of work, as well as readings of plays by these writers not included in our Main Stage season.

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 2018 schedule will be announced soon!

Community Council

Profile’s Community Council is a group of unique individuals whom we invite to join us behind the scenes over the course of our seasons. Each member brings a unique perspective and voice to the conversation around our featured playwrights.  Council members are invited to rehearsals, production meetings and various other aspects of Profile programming, and then are invited to share their thoughts and reactions with us and with their own particular community.

Meet the 2018-19 Community Council!

Tony Funchess
Santos Herrera

Michelle Fadem Kashinsky is thrilled to be a part of  Profile’s Community Council.  She is the Casting Director for Profile’s upcoming production of The Secretaries.  She is Production Managing Hand2Mouth’s 2017-2018 season.  She spent 12 years at Radio City Music Hall helping produce the Christmas Spectacular with the Rockettes. She has a MFA/BFA from NYU (Tisch).  She is a playwright and children’s book writer and proud members of The Dramatists Guild and SCBWI.

 

Margaret McKay
Mariel Sierra
Carmen Suarez
Dana Walls

Click here to see what our 2017 Community Council members shared.

2018-19 Community Profile

Profile’s Community Profile program identifies a specific portion of our Portland community that we think will be particularly impacted by our featured writer.  We then assemble a cohort of participants to engage in a full year of community-building and artistic practice together. 

To learn about our 2017 Community Profile program Our City’s Veterans, click here.

 


Come write with us at Profile!

For our 2018-19 season, we are featuring two master writers in conversation with one another – Lisa Kron and Anna Deavere Smith.  At the heart of the work of both are questions about illness and wellness, health and caretaking and our system of healthcare.  

For our 2018-19 Community Profile, we are eager to invite those living with these issues every day – patients, family members and professionals – into Profile to reflect, write and share their stories.

 

Comm Profile

 

OVERVIEW:

– The program began with an in-depth weekend of writing instructionlead by mentors from the Writers Guild Initiative.  We gathered together the weekend of February 3rd for a writing workshop and attended the production of Lisa Kron’s 2.5 Minute Ride, as well as meeting with our community of artists at the theatre.

 

– Throughout the year, we will continue to use local mentors for a few hours of writing instruction one Saturday a month – an opportunity to check in, continue sharing pages and deepening our sense of community. 

 

– At the end of our 2018-2019 season, there will be another extended weekend of writing workshop, along with a public presentation of writing that has come out of our year-long program.

Dates TBD spring of 2019.

 

– Profile will commission world-renowned theatre artist and National Medal of Arts recipient Ping Chong to create an original docu-theater piece that interweaves the personal stories of five of our Community Profile participants with the history of healthcare in our city and in our country. This original piece will premiere at Profile Theatre in February of 2019. Dates TBD.

 

If you or someone you know would enjoy and benefit from participating in this exciting program, please contact Josh Hecht, Artistic Director at Profile Theatre at josh@profiletheatre.org or at 503-242-0080.

2.5 Minute Ride

Lisa invites you on the Kron family “vacation” to Cedar Point Amusement Park in Sandusky, Ohio. You see, in spite of near-blindness, diabetes and a heart condition, Lisa’s 75-year-old father Walter insists on yearly trips to the world capital of roller coasters. But this isn’t the only journey they take together. Lisa also accompanies him to Auschwitz, where his parents were killed, and where she comes to understand more clearly the joys and sorrows of her father’s heart. A complex and searingly funny meditation on how human beings make sense of tragedy, grief, and everyday life.

Wonderfully evocative and often seriously funny, [Kron] sets off emotional vibrations that just won’t stop. -Ben Brantley, New York Times

One of the most tender and discerning family tragicomedies in recent memory.” -Linda Winer, New York Newsday

 

2.5MR

 

SINGLE TICKETS AVAILABLE HERE

To contact the box office call 503-242-0080, Tu-F, 12-4pm

By Lisa Kron, Directed by Jane Unger

January 25 – February 11, 2018

Performance Calendar

(P) = Preview; (O) = Opening Night; (M) = Matinee; (*) = ASL Performance

 

SUBSCRIBE to the 2018-19 Double Season featuring Lisa Kron and Anna Deavere Smith.  Full Info Here.


 

CAST & CREATIVE

Allison Mickelson

Starring Allison Mickelson as the solo performer. (Last seen as “Alison Bechdel” in Fun Home at Portland Center Stage!)

 

Directed by Jane Unger, Profile Theatre’s Founding Artistic Director

 

Jane Unger, Director

Allison Mickelson, “Lisa”

Peter Ksander, Scenic Design

Sarah Gahagan, Costume Designer

Miranda k Hardy, Lighting Designer

Casi Pacilio, Sound Design

Jana Crenshaw, Composer

Kyra Bishop, Props Master

Carol Ann Wohlmut, Stage Manager

Rory Breshears, Production Manager

Charlie Capps, Production Assistant