Krista Garver - Page 16

This Whitney Houston tribute concert with a plot, part of the Broadway in Portland season, is packed with phenomenal performances of the late singer's greatest hits.

Lakewood Theatre Company's production, directed by Brenda Hubbard, is very good and incredibly timely given that this story of racial injustice set in 1935 is disturbingly just as relevant today.

Bag&Baggage's THE FARNDALE AVENUE HOUSING ESTATE TOWNSWOMEN'S GUILD DRAMATIC SOCIETY'S PRODUCTION OF MURDER AT CHECKMATE MANOR is comedy done right.

In YOU IN MIDAIR, Rebecca Schaeffer's mother, Danna Schaeffer, explores her own grief and long path to recovery and also seeks to make sure her daughter's life isn't defined by her death.

Christopher Chen's CAUGHT combines visual art and performance into a whole new type of adventure in live theatre.

EVERY BRILLIANT THING is a funny, poignant play about depression and suicide. But it's also a reminder that the world around us is filled with a lot of really great things, and we'll all be better off if we take the time to notice them.

FUN HOME will make you laugh and it will make you cry, and you'll love every minute of it. Go see it. Also, dads, call your daughters.

THE CRACKWALKER is bleak and it's hard to watch (at times, excruciating). But it's the kind of show that does exactly what theatre is supposed to do.

Madeleine George's Pulitzer Prize-nominated THE (CURIOUS CASE OF THE) WATSON INTELLIGENCE takes the audience on a journey through time (and several Watsons, from Alexander Graham Bell's assistant to Sherlock Holmes's sidekick to IBM's Jeopardy!-winning supercomputer) that explores the nature of our relationship with technology and, fundamentally, with other people.

Branden Jacobs-Jenkins' AN OCTOROON is a play about the racist history of the United States and the continuing racial struggle we find ourselves in today. And it's funny.

If there's a play that can help us see past our differences, it's THEY, THEMSELF AND SCHMERM, now playing as the first show of Artists Repertory Theatre's 2017/2018 Frontier Series and also part of PICA's Time-Based Art Festival. Blackwell's one-person show is bust-a-gut funny, make-you-cry moving, and one of the most compassionate pieces of theatre I've ever seen.

HAND TO GOD wasn't as funny I expected it to be. It was more disturbing, highlighting the immense dangers of not dealing with negative emotions.

The Metropolitan Community Theatre Project's THE FANTASTICKS features a strong cast and a whole lotta love.

GYPSY is often referred to as the 'greatest American musical.' The current production at Broadway Rose has almost all of the right ingredients.

Bag&Baggage's world premiere production of ROMEO & JULIET (LAYLA & MAJNUN) is a mashup of Shakespeare's classic and a Persian tale of doomed young lovers, written centuries earlier by Nizami Ganjavi (and which may very well have served as Shakespeare's inspiration).

RED BASTARD: LIE WITH ME seeks to understand the complicated rules (and double standards) we have about love and fidelity.

THE ADDAMS FAMILY brings together all of your favorite kooky characters for a fun, heartfelt show with plenty of theatre magic.

In COME TO THE TABLE, MIKE PENCE, Eve, Salome, and Queen Elizabeth I try to convince our VP to sit down for a meal.

Kelly Kinsella's HOW TO DO A ONE PERSON SHOW is part lesson/part act of creation, where you learn the fundamentals of creating a one person show.

In David Harrower's two-person drama GOOD WITH PEOPLE, two lonely people, stuck for different reasons in an otherwise empty hotel, manage to bridge many divides and find comfort in one another, at least for a short while.