Round-up of 2018

Here is a purr of fortune’s, sir, or of fortune’s 
cat — but not a musk-cat — that has fallen into the 
unclean fishpond of her displeasure, and, as he 
says, is muddied withal: pray you, sir, use the 
carp as you may; for he looks like a poor, decayed, 
ingenious, foolish, rascally knave. I do pity his 
distress in my similes of comfort and leave him to 
your lordship.

— Clown, All’s Well That Ends Well

It has truly been a fortunate year. From my brother’s wedding to a brilliant research trip tp the Huntington Library, not to mention a relatively dry and warm fall and winter in Portland, I am sure I’m at the zenith of Fortune’s Wheel, and so steady myself for rougher waters ahead. In reflection on a great deal of good news and satisfying work, this post cobbles together a few year-end notes.

Just a few of my favorite things I saw this year, including Everybody and Magellanica (Artists Repertory Theatre); Henry V, Romeo & Juliet, and Snow in Midsummer (Oregon Shakespeare Festival); Strangest Yellow (Fertile Ground Festival); Wakey Wakey (Portland Playhouse); Uncle Vanya (PETE); Macbeth (Shaking the Tree); Silent Sky (Pacific University); and She is Fierce (Enso Theatre).

While I may have taken a bit of a break from the blog in order to focus on revisions of my book manuscript this fall, that didn’t stop me from seeing a range of performances. To end the year, I am back at Artists Repertory Theatre for a third time (first, second) observing and blogging about their production of Mike Lew’s Teenage Dick, a West Coast premiere. Check back here for the latest installments.

A number of other reviews went into print this year as well. This was a particularly special bunch as I was lucky to be in on the development of many of these projects by brilliant colleagues and friends before they went public.

Mele Kalikimaka me ka Hau’oli Makahiki Hou! See you in 2019,

— Elizabeth

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