This summer is bursting with Shakespeare and Shakespeare-ish performance options running all price ranges in the Portland area. Strangely, sadly, I am actually in California for a research fellowship, and so am missing a great deal of the offerings. Regardless, I did want to let you know what was available. Maybe you’ll let me know what you think?
¶ I’ve been thinking a lot recently about identity parity in Shakespeare performance. This is in part because of recent articles critiquing Hollywood whitewashing, which in actuality negatively affects box office numbers. (For recent coverage, see theLos Angeles Timesand Business Insider.) This is in part because I have been seeing a great deal of theatre interested in the range of implications available when you might choose to play a character against their biological-gender identification. For example, when Hotspur is female-identifying in the Henry IV plays, as in the case at the Oregon Shakespeare Festival this summer, the competing reports of her death at the start of part two resonates with a very different parental agony and pathos. Or, when Aeneas is played by and as a woman, such as is the case of Portland Actors Ensemble’s Troilus and Cressida, that rape is a necessary war strategy becomes newly apparent. But is this kind of parity necessarily true across the industry?