WITTENBERG is the last main stage production for Portland Stage this season and a play I knew nothing about, yet with the characters of Prince Hamlet, Martin Luther and Dr. Faustus, I was eager to be introduced to this comedy.
The script is by David Davalos, exploring the questions of religion and free will. I found the message extremely pertinent in the political atmosphere of our modern society of expressing free thought and speech, as we are under attack from the far right and far left to our First Amendment freedoms. The right feels justified by infusing biblical morality in controlling the populace, while the left is engaging in political correctness Orwellian manipulation of the language, both attacking the true spirit of our constitution to silence critics, always easier than actually engaging in the free debate of ideas.
This is a gem of a script, exploring large, universal questions, yet easily understood and written with the intent of a rollicking laugh fest. Unfortunately, this production is very uneven and an Equity cast largely disappointing.
The cast is small with four actors, saving grace is the magnificent performance provided by Michael Hammond as Faustus. This was an actor who inhabited every nuance of his character with electrifying energy and vocal qualities. Mr. Hammond is a master of comic timing and line interpretation, quickly cementing the role of pace setter for this play. Faustus has my favorite line as he speaks of idle passivity to challenge authority, "great men always go too far, that is what makes them great."
Caley Milliken as The Eternal Feminine was also a joy, yet didn't have the stage time to truly be a force to counter the performances of Rob McFadyen (Hamlet) or Hall Hunsinger (Martin Luther). Mr. Hunsinger seemed unsure of himself and never acquired the skill of setting up the joke or executing a punch line to full fruition. Vocally he lacked the punch to orally fill the theater and was always overshadowed by the extraordinary Mr. Hammond. Mr. McFadyen brought nothing of value to the plate and reminded me of community performances. Never once did he reach into his gut for breath control and always felt his lines were about how quickly he could get them out of his mouth instead of any interpretation or knowledge of what he was saying. Also, every utterance was paired with a hand gesture, I guess just in case we didn't hear him say moon or drink, he would show. By the end of the play I started to believe he was dueling also as the ASL interpreter.
This production has many outstanding attributes when discussing the technical aspects. Hugh Hanson has created a feast for the eyes with his costumes. Shortcuts or throwing in modern twists is rejected and an exquisite, meticulous parade of 16th century frocks becomes an integral component of the storytelling. Set Designer Anita Stewart has created a delightful playing space, from the large front doors of the church steps, the intimate feeling of Faustus' apothecary inner sanctum with the carved wooden detail and cross, to the suspended pulpit of Martin Luther. I loved the large doors center stage which swung open at times,as doors do, or magically slid into the recesses of the wall to reveal a special scene display. A large grey wall inhabited stage right though, which in my opinion sucks energy out of the space.
Andrew Hungerford's lighting created the darken world of the mid Renaissance world while also creating a few wonderful effects. Sound was a major contributing factor in this production and Seth Asa Sengel was up to the challenge. I'm sure it was the director's call, but pub noise underlying the action on stage was at times a distraction, simply because certain actors could not vocally rise above to overcompensate.
This production had two directors, which could explain weak blocking choices as well as forced or unnatural blocking decisions.
One glaring choice was bringing Faustus off the stage into the audience as he speaks, as if we were in his lecture hall. The move greatly weakened the actor and scene as well as leaving many of us twisting our heads and bodies to keep him in our eyesight.
WITTENBERG is presented by Portland Stage Company through May 19. Box-Office, 774-0465, www.portlandstage.org.

(Harold Withee is a member of Actors' Equity and SAG-AFTRA.)

Why Theater? I’ve been asked that question many times in my life and usually asked in the context of “isn’t theater dying, dead or on life support?” so be smart and climb the corporate ladder. I never did like heights and most corporate jobs seemed more soul sucking than a path to happy land, besides, theater in America has had its Obituary written many times yet continues to flourish and grow.
A song from a musical states, “Art isn’t easy, even when you’re hot” and is most true when producing for the stage. Nobody goes into theater with the expectation of getting rich with money, it’s the richness of community and exploring the human condition of what sets us apart from all the other creatures on the planet. Theater is life changing, pure entertainment from the day to day stress of life or pondering the large questions in life of who are we, attending a live performance is not a passive proposition.
New York had Broadway and most larger communities across the country had Opera houses or Vaudeville halls hosting touring acts, but the idea to self-produce plays in-house for a local audience was a concept slow to materialize. Today we are very familiar with this new type of playhouse or regional theater with hundreds scattered across this country, having grown tremendously over the past 40 years. America’s first regional theater was formed in 1915 in Cleveland, Ohio, yet, by 1961 that number had expanded to only 23, including the Ally in Houston and Arena Stage in Washington, D.C.
Boston had a known theater district and a rich history of being a top stop for the out of town trials of Broadway bound productions, a place to tweak and refine before opening on the Great White Way and facing the New York Critics. Today, the theater district in Boston is still a busy area bringing in Broadway shows, but starting in the late ‘70s, a movement to control and create the art form locally was blossoming and by 1982 The Huntington, Wheelock Family and The American Repertory Theater had been established. Greater Boston today is home to over two dozen professional groups, large and small and is considered one of the top five theater towns in America. The path to Broadway has also changed, most new plays start at a regional theater before moving to New York, such as ALMOST MAINE or LOVE/SICK, both produced right here by Portland Stage.
I have never been convinced that theater competes with itself, finding in my career the exact opposite. Once theater is introduced to a community and takes root, new branches sprout as the audience is educated and trained to attend live performances, creating a savvy consumer which in turn demands higher levels of production. Portland, Maine is transforming itself into a very important market for theater, supporting a dozen companies, many using Equity Actors, producing quality work which can stand side by side with any other area of the country. I’m also happy to report money never has to be an obstacle to attending these venues, the majority have pay-what-you-can performances and all need volunteers, such as ushers or selling concessions.
We are entering an exciting time in Portland, for Spring brings the celebration of festivals, introducing mainly new works.
This weekend, Munjoy Hill is the place to be as the St. Lawrence Arts Center and Acorn productions host the second weekend of Maine Playwrights Festival and the 24 hour Portland Theater Project. As an audience member, we experience the end result of years fine tuning a script, rewrites and angst at most productions, The Maine Playwrights Festival gives you insight at the beginning of that journey. Who knows, you may discover a play that someday is being produced across the nation, having a humble start you were witness to.
Little Festival of the Unexpected gets under way on May 14 at Portland Stage and runs through May 18. Very much like a yard sale, you really never know what you may stumble across, but with a name as intriguing as THE VIKINGS OF MUNJOY HILL on the docket, how can you stay away?
Portfringe 2013 opens June 26, offering four exciting days of back to back offerings featuring some of Portland’s best talent. Small companies such as Horn & Ivory, established groups such as Mad Horse and one-person presentations including James Hoban will be presented throughout the Arts District.
I’m sure you already have your calendar out, busy marking these dates. In this digital era, live theater is more relevant than ever as we struggle to maintain a connection to what makes us human. I argue it is not our massive brains, but our ability to emotionally connect and understand universal human needs of belonging and self worth. Attending a performance or acting on stage, I’m always aware the moment will never be recreated exactly the same even if the show runs ten years. A unique gift is a world where many of us live through the lens of our smartphone.
Mother’s Day is May 12 and your mother does not need a box of candy or flowers that will die in four days. Mothers want time spent will their children, so spend time with her at the theater. One day or better yet a season pass to a favorite venue will enrich both of you and give you a reason to look up from a screen and connect.

(Harold Withee is a member of Actors’ Equity and SAG-AFTRA.)

As I was still in need of a hefty jacket, the sky was deep blue and thoughts of summer ignited a short, enjoyable road trip to the banks of the roaring Saco River in Bar Mills. Twenty-five minutes straight out on Congress Street is the intimate, charming home of The Originals and their newest production, MAIDEN'S PROGENY: AN AFTERNOON WITH MARY CASSATT, 1906, written by Le Wilhelm. Mary Cassatt was a rare character within the Fine Art world in the late 19th century, an Impressionist, female, American painter living and working on her own terms in Paris, France.
The new century had already found Ms. Cassatt exploring her options as a painter, finding her own voice and purpose as, tragically, her eyesight began to fade. This play unfolds on one specific afternoon, the day after the artist Cassatt sat in judgment of her own work, knowing soon her sight would render her unable to be her own critic. Honesty with one's own work as an artist is difficult, but in the world of Art, others make a living commenting with their opinion and scrutiny. When an English critic invites himself to Ms. Cassatt's home, the play becomes a "lively debate about the necessity of critics, class and gender politics and the role of the artist in society."
Dana Packard directs this visually stunning production with an Equity cast. Heidi Kendrick, Peter Bloom and Jennifer Porter have created an amazing environment for the action to be enveloped by a Parisian Spring. The set is the studio space within Ms. Cassatt's Chateau, creating the perfect mix of color, feminine influence, yet a serious platform for work, overlooking the lush gardens dripping in Lilac. Detail within the room is minute including the two huge bay windows and french doors leading to the gardens enhancing the feeling of an airy, lighthearted, long anticipated breath of spring.
Quickly, the mood is transformed, adding an underlying tension as Ms. Cassatt, played by Jennifer Porter, is introduced, hard at work with a mother and child portrait. Her subject is fellow American Iris Wallace, portrayed by Elisabeth Hardcastle.
Ms. Porter brings a wonderful intensity of passion to this character, exceptional work when describing the judgment of her paintings. The beginning of the play has the artist behind an easel working on the Wallace portrait and the audience has no doubt in the authenticity of Ms. Porter's action; unfortunately, vocally, she seems weak at times. Linda Shary brings to life the housekeeper and confidant of Ms. Cassatt, Marie-Ange. Ms. Shary finds and exploits many humorous moments and gives Marie a bounce of personally. Ms. Shary's Marie-Ange keeps a great home clean, bakes the lightest pastries and makes a mean cup of tea, but, if necessary, can be a loyal bulldog and enforcer. Even though the year is 1906 and the Wild West is a fading memory relived in paperback novels, Marie hopes to get to America to see Cowboys and "naked red men." Ms Shary is a joy to encounter on this stage.
The major focus of the dialogue within this play is between Ms. Cassatt, the Artist, and Winford Johnston, the visiting English critic. Brian Chamberlain approaches the role of Johnston as charming admirer, helping to educate and introduce those outside the inner circle to the artists within. Mr. Chamberlain succeeds in inhabiting a creature as complex and vocal as Ms. Cassatt, constrained as well by the social norms of the period and living up to the image of English Gentleman, crusader of "FairPlay" in the world. Each actor was also required to learn French and I applaud the ease of the language on stage. I have no idea if any or all the actors could speak it before being cast.
Mary Cassatt played a man's game and was successful because she persevered in the face of being told, NO. She didn't ask permission, she just did and let the cards fall where they may. A thought sticks with me as Ms. Cassatt explains the obstacles of even her closest support. In Paris she became a close friend to Edgar Degas, she shares his praise of her, "you are very good, for a woman."
MAIDEN'S PROGENY plays a short run through April 27, shows at 7:30 p.m. The Saco River Theatre, Bar Mills, Maine
Box Office and information, 929-5412
I also want to inform all of you not to miss the Maine Playwrights Festival, produced by Mike Levine and Acorn Productions, hosted by the St. Lawrence performing center on Munjoy HIll, Portland. The festival runs through the first weekend of May.

(Harold Withee is a member of Actors' Equity and SAG-AFTRA.)