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Theater: Food:
Earthy
& Uplifting Imagine: the soil and rock that lay bare on the Oregon desert, the rustling leaves and grass that lend the Willamette Valley their beauty, the raw sheep wool that connotes warmth ... being transformed, without losing their integrity, into various emotional landscapes of one's life. The place and possibility to experience this transformation is in Nancy Pobanz's art currently shown at the White Lotus gallery at 767 Willamette St. in Eugene. My first encounter with Pobanz was years ago at a local Chinese restaurant. I remember asking about her profession. She said, "I'm an artist." An answer as succinct as her personality. Recalling that, she acknowledged that she was glad I did not ask for more details. She would not know how to describe her art work to me. She prefers to let her work speak for itself. From grinding Oregon desert soils into pigments to distilling ink out of boiled plants; from pounding and forming bark, leaf, and grass fibers into paper to hand-manipulating raw sheep's wool into felt, Nancy's work begins with the most natural elements of life and ends with some of the most abstract forms articulating her artistic aspirations. Trying to define or categorize her work risks losing the spiritual vitality embedded in her art.
Be it fiber assemblages, sculpture or mixed media, Pobanz's art work stimulates and inspires viewers with its beautiful execution of her artistic vision. A vision deep-rooted in the rich soil of the ancient artistry of paper-making and fiber-making, and much invigorated with a modern sensitivity and vulnerability. Born in Ontario, Ore., Pobanz grew up under the influence of her mother, a pottery artist, who made almost everything from scratch, including firing dinnerware in her own kiln. But not until her late 20s did Nancy realize that she could no longer resist her destiny — to be an artist. Her graduate studies at the UO winged her gift for art, especially in the fields of paper-making and book-binding. She was invited to the 1985 Duntog International Paper-making Symposium in the Philippines, and decided to run a paper-making workshop there in Baguio, a remote mountainous area with a thriving arts community. For almost six years, she witnessed and weathered political and natural disasters with the local people. The experience opened her eyes to a different zest for life and a stronger poignancy of beauty. It gave her art the emotional weight that's often lacking in some modern art work. As a child, Pobanz always wanted to find "somewhere greener" than the desert. She found Eugene. But a slow drive home in 1997 ignited her rediscovery of the vibrant yet subtle beauty of the Eastern Oregon desert, her birthplace. The desert tones run through most of her work at this show. It displays an essential, yet often unnoticed quality of a great artist — the instinctive understanding of her material, its right use and possibilities. One of my favorites at the show is "Mum's the Word." The Alabama red soil covering the background sets a tone of intensity. Sewn to the canvas with hand-rolled cord from daphne paper are cut cedar bark paper squares. The visible gnarly fiber with black-inked writings exhibits a pent-up energy not to be stopped. The piece carries a vibration that goes much deeper than pleasing the senses. An integral part of Nancy's work is her indiscernible journal writing. As she said in her statement for the show, "I create the substrate (handmade paper slabs, thick felt pieces, soil-painted linen) and then write on the surface ... The content of the writing is personal, visceral, and cathartic — allowing me to purge myself of issues or emotions. ... After writing, concealing the words satisfies my desire to obscure and release those thoughts and allow the piece to take on a life of its own." As a viewer responded in Nancy's comment book, her work "actually breathes." Also visible is the influence of Eastern philosophy on Nancy's work, observed Debra Beers, drawing professor at Lewis & Clark College. Her work is "calm and meditative." It reflects "an inner peace" through the tears and thorns of life. A great illustration of this quality is her piece titled "Vigil." Though "revealing/concealing is the most pronounced theme," as Nancy puts it, one sees no signs of escapism in her work. She confronts and even penetrates the core of life with her unique perspective. Her art exemplifies an exquisite fusion of form, color, line and texture. The simplicity and honesty intrinsic to her approach to mankind's complex inner reality gives impetus to her creativity. Her art reconnects us to life's essentials.
Pathological
Actors Actors Cabaret of Eugene opened Joel Paleys hit 1992 off-Broadway musical Ruthless! The Musical, a zany send-up of The Bad Seed with classic clichd lines lifted from Gypsy, The Women, All About Eve, and a variety of other shows. Ruthless is a sordid little tale of three generations of women locked in brutal competition to upstage one another as they claw and back-stab their way to the top. At the center is precocious 8-year-old Tina, a devious darling with a pathological need to be famous.
Act I opens in the home of housewife and mother Judy Denmark. Judy is married to an elusive husband named Frederick. Judy doesnt know what he does for a living or where he is most of the time, and her uncomplicated life revolves around her beautiful and talented daughter Tina, whose blind ambition is palpable behind her syrupy demeanor. While Tina is preparing to audition for the lead role of Pippi Longstockings in her third grade production of Pippi in Tahiti: The Musical, flamboyant Broadway manager Sylvia St. Croix arrives on the scene. Sylvia is convinced of Tinas talent and determined to make the little girl a star. But Tinas dreams of stardom are dashed when her rival Louise Lerman wins the coveted role of Pippi and Tina, the lowly part of Puddles, Pippis dog. According to Tinas teacher, Miss Thorn, Life is a bitch and it starts in third grade. With a hefty dose of foreshadowing, Sylvia talks Miss Thorn into letting Tina be Louises understudy in case something were to unexpectedly happen to Louise. Act II opens on the swanky, uptown penthouse apartment of Judy Denmark, aka Ginger DeMarco. Judy/Ginger has come a long way from her days as a dowdy, suburban housewife. Shes a big Broadway star now, the critics adore her, and she has her very own personal assistant, an envious, desperate wannabe named Eve. Realizing that talent was in Tinas blood, Judy banished her daughter to the Daisy Clover School for Psychopathic Ingenues, changed her own name and identity to Ginger DelMarco, and ran off to be a star. But, things are about to change again. Arriving today on her doorstep are Sylvia St. Croix, an inquisitive reporter from Modern Thespian, and finally, just released from reform school, little Tina herself. In the final melodramatic moments, gunshots are fired; secrets are revealed, and only one of them lives to tell the tale. Either by accident or design, Joe Zingo and producer Jim Roberts have chosen an ideal time to stage Ruthless! In uncertain times, the delightful all-women cast of Ruthless! invites the audience to indulge in a care-free evening of non-stop laughs. In the title role of Tina Demark is Ashley Apelzin. She may play the devils spawn, but with her strong, clear voice and show-stopping style, Apelzin was truly born to entertain. Sue Schroeder-White is hilarious as Judy/Ginger. Her seamless transition between drab housewife Judy and egocentric star Ginger is brilliant. And while Shroeder-Whites comedic talents are evident throughout, her spot-on Marlene Dietrich impersonation in It Will Never Be That Way Again is a riot. With her big, brassy voice and glitzy style Erica Jean Piersons performance as the grandiose Sylvia St. Croix is stellar. Margot Trieger delightfully mangles the song I Hate Musicals, and plays her role as acclaimed theater critic Lita Encore with caustic wit. And Amanda Fackrell is terrific as Tinas embittered third grade teacher Miss Thorn. Rounding out the fine cast is Helene Morse as little Louise Lerman, Lisa Moe as reporter Emily Block, and Maggie Tryk as Eve. Snappy dialogue, catchy tunes, and delightfully over the top costumes all make Ruthless! The Musical a wonderfully wacky romp, but what sets it apart most is the actors seem to be enjoying themselves as much as the audience. Ruthless! runs through March 1.
Sushi
and Molokhiyya Sushi
Domo Sushi Domo is hard to miss. The restaurant stands out from the other storefronts in the Delta Oaks shopping center by making itself a beacon of green neon light. Once you step past the blazing exterior windows, an attentive staff of employees will greet you with the Japanese welcome Irashiimase! the sushi chef behind the bar gives it extra gusto. The month-old Japanese restaurant, specializing in sushi and sake, boasts a New Age Asian dcor that will appeal to most Eugene diners. Inside, more neon lights, colorful glass light fixtures, wood tables and chairs and framed Japanese wood-block prints create a clean and fun environment. The small restaurant also sections off a corner for private group dining. The expansive and inventive sushi menu combines tradition with curious ingredients. A large portion is also dedicated to vegetarian rolls. Many of their rolls incorporate Asian vegetables, spicy flavors and creative pairings of Japanese ingredients with more familiar ingredients such as smoked salmon, cream cheese and asparagus. The names of the sushi are equally originative. I tried the Mexico City Roll, which combines crab, cucumber, mayonnaise and a spicy sauce, topped with avocado. It made my mouth burn for water; the amount of spice is surprising for sushi. Sushi Domos Nigiri sliced fish (cooked or uncooked) atop a ball of rice mixed with vinegar is superb. The tuna and salmon, both rich in color and flavor, practically melt in your mouth, obviously very fresh. The Domo Family Boat of sushi, which includes sashimi (sliced raw fish), various roll sushi, shrimp tempura, orange, crab and yakitori (grilled chicken skewers) all for $57.99, comes on a wooden boat tray that covers a good portion of the table. When a customer orders this, everyone in the restaurant stares at the abundance of food. It looks like an artful smorgasbord. The aesthetically pleasing presentation of food is paramount at Sushi Domo. Small details like the cut of fruit and vegetables, and garnishes like sliced orange, pickled ginger and beans add to the presentation. The entre menu, ambiguous and interspersed with Korean foods, leaves out some important clarifications. For instance, the sukiyaki does not specify that it is only available for two, and the katsu dinners do not mention accompaniments. Dinners come with miso soup, rice, salad and fruit. The Ton Katsu fried pork cutlet came out very lean, but pounded so thin it resembled schnitzel, and served covered in sauce (unmentioned in the menu). The yakisoba thin noodles and julienne vegetables sauted in a house made sauce tastes ordinary and on the greasy side. Sushi Domos dinner entrees cater to an Americanized palate, and therefore sacrifice authentic Japanese style. The salad that accompanies dinner comes with ranch dressing, the rice is served on the plate, and the miso soup comes served before the meal, instead of the traditional Japanese way of having it all together. Sushi Domo renders eye-catching flavorful sushi, a variety of sakes, and a courteous staff eager to please their customers, which makes up for its flawed menu and lack of traditional Japanese dishes. Lunch:11 am-2 pm M-F. $-$$. Dinner: 4:30-10 pm, M-Sa. $-$$$.
Mariko Fukuyama ATour of The Mediterranean is the theme of the winter classical cuisine dinner offered by Lane Community College culinary arts students at 6 pm Thursday, Feb. 13 at LCCs Workforce Training Center (west wing of Building 19). The dinner begins with a Middle Eastern mezze platter with tangy bulgar wheat, garbanzo bean spread, fruit and homemade pitas. The second course features prawns in phyllo and accompanied with a light lemon aioli. The third course is an Egyptian green herb soup made with dried molokhiyya (a spinach-like green). The entree is a grilled lamb with red wine demi-glaze served with mushroom risotto, oven-dried tomatoes and grilled eggplant. A Meyer lemon (a lemon-tangerine blend) sorbet follows as the intermezzo. A light salad will follow, with fresh mesclun greens, Roquefort cheese and delicate champagne vinaigrette. The dessert is marbleized chocolate torte with orange cornmeal rosettes and apricot sauce. A vegetarian dinner option can be pre-ordered and a no-host bar and entertainment will be provided. Tickets are $23.50 per person. Because of limited seating, ticket orders should be received by LCC by Feb. 10. For moreinformation, call Annie Caredio at (541) 463-3503.
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