Two and a half weeks after running Part 1 of my Oregon Shakespeare Festival reviews, the San Francisco Chronicle finally published the second round, which includes thoughts of my favorite shows from this season: The Servant of Two Masters and the incredible Equivocation.
I also saw Sarah Ruhl’s Dead Man’s Cell Phone, but I didn’t review it because the production closed at the end of June. Having recently seen the SF Playhouse production of the play, it was interesting to see the OSF take on it. I think the play, which can be wonderful in Ruhl-like ways, has some fundamental problems, but it is greatly helped by a gorgeous physical production, which is what it gets in Ashland. Ruhl is a fan of visual poetry to enhance the emotion of her writing, and that potent combination made for a stunning experience in OSF’s black box New Theatre.