Tasha Miller

It’s the kind of realist classic that could feel like the dramatic equivalent of eating your vegetables. But even though PETE is faithful to the source material, its reverence is far from staid. They’ve brought their version of the play to life with live music and imaginative staging.
  • January 10
In “And So We Walked,” playwright and performer DeLanna Studi recounts an early memory. The child of a white mother and Cherokee father, her father once told her, “You will be a bridge between your mother’s people and mine.” Instead, she tells us, she’s more of an island between two shores. “And So We Walked” is Studi’s first play. It’s getting its premiere at Portland Center Stage, where she recently starred in Astoria. Throughout the autobiographical performance, Studi explores her relationship with her father and her Cherokee heritage. This culminates in a six-week, 900-mile trip along the Trail of Tears that she persuades her father to take with her.
  • April 11
Themes are made visceral with Frame’s set design, which manages to externalize Faust’s internal turmoil.
  • June 13
On the surface, “Men on Boats” seems a conventional play. Written by Jaclyn Backhaus, it’s a rollicking tale of the 1869 mission to explore the Colorado River, when a group of 10 intrepid adventurers, financed by the U.S. government, struck out to survey one of the last remaining pieces of the American frontier. But two sentences in the script’s casting notes transform the play into something different: “The characters in Men on Boats were historically cisgender white males. The cast should be made up entirely of people who are not.” What that something is, though, isn’t easy to pin down.
  • March 7
The humor in I Feel Pretty is mostly built on the same premise: We know and the other characters know that nothing about Renee has changed, but she doesn’t. Most of the movie is just different versions of the same joke: confidence that borders on bombast. Renee casually drops lines like “yes, modeling is an option for me” at work, at the dry cleaner, at the bar.
  • April 25
Flashbacks show the takeover of fascism in Weimar-era Vienna.
  • July 11
“Revolt” is a play about why we do things the way we do—because we’ve been told to do them a certain way; because they’re programmed into us.
  • June 6
“Night Bus” seems to exist in its own wacky little world, and as an audience member you’re invited to spend an hour in it.
  • July 3
“7 Days in Entebbe” is a film with high aspirations. Based on the true story of a 1976 Air France hijacking and subsequent seven-day captivity of 83 Israeli hostages, it has the potential for a serviceable hostage thriller. Instead, it squanders that energy on a geopolitical procedural and a strained parable about the Israel-Palestine conflict.
  • March 13
Lawrence plays Dominika Egorova, which sounds like a Russian ballerina’s name, and she just so happens to be a ballerina for the first 10 minutes or so. When injury ends her dancing career, her uncle Ivan (Matthias Schoenaerts) recruits her to become a “Sparrow,” a secret agent highly trained in the science of seduction. To explain why Sparrows exist, one character gravely says: “The Cold War did not end. It shattered into a thousand dangerous pieces.”
  • February 27