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“Sometimes People Don’t Click”: Phil Busse No Longer White Bird’s GM

Thursday, November 12th, 2009

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Phil Busse, former Mercury editor, former mayoral candidate/mayoral campaign manager, sign plucker and panty model, is no longer the general manager of White Bird Dance, after only six months in the position. Byron Beck broke the news that Busse was let go near the end of last month on his spiffy new blog this afternoon.

“Phil brought some really good new ideas for us. But after his six month review we agreed that it wasn’t working out to either of our satisfaction. We agreed to go our separate ways,” said Whitebird co-founder Walter Jaffe. “Sometimes people don’t click. It’s a chemistry thing.”

Jaffe said the break did not have to do with Busse’s lack of arts background, but rather was simply a bad fit for the powerhouse dance presenter, which has brought everybody from Merce Cunningham to Lyon Opera Ballet to town over the past decade.

The position, which was designed to manage many of Jaffe and co-founder Paul King’s day-to-day duties so the dance-crazy duo could focus on “fund raising, programming and working with the community” has not been filled yet.

“We’re way open,” says Jaffe. “We have agreed that the person needs to have some arts background, someone who feels connected to the arts and dance if possible. It’s very open.”

Whatever the outcome, the presenters’ show last night at the Schnitz, Shen Wei Dance Arts, was a hit, at least, according to WW reviewer Kate Williams. White Bird’s next show is also the kickoff to this year’s Uncaged Series, which features unconventional dance groups in oddball settings, from Oaks Park to the YWCA. Wednesday, Dec. 2 brings Montreal’s Daniel Léveillé Danse at the Leftbank Project.

Love outlawed at Oregon farmers markets.

Thursday, November 12th, 2009

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Local farmers market sellers better start retooling their Thanksgiving pie and holiday cookie recipes. According to Nick Budnick, a reporter at the Bend Bulletin: “The Oregon Department of Agriculture wants Redmond’s Sarah Yancey to stop putting love into the bread, cookies, jams and jellies she makes — or at least stop listing “love” as an ingredient, like flour or fruit.” Apparently this past August an ODA inspector told her that “love was an impermissible ingredient because it can’t be measured.”

Wow. Now, Budnick (who was a staffer at WW years ago) is really just using Yancey’s story as a window into the bigger battle brewing between the state government, who is starting to take a closer look at ingredients and Oregon farmers markets vendor practices in the name of food safety, and local vendors and farmers selling at markets, who totally want ODA to leave ‘em alone. He also mentions other clashes up in Portland, where “Sarah Broderick, manager of the Hollywood Farmers Market, said the department warned vendors that having a dog in their booths would lead to immediate “closure” of the booth — even if the vendor was unaware of the four-legged intruder.” And now, irritated vendor grumblings have made their way to Salem:

[Some] vendors and market managers are not happy with the agency’s recent decision to take a close look at markets — and the critics have found a friendly ear in the Oregon Legislature. Rep. Brian Clem, D-Salem, who heard complaints while shopping at a market in Portland, has invited representatives from the farmers markets as well as the Agriculture Department to testify at a hearing on Wednesday.

But still… outlawing love? Have a heart ODA.

You can read the whole story at bendbulletin.com (if you’re a subscriber).

Ballet + folk + beer = Uprising.

Thursday, November 5th, 2009

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Don’t have any plans tonight? You ought to get over to Mississippi Studios and see Uprising, a short performance that a handful of talented Oregon Ballet Theatre dancers have created with achingly wonderful local folk band Horse Feathers. It is well worth it’s $15 ticket price and tonight is the last of its three shows.

Uprising is a new program that brings ballet to unconventional venues and basically aims to show the non-tutu crowd that classical dance doesn’t have such a stick up its collective butt. It’s the brainchild of OBT soloist Candace Bouchard who wanted to, well, give her fellow company members something awesome to do while they’re off contract with the ballet. Each dancer is essentially “laid off” for a number of weeks during the year depending on which shows they are in. This year, Bouchard is only working 25 weeks with OBT.  “I wanted to find more work for dancers. We work really hard in season but I only have 25 weeks this year…” she explained. “We need to find a way to stay in shape…and make some extra cash.” She circled back to her idea of this being a way to draw in a new audience for ballet, too. “Not everybody wants to sit in a 3,000 seat theater for three hours [to watch a show]” she says. “There’s a lot of misconceptions about ballet. I think we as a company have to reach out to a new community.”

Granted, in a town that boasts shows from dance companies from across the globe every month thanks to White Bird, crazy ass contemporary and experimental work at TBA and increasingly stylish, technically savvy performances from OBT itself, you’d think people would have figured out how wildly broad the spectrum of this whole ballet thing is by now. But if “dance education” in the future is going to equal intimate, in your face dancing with live backing from great bands in places where I can drink beer. then, by all means, I will back up the idea that we are still all hopeless, culturally bereft rubes.

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Back to the show: Last night, Bouchard’s idea blossomed into a rich, winsome performance in the small—by ballet performance standards—confines of Mississippi Studios. Horse Feathers’ Justin Ringle and crew plucked out their delicate yet earthy odes on guitars, mandolins and even on the saw up in the balcony while below them OBT dancers Ansa Deguchi, Olga Krochik, Leta Biasucci, Steven Houser and Lucas Threefoot joined Bouchard for a series of small solos, duets and group work, their jetes and sweeping arm movements constantly bringing them dangerously close to the edge of the club’s tiny stage—and sometimes over it.

It’s clear in every step of Bouchard’s choreography that she digs this band, as she matched playful, plucky footwork for a trio of one-upping ladies to the jauntier numbers or slid and slithered with partner Threefoot through a more emotional, passionate song. Yes, it’s still ballet, but this personal and bittersweet stuff, made even more charming by proximity. Nothing makes a crowd appreciate a tough lift than when they can actually see how hard a dancer must grip his partner in order to make sure she doesn’t faceplant into the floor. Or how much muscle control it takes to hike your foot over your head and then freeze it there for six seconds. It’s the same kind of intimacy that always made OBT Exposed, the summertime, in the park practice series that the company discontinued last year, so amazing.

“THAT WAS SWEET!!!” an enthusiastic crowd member yelled after Steven Houser dispatched a tough solo that at one point had him thumping his heels as if providing percussion for the band above. And it was—both the dancing as well as the idea that you can scream encouragement to a ballet dancer the way you’d casually bust out for a request for “Free Bird.” That’s exactly what made the evening special—and should make out-of-the-box ballet shows like this a regular occurrence for a company that must lure new fans.

It’s not perfect: An odd lack of chairs meant standing room only (and obstructed views) for half of the crowd at the club. And, as the evening progressed and more pints were guzzled, the irritating group of Chihuahua-sized girls next to me only got louder and drunker in their attempts to communicate during the performance. (Direct quote delivered in stage whisper about dancer Lucas Threefoot by a woman in fringe boots: “TRES LEG! We love tres leg. How…how..how do you say foot in Spanish?”)

Irritants aside, it’s a cool format for seeing ballet. Bouchard hopes to remount the show with Horse Feathers in January and maybe create a whole second show with a new band sometime after that. “This is definitely something I want to continue,” she says. “I do have a seven week layoff this spring…”

GO: Uprising at Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm Thursday, Nov. 5. $15. Info at obt.org/uprising.

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Trashed @ 35 opening party tonight at Backspace.

Thursday, November 5th, 2009

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People do weird things with their copies of Willamette Week. We were so intrigued by the photos a local artist named Klutch sent us earlier this summer showing the artworks he created by doodling on his new copy of WW at Meat Cheese Bread each week that we decided to mount an entire gallery show devoted to trashing our newspaper covers.

With help from Klutch and WW vis arts critic Richard Speer, we picked a handful of local artists, from painters Alexis Mollomo and Josh Arseneau to installation master and tattoo artist Dan Gilsdorf, gave then the choice of using of one of five Willamette Week covers and told them they had three weeks to embellish, trash, tear apart and re-use it in any way they liked. As long as their art project used the original newspaper cover in some way, it was cool with us. Check out artist Pedro Dorsey’s version of our March 25, 2009 “Pet Sounds” cover, above.

You can check out the rest of the project’s startlingly creative results, which involve everything from oil paints and thread to wood blocks and tiny clay skeletons, when the show opens tonight at Backspace. Klutch even remixed an entire WW blue box for the show (scroll down for photos). A bunch of the show’s artists will be on hand to explain exactly how and why they totally trashed Willamette Week.

A huge thank you to all the participating artists: Josh Arseneau, Tom Cramer, Lydia Crumbley, Pedro Dorsey, Tripper Dunnigan, Dan Gilsdorf, Jason Graham, Chris Haberman, Klutch, Eva Lake, Alexis Mollomo, J. Shea, Brett Superstar.

GO: Trashed @ 35: A gallery showing of Willamette Week newspaper covers—remixed by local artists, shows at Backspace, 115 NW 5th Ave., 248-2900. Opening reception 5:30 pm Thursday, Nov. 5. Show closes Nov. 30.

Klutch’s Trashed @ 35 Willamette Week box:

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Updated with photos/links. Get Baked: The Sugar Cube is back starting Thursday.

Wednesday, November 4th, 2009

The Sugar Cube 2--fixed

Updated Friday, Nov. 6: Okay, taste-tested and approved. Aside from all the pre-opening hoopla, it’s clear that the Sugar Cube’s still got some major sass, from the lava hot, savory-sweet explosion of its smoked salt-topped Ovaltine to its ridiculously rich “Beer.Cheese.Bacon” (see above)—a super-moist Guinness cake topped with ice cream, praline bacon and salty-good white cheddar. Jensen promised to try and use larger shavings of cheese next time for an extra salty punch. These cart desserts are special, and not just because they’re served on real china. Fun, newish PDX food blog Under the Table with Jen has an obsessive rundown on The Sugar Cube’s first day, here, so I’ll just let you read that for more details. Instead, here’s some pics of the new cart—inside and out—complete with gold cabinets and jeweled drawer pulls, and a unicorn begging for tips. (Sorry about the quality of the photos, WW’s digicam was damaged by a AirSoft rifle during Portland’s recent Zombie Apocalypse combat simulation. I’m serious.).

The Sugar Cube, retry, fixed

The Sugar Cube owner Kir Jensen with her first dollar.

The Sugar Cube 5.fixed

Blatant attempt to curry favor with fantasy genre fans.

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Inside the cart.

The Sugar Cube 1

The Sugar Cube 3

•••••••••••••••

Original post:

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As you might have heard, celebrated local baker Kir Jensen’s cute-as-pie downtown dessert cart The Sugar Cube—home of the addictive Highway to Heaven and Amy Winehouse cupcakes—is back from the dead after a seven month absence. But, oh what, you ask, does she have in stores for Portland’s sugar and fat junkies this time around when she opens up shop tomorrow, Thursday, Nov. 5 in her new pink cart (see photo below) at the Mississippi Marketplace food cart pod? Well, it involves beer and True Blood, of course.

Here’s some menu teasers (around $3-$7), straight from the redheaded Chicago gal’s mouth:

“Beer.Cheese.Bacon: Warm Guinness and ginger stout cake, topped with Fifty Licks vanilla bean ice cream, praline bacon crunch, shaved white cheddar, buckwheat honey drizzle. Booyah!

Cupcake of the week: First up? A homage to my favorite character on True Blood…”The Lafayette.” Red velvet cake, topped with vanilla bean cream cheese frosting…and a gold lame thong garnish. [Update 10 am Thursday, Nov. 5: Jensen says that The Lafayette will not be available today. She's still "searching for gold lame thong."]

Spiced, freshly pressed apple cider: infused with vanilla bean and ginger served with cinnamon stix, nutmeg and other goodness. Comes hot with a Tonali’s old fashioned glazed doughnut.”

Oh holy christ. As Jensen would say, that sounds like a “sugargasm.” The baker also promised some Thanksgiving take home specials later this month. We’ll report back after tomorrow’s opening. Follow The Sugar cube on Twitter for more updates.

The Sugar Cube at Mississippi Marketplace, corner of North Mississippi and Skidmore, www.thesugarcubepdx.com. Noon-closing (whenever she runs outta goods) Thursday-Sunday. Photos of Sugar Cube logo and new cart courtesy of Kir Jensen.

The Sugar Cube

Cort and Fatboy: Just not enough hair on their chests for new KUFO.

Monday, October 26th, 2009

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KUFO 101.1’s newly kicked to the curb afternoon duo, Cort and Fatboy expanded on their “we just got fired” comments to WW last Friday in a frank, funny Q&A with Oregon Media Central. The entire Rick Emerson morning crew was also terminated.

The takeaway?

1. It was waaaay awkward to work at KUFO last week, what with the new program manager, Ditch, trying to figure out how to avoid eye contact with the on-air crew the company had already slated to be fired.

2. The station’s new direction is designed to “put hair back on KUFO’s chest.”

3. C & FB think the current KUFO robot stunting countdown is silly.

4. Getting axed is a new way to garner tons of Facebook and Twitter friends.

Cort and Fatboy will appear on TV tonight at 7:10 on KGW. They’ll also be at their regular Midnight Movie—this time it’s Raising Arizona, at 11 pm on Friday, Nov. 6 at the Bagdad Theater. $3.

Dead air update: KUFO’s Rick Emerson Show crew fired. Cort and Fatboy fired. KUFO responds.

Friday, October 23rd, 2009

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UPDATE 5:10 pm: Sarah X. Dylan of the Rick Emerson Show on KUFO just confirmed via text that the RES crew was “let go.” Although Emerson himself has not made an official comment, [scroll down for Rick's updated, official comment] his Facebook page does contain a cryptic goodbye: “What’s the opposite of “shiny”? You are, as always, the best audience ever. Watch this space for updates. The Rick Emerson Show salutes you.” The news has hit the show’s longtime legion of fans hard—they’re already blowing up both Twitter and Facebook with angry comments and plans for possible coffee cup crusades (get the background on RES’ recent media kerfuffles and back-from-the-deal maneuvers here and here). If any group of radio lovers can make themselves heard—it’s them. Hell, they’ve already got an existing Save the Rick Emerson show webpage. Good luck everybody.

UPDATE 5:45 pm: Just heard back from KUFO’s Director of Marketing & Promotion Susan Reynolds. She has indeed confirmed that the entire Rick Emerson Crew—Rick Emerson, Sarah X. Dylan, Tim Riley and Greg Nibler—as well as Cort & Fatboy have been let go. She couldn’t tell me much about what the future plans are for KUFO in terms of on air talent. She would not comment on rumors that Seattle radio personality Ricker had been hired by KUFO. (Ricker, who, according to his 99.9 KISW “The Rock of Seattle” bio enjoys “Jaegermeister” and “Pamela Anderson,” could be a perfect fit if the station is aiming for the elusive giant douchebag demographic). “What I can tell you is that the station is a rock station and will continue to be a rock station,” Reynolds says. “Anytime there is a change in management you can expect this kind of thing—almost always. The real unfortunate part is that the station has suffered in the ratings. At some point [Alpha Broadcasting] has to take a look at everything as say ‘how are we gonna turn this around.’ …They paid a bundle of money for these radio stations and they have to do what they think is right.”

FYI, you can always send your thoughts about the mass firing of local radio personnel to Larry Wilson, the Chairman and Chief Executive Officer of KUFO owner Alpha Broadcasting at Larry.Wilson@alphabroadcasting.com.

UPDATE  8 pm: Rick Emerson has posted a goodbye to “The Rick Emerson Show (v.6.3)” on his website (full text, here). Here’s a snippet:

There will be lots to say and much to address in the coming days. For now, we will simply note that it has been, as always, our pleasure to serve and entertain you….   I will also make this brief request: despite your initial inclinations or inborn desire to rattle The Man’s cage (a desire I share, by the way), please forgo the gathering of coffee cups, the mailing of human skulls, or the ritual animal sacrifice that you may have planned for the KUFO parking lot. There’s lots of folks whose jobs have been eliminated, and many, many families whose daily financial struggles are much more difficult than mine. Trust me—no one (especially no one associated with the show) has anything but the deepest recognition of, and respect for, your loyalty. That, my friends, is never in question.

Instead, we’ll pause, take a moment, regroup, and move ahead, as we have always done. We couldn’t have gotten this far without you, and we wouldn’t dream of leaving you behind. You are, and remain, our friends, colleagues, supporters, critics, and companions. You are the best.

 ••••••

Original post:

KUFO 101.1’s afternoon duo Cort & Fatboy (aka Bobby Roberts) were fired earlier this afternoon. It’s not the first big change that Alpha Broadcasting, who took over the radio station in August, made this week. On Tuesday, staffers were informed that KUFO programming director Chris Patyk was being replaced by a San Diego “Afternoon Drive personality” called Ditch.

Roberts confirmed the news. “We were sort of planning for this—getting our heads chopped off—because, well, we’re in radio,” he told WW. “We’re okay.” Cort Webber’s Twitter update, posted at 3:30 pm, reads: Officially unemployed. Goodbye KUF-O (sung to Goodbye Yellow Brick Road).”

Goofily biting right to the end, Cort & Fatboy went down laughing…kind of. The pair posted a five minute podcast around 3:15 pm today that they taped earlier in the afternoon explaining that they were heading to a meeting where they guessed they were about to be fired.

Listen to the whole thing, here. [Update: Aaaand cut. KUFO killed the link the the podcast around 4:40 on Friday.] [Take 2: Mike Russell aka Culture Pulp has got that pesky podcast right here. Thanks!

The duo does promise to be back in one way or another, noting that they own their website and logo. "Those little stick figures? They belong to us," Fatboy told listeners. Also, the pair will continue their popular Midnight Movies series at the Bagdad Theater. "We'll be showing Raising Arizona at the Bagdad on Friday, Nov. 6. It's $3," says Roberts.

Fatboy asked fans to contact him at fatboy_roberts@comcast.net. You can follow Cort Webber on Twitter or Facebook.

I'll update the post with more info on what KUFO plans to replace Cort & Fatboy with once I get a call back from the station. [See updates above.]


Live Review: PBR Go Daddy Invitational Rodeo

Monday, October 12th, 2009

409_PBR Invitational_Mike Perrault

[Ed note: Okay, I'll admit it, I screwed up. Our fabulous photo intern Mike Perrault took the time to check out the PBR Go Daddy Invitation Rodeo at the Rose Garden on Saturday Oct. 3, to watch the top 40 bull riders in the world do their thing. And he delivered back some pretty amazing man-vs-bull shots. And then, I promptly forgot to publish his findings. So, here they are.]

Mike Perrault says: “Behind hundreds of feet of steel rails lurks a 2,000 pound bull. He waits anxiously for his turn to eviscerate, catapult or otherwise maim his rider. How could I not want to watch this? Billed as the worlds toughest sport, I was skeptical, but after watching more than 20 riders attempt an eight second ride only to be thrown, kicked or gored; I’m convinced.”

Oregon Ballet Theatre: Executive Director Jon Ulsh is out.

Friday, October 9th, 2009

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Oregon Ballet Theatre announced this afternoon that the company’s executive director Jon Ulsh is stepping down. The news comes only weeks after WW broke the news that OBT staffers had sent a missive to the company’s board of directors calling for Ulsh’s ouster. WW also recently reported on financial records that showed that the company’s massive cash shortage earlier this year was due to years of poor fundraising and budget mismanagement even though the company blamed it on a dud economy and last December’s freak snowstorm. The bottom line? Artistic Director Christopher Stowell will be taking a more hands-on approach to the financial side of the company.

Here’s the main thrust of the press release (scroll down for the full release):

Chief Operating Officer, Doug Wells, will oversee administrative functions and manage OBT’s budget.  Wells will report to both Stowell and the Board’s Executive Committee.  The Board of Trustees will take a more direct role in the company’s fundraising efforts, with Director of Marketing Erik Jones managing day-to-day development department operations, reporting to Christopher Stowell.

It’ll be interesting to see how the ballet functions with Stowell in control of both the artistic and administrative halves of the company. In less tumultuous news, the ballet company opens its 20th season with a retrospective blowout of works plus video footage from the past two decades this Saturday night. The bill includes bits from Bebe Miller and Trey McIntyre to newer works from Julia Adam, Yuri Possokhov and Stowell, among others. Regardless of the company’s internal issues, OBT’s roster of dancers is stronger than its been anytime in the last decade. You should make time to see them own the stage. See WW’s Dance Events for more info.

(more…)

We’re Not Gonna Remember Most of Your Names: Fame Reviewed

Monday, September 28th, 2009

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Fame was screened for critics after Wednesday’s newspaper went to press. Since I spent the majority of my childhood in tights and spandex (for dance class, don’t get any weird ideas), Screen Editor Aaron Mesh volunteered me to review it.

Fame
When it came time for a remake of Alan Parker’s 1980 drama about kids striving at a New York performing arts high school, the crew behind the new Fame flick tried to get the details right: They strove to capture the quasi-documentary feel of the original; updated the jazzy, earnest songs with a hip hop backbeat; hired amazing young singers and talented dancers—the kind we already root for on So You Think You Can Dance and American Idol every season. But they forgot to make sure any of their pack could act—or to give their poor, unfortunate starlings a single scene of real drama to work with.

Lazy and unimaginative, Allison Burnett’s script may have been created by plucking cards scrawled with dance movie clichés out of a hat and marrying them to coming-of-age and race tropes. You’re black? Bam!—your parents aren’t happy with your choices in life, whether they’re a pair of successful, uptight classical music buffs who don’t feed your passion for Lauren Hill-esque vocals or (and I’m serious, this is a plot line) your progress as an actor is being impeded by your bottled-up anger toward your absentee crackhead dad and tired mom who works three jobs just to make ends meet (played, with great skepticism by Michael Hyatt—D’Angelo’s mom on the The Wire). Asian? It’s Sesame Street for you.

Some of these plot devices were present in one way or another in the original film—which, let’s be honest, wasn’t all that mind-blowing either. But, c’mon, we haven’t moved forward in terms of storyline in nearly three decades? And forget about director Kevin Tancharoen exploiting any of the newer, fun clichés of high school movies. Neither bitchy cliques nor sex beyond first base exist at the New York Academy of Performing Arts. And much like the oddly straight-centric ballet flick Center Stage, queer kids don’t sing or dance at this school. One male character does wear a Gucci gown to graduation; that’s as gay as this performing arts school gets.

The film unfortunately revolves in large part around the trials and struggles of Jenny Garrison (Kay Panabaker), a sour, self-absorbed ninny of a would-be actress who emotes by drawing her eyebrows together into a deep cleft—like a human Van Halen symbol. Fame’s obstacles—including a film production scam, near suicide and an honest to goodness casting couch—are so rote that I found my crying by the end of the film because I kept rolling my eyes so hard. It hurt.

The film does manage a few entertaining moments, primarily thanks to the pipes of classical turned hip hop diva Denise (Naturi Naughton, last seen at Lil’ Kim in Notorious) and the downright illegal moves of hot mess contemporary dancer Kherington Payne—who actually was a Top 10 contender on So You Think You Can Dance in 2008. The original movie’s memorable “Hot Lunch Jam” sequence, where kids burst into song and dance in the school’s cafeteria, has also survived—complete with a rap battle and some virtuoso tap dancing.

The academy’s faculty provides other highlights, played with great, lip-smacking condescension by Kelsey Grammar, Megan Mullally and Charles S. Dutton (who gets a wide vaiety of lines: “The theater is not a place for cowards, Malik.” “This is the theatre, not the street, Malik.” “Everything you want to change about yourself, that’s your power, Malik.”). One major oddity? The film also features Bebe Neuwirth (a Broadway vet and Fosse dancer who originated the role of Sheila in A Chorus Line, starred in both lead roles in Chicago and played Dr. Lilith Crane on Cheers and Frasier) yet never once lets her sing or dance. Apparently, it’s not cool to show kids what fame actually looks or sounds like. They might quit while they’re ahead. PG. Century 16 Cedar Hills Crossing, Century Eastport 16, Cinema 99 Stadium 11, Cinemas Bridgeport Village Stadium 18 IMAX, Cinetopia, City Center Stadium 12, Cornelius 9 Cinemas, Division Street Stadium 13, Evergreen Parkway Stadium 13, Hilltop 9 Cinema, Lloyd Center Stadium 10 Cinema, Lloyd Mall 8 Cinema, Movies On TV Stadium 16, Oak Grove 8 Cinemas, Pioneer Place Stadium 6, Sandy Cinemas, Sherwood Stadium 10, Tigard 11 Cinemas, Wilsonville Stadium 9 Cinema.


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