Icon on Icon: Lily Tomlin dishes about working with gay legends

Cher (1999’s Tea with Mussolini)

I was on her TV show, too. I’ll tell you a really funny story about Cher. I had to take a different plane home from Italy, and Jane [Wagner] rode home with Cher. Cher was just distraught because she didn’t think she looked good in Tea with Mussolini, and of course she looked quite beautiful.

Jane was comforting her and saying: “Cher, I think you’re overreacting. You really look wonderful.”

And Cher turns and says to Jane, “Well, you don’t think LILY looks good, do you?!” [Laughs]

Cher is one of the most down-to-earth, candid — you can’t help but enjoy her. She’s just so out there in some incredible, individual way.

She sent me one of her books, and she wrote: “Lily, you’re the best. But I’m the greatest.”

Bette Midler (1988’s Big Business)

There’s a kind of brassy innocence about Bette. And she’s so smart. Every day she was reading a new book while we were working; in fact, I remember her reading And the Band Played On.

We were having a hard time with Jim [Abrahams], the director — he’s a sweet guy, but he kept telling us we were too big, we were too broad, and trying to make us take it down. And I said: “Jim, you’ve got to let Bette and me do what we do. You hired us to do this.”

I was getting so unconfident from not knowing what to do or not to do that I brought an acting coach on the set. I didn’t want to embarrass Jim; he knew she was there, but I didn’t make a play about it. So she would send my makeup and hair people — she would put Post-Its under their scarves saying to me, like, “That was good, do that, don’t be afraid to do it” and so on.

Bette’s standing over there with a cigarette and she looks over between takes, and suddenly out of nowhere, she finally sees what’s going on and she says, “I want some of those fuckin’ Post-Its!” and just blows everyone’s cover in a second. She’s kind of spectacular.

At that time [Midler’s daughter] Sophie was just a toddler — she’s grown now and graduated Yale, I think, and looks just like Bette — and she was looking for a new nanny. She said, “I interviewed this woman, and I like her, but she told me she wasn’t responsible for Sudden Infant Death.” [Giggles]

I said, “Well, you’re not going to hire her?”

She said, “Well, I’m going to interview her again.”

I said, “Get in injunction right now! Don’t let her near the house!”

For someone so brilliant as she is and so amazingly funny and conversant in so many things, she would sometimes do the most surprising, endearing, naïve things.

Dolly Parton (1980’s Nine to Five)

Well, Dolly’s not innocent. Dolly’s as sassy and saucy as they can be. So sharp and knows what she wants and she doesn’t suffer fools, although you’d never know it — she’s just as charming as she can be! But rather than show that she’s put out, she’ll just disappear, she’ll just get whisked away.

She’s another one that’s spectacular. I saw Dolly at her first concert. It was ’77, and I was friends with Sandy Gallin, who was her manager for a long time and really engineered her crossover from country to mainstream. She played at The Bottom Line in New York, then she came to see me in Appearing Nightly. You knew right away she was just dynamite.

Jane Fonda (1980’s Nine to Five)

She’s another one that’s innocent, but her innocence is very different. Her innocence is so girlish, so good. When she throws herself into something, it’s just amazing the commitment. She absolutely just gives her all and is tireless about asking other people to help or be a part of it.

[In 1979] Joan Baez had run an ad in The New York Times that I had signed, which was against the Vietnamese government because of the boat people and everything. Of course, Jane and Tom [Hayden, her then husband] were very pro-Vietnamese government at that time because they felt that the war was immoral and so on — as did Joan, but she still, being a pacifist, was against any kind of inhuman treatment. And so was I.

Everyone who signed that ad got a letter from Tom and Jane sort of chastising us for playing into the hands of the military or something. I never said anything to her about it.

[Later, on the set of Nine to Five] she and Dolly and I had really bonded and become great friends. Jane was going to do Norma Rae as a benefit for one of her charities, and she says, “Lily, I want you to join the committee.”

I said: “Well, do you think it’s something really good? Should I sign on to it? Because I always like to do whatever you or Joan Baez ask me to do!”

She pulled away. She just blanched. She didn’t know what to say to me.

I just laughed and said, “I’m just having fun with you.”

We’re still good friends. Dolly has the Nine to Five musical coming out here in L.A. in September. [Allison Janney of The West Wing will star as Tomlin’s character, Violet.]

Madonna (1992’s Shadows and Fog)

I didn’t lay eyes on her. I don’t know that much about Madonna personally. I think one time years ago, maybe during The Search [for Signs of Intelligent Life in the Universe], Sandra Bernhard brought Madonna backstage for a minute. But there were so many people, I never really got to engage with her at all.

I may be making that up. I can’t remember. It seems like that’s what happened.

Someone told me once that [Greta] Garbo came to see me in Appearing Nightly, my first show. I was just stunned, and I ran out to the street hoping I would catch her. She was in the back seat of her car with the driver, and all she did was … just kind of throw me a kiss or something.

I thought: “I must’ve dreamed that. I don’t think that could be true.”

But then later a fellow at the gay center here in L.A. told me he saw her there that night. Whether he’s hallucinating or not, I don’t know.

Originally published in Just Out, May 30, 2008

Pussy Galore: Cat show judge has his claws out

"I see myself as a kind of salesperson for pedigreed cats. I probably would've done very well selling cars," laughs Walter Hutzler.

Regardless, the gay 71-year-old New Yorker has done quite well for himself: After struggling as an opera singer ("I always wanted to do the romantic roles, and all I got were comic characters because I was thin and lean and kind of effeminate") and retiring as a hair colorist, he continues to judge cat shows in his spare time. Hutzler spoke with Just Out about his "pet project" in anticipation of a Portland appearance.

On a judge's role

He's the referee. He decides which is right, which is wrong, which is good, which is perfect. It involves knowing the standards and knowing the breeds and having a clear mental picture of what you want the cats to look like.

I think of this as an athletic event because these cats have to be in prime physical shape: They have to be beautifully proportioned, they have to be well-balanced, they have to be muscular. All of those things combine with your own subjectivity.

It needs quite a bit of tact, as well. A lot of people who breed cats — they have an umbilical cord attached to these cats, and their blood and their sweat and their tears sometimes get diminished by rejection.

On the psychology behind pets

Humans get involved with animals because they want to replicate themselves in their animals. When I went to my first cat show in 1959, my friends were saying: "You like this kind of stuff? It's a bunch of old ladies in tennis sneakers!" That probably was so! Because women think they're dominated, and therefore some of the traits that we have in cats — the kind of sweet, expressive, doll-like innocence that some of the cats have — that's a very feminine kind of psychological thing that people want with their animals. It's why people like those cute little dogs and why we like cute little cats.

On the truth about cats and dogs

There's not much difference between a lion and a tiger and a domestic cat, except for small little genes. I would tell my friends: "When you lie down with a dog, it's just like a personality. When I lie down with a cat, it's a lion and a tiger I'm lying down with, and it's still there." I think that's the beauty of it.

The big difference between us and dog shows is that cat shows are a lot fussier, prissier, fancier. It's like a beauty contest. The cats are housed in dollhouses. I call it American froufrou. They have little furniture in there. People go nuts about those things!

The only thing that we don't do is we're not that enamored with obedience. So cats are fairly free to do whatever they want to do, and we don't expect them to heel or to stand perfectly still.

On his personal preferences

I tend to like very flashy cats, cats that have beautiful color. I think that's one of the things that mesmerize people and myself.

I actually live with two Maine Coon cats because I'm in that element that likes Where the Wild Things Are. I like a cat that looks like a cat. I'm looking for a great predator.

I don't think I have a favorite breed, but I think I have a "desert island cat." Maine Coons are completely lovable, but they're like Fred Flintstone: They're kind of big and Jurassic Park and "duh." A Burmese cat has a great sense of humor, and I think if I was on a desert island, I would like a cat that would make me laugh at least.

On his first feline memory

I always had cats at home. I grew up at a boarding school. These were all cats that lived outdoors on the grounds of the school. I befriended them and used to come out with some food that I had saved from meals and feed them.

I was a very lonesome and withdrawn youngster because we came over from Europe during World War II, and I was separated from my parents. I'm a child of the Holocaust. I was born in a small town near Nuremberg, Germany. My father was in a camp, and my mother had a tough time with two young children. We went off to England after that and came to America; we didn't speak English. The first time we tried to cross, our ship was torpedoed.

I had this kind of relationship with cats right in the beginning. It sort of eased the pain of withdrawal of being away from my family. I think that had a lot to do with my appreciation of cats.

I don't even call them pets; I call cats "companions." I identify with them. They're the survivors.

Originally published in Just Out, Feb. 6, 2009

I'm No. 1! : Ancient personality system helps me find my type

Such a perfect day. No sangria in the park, but a sunny nap in the Park Blocks was good enough for me.

I was in high spirits after seeing an entertaining movie and eating a tasty Indian buffet, but mostly because I was eager to interview gay spiritual guru Dale Rhodes about a subject near and dear to my heart: me.

I'd been in an introspective mode ever since crashing one of the workshops he facilitates with Cathy Hitchcock. They are experts on the Enneagram, an ancient personality system that teaches fascinating lessons about the human condition.

Dale kicked off the workshop by asking the 20 or so participants for their internal and external reactions to this seemingly simple statement: "Hi, I'm Dan. I'm the new supervisor. I have something I need you to do for me."

When he went around the room, I assumed everyone's answer would resemble mine: "Hi, Dan. I'm Jim. Welcome aboard! What can I do for you?"

Uh, no. The answers ranged from the sycophantic ("I would love to sit down with you to discuss strategies…") to the hostile ("I didn't like his approach," one woman revealed) to the competitive ("I could replace this guy," one man thought to himself). As the facilitators later noted, for all we know, Dan just needed directions to the lavatory.

The exercise demonstrates that we all don't see the world the same way. In fact, we each have a distinct "lens" that affects every interaction with others. "Corrective vision" comes in the form of the Enneagram, which basically shows us how to identify this "flaw" or, quite literally, "sin."

"In the old sense of the word, 'sin' just means missing the mark," Dale explains. "It's what happens when you shoot and you let go of the arrow."

The system is divided into nine personalities, and most people will relate to aspects of several types. The trick is to find the one that represents your essence — not who you'd like to be, but who you are. Here is a brief overview of the nine types, each of which has a habitual focus and accompanying "sin" to overcome:

1. The Perfectionist. Sees oranges falling from a tree and wonders why they couldn't have landed in a more orderly fashion. Focus: error. Challenge: transforming wrath into serenity.

2. The Giver. "Don't worry about me," Mom sighs. "How can I be of help to you?" Focus: others' needs. Challenge: transforming pride into humility.

3. The Performer. Busy, busy, busy. These Tony Robbins wannabes are motivated by a desire to be the best, often at the expense of their own feelings. Focus: doing. Challenge: transforming deceit into truth.

4. The Romantic. Tragic figures who are convinced they were born into the wrong family. Focus: what's missing. Challenge: transforming envy into equanimity.

5. The Observer. Detached, quiet and analytical, these turtles retreat into their shells in search of privacy and self-sufficiency. Focus: intrusions. Challenge: transforming greed into generosity.

6. The Loyal Skeptic. Hypervigilant for catastrophe, these Woody Allen types either dodge danger or challenge it head-on by siding with underdog causes. Focus: hazards. Challenge: transforming fear into faith.

7. The Epicure. Hungry to experience new things and to connect concepts, the Sevens tend to be positive yet scatterbrained. Focus: options. Challenge: transforming gluttony into moderation.

8. The Protector. Activist types who can't stand to see weak and innocent people treated unfairly. Focus: injustice. Challenge: transforming lust into tenderness.

9. The Mediator. No more drama. Can't we all just get along? Focus: others. Challenge: transforming sloth into action.

Still not sure who you are? Online tests can help narrow the scope slightly, but Dale's workshops allow human contact with other members of your "tribe."

"You and the person next to you have a legitimate worldview…that is at times helpful but also can have blinders," he says. "We have to know a lot about that lens in order to see beyond it."

So, after giving us time to study all nine personalities, Dale and Cathy invited each type to step forward for a series of panel discussions. But when the Ones went to the head of the class, I stayed seated because I refused to identify as a Perfectionist, thinking this would somehow be an admission of…imperfection? Instead, I fancied myself an Epicure, a type that reflects where I'm at today, but not my lifelong struggle with my inner critic.

The interview with Dale came several days after the workshop, and by this time I had come to terms with my perfectionism. I shared this epiphany with him, which led to a deeper discussion about my type.

"Your habit of mind would be to repress anger…to notice error," Dale told me. (Considering I've been a copy editor since 1987, I'd say this is a pretty reasonable assessment.)

Perfectionists are "living out the superego," Dale added, warning of unhealthy reactions to urges, whether chocolate or sex. (Hmm, this sounds familiar. Two years ago I was obese and celibate.)

Like most queers, I suspect I'm drawn to the Enneagram because a stint in the closet gives us lots of time for self-reflection. Dale's next weekend workshop is tailored toward gay men.

"Gays and lesbians, because of their experience of being outsiders, have this golden opportunity to be healers and people who integrate and mediate in society," he says, "and I want to be a part of teaching gays and lesbians more tools to do that."

Originally published in Just Out, April 1, 2005

The End of an Error: How do I loathe thee? Let me count the ways.

As those countdown clocks tick toward President Bush’s final day in office Jan. 20, let’s not forget the anti-gay “reign of error” that his administration imposed on the United States for the past eight years. Say it with me now: Never again.

Nov. 7, 2000: George W. Bush is “elected” with 25 percent of the gay vote, according to CNN and ABC exit polls. The Uncle Toms over at Log Cabin Republicans, who held a historic meeting with the candidate seven months earlier, deem this “a positive development for our movement.”

Dec. 28, 2000: Bush nominates Donald Rumsfeld as defense secretary. When asked about lifting the ban on gays in the military, the future Cabinet member offers a preview of his soon-to-be-infamous verbal gymnastics: “The priorities are in other areas for me.”

Feb. 1, 2001: Despite outright lies during his confirmation hearings, Attorney General John Ashcroft is OK’d by the Senate. The former Missouri senator and governor denied asking a prospective employee, “Do you have the sexual preference of most men?” and opposing the nomination of James Hormel as ambassador to Luxembourg because he’s gay.

June 2001: Claiming he doesn’t believe in “politicizing people’s sexual orientation,” Bush refuses to honor Gay and Lesbian Pride Month, breaking the custom established in 1999 by Bill Clinton.

July 10, 2001: The Washington Post reports on a backroom deal between the White House and the Salvation Army to make it easier for government-funded religious groups to practice hiring discrimination against gay people.

Jan. 25, 2002: The New York Times reports that Bush adviser Karl Rove allegedly orchestrated an unethical deal with Enron for the company to retain Ralph Reed as a consultant so the former Christian Coalition director could help the campaign without appearing on the candidate’s payroll.

Jan. 23, 2003: HIV-positive Christian activist Jerry Thacker withdraws his name as an appointee for the Presidential Council on HIV/AIDS after coming under attack because he considers homosexuality a “deathstyle.”

July 21, 2003: The National Gay & Lesbian Journalists Association condemns a report that a White House political operative attempted to discredit ABC News correspondent Jeffrey Kofman because he’s gay…and Canadian.

Nov. 18, 2003: The Senate confirms Lt. Gen. Robert T. Clark, promoted by Bush despite his widely criticized handling of a 1999 anti-gay murder in Fort Campbell, Ky.

Jan. 20, 2004: In his State of the Union address, Bush essentially orders queers to a life of celibacy: Moments after discouraging sex before marriage (“Abstinence for young people is the only certain way to avoid sexually transmitted diseases”), he calls for a constitutional amendment to ban same-sex marriage (“Activist judges…insist on forcing their arbitrary will upon the people”).

Feb. 13, 2004: The Human Rights Campaign voices strong concerns when the U.S. Office of Special Counsel removes references to sexual orientation from its materials involving employment discrimination against federal workers.

May 20, 2004: The Food and Drug Administration announces regulations to block men from making nondirect sperm donations if they have had sex with other men in the past five years. Lambda Legal says the rules “look like they were written in 1982, not 2004.”

Sept. 22, 2004: In response to a GOP campaign letter depicting one man proposing to another and asking recipients to “vote Republican to protect our families,” Democratic National Committee chairman Terry McAuliffe predicts, “On Nov. 2, Americans will show Bush that we will not be hoodwinked by his hateful politics.” Yeah, we all know how that turned out.

Jan. 28, 2005: Bush feigns ignorance when asked about Florida’s gay adoption ban: “The ideal in society is to raise children with a man and a woman…. I don’t know about this particular case.” Meanwhile, he calls for the swift confirmation of federal judicial nominee William Pryor, who days earlier had cast the deciding vote to uphold the discriminatory statute.

Dec. 20, 2005: NBC News reports that the Pentagon has spied on domestic groups protesting “don’t ask, don’t tell.” New York University’s OUTlaw was labeled “potentially violent,” and a kiss-in at UC Santa Cruz was deemed a “credible threat” of terrorism.

May 24, 2007: After former Surgeon General Richard Carmona tells Congress that the White House repeatedly tried to suppress reports on sex education and other important health issues, Bush taps his replacement: James Wilson Holsinger Jr. – who, in his work with the United Methodist Church, voted to expel a lesbian pastor and who characterized gay sex in a 1991 report as unnatural and unhealthy. The nomination goes nowhere.

Aug. 7, 2007: A White House spokesman says Bush will veto any bill to which the Matthew Shepard Act is attached: “The qualifications are so broad that virtually any crime involving a homosexual individual has potential to have hate crimes elements.”

Dec. 18, 2008: The United Nations makes history as 60 countries sign onto a General Assembly declaration in support of the global decriminalization of homosexuality. The U.S. government is one of the only Western democratic nations that refuses to endorse it.

Originally published in Just Out, Jan. 9, 2009

Man Meets Machine

A sculpture comes to life in the North American premiere of Connected by the Australian dance company Chunky Move.

Kicking off the White Bird Uncaged series at Portland State University, Connected is a study in precision. Chunky Move choreographer Gideon Obarzanek collaborated with California sculptor Reuben Margolin to find the connection, quite literally, between dance and visual art.

At the centerpiece of Connected is a lightweight, kinetic sculpture containing dozens of waxy strings dangling from the ceiling and hooked to a loom anchored on the floor. The first third of the performance focuses on the assembly of the sculpture, with the company’s five dancers taking turns to add magnetic segments on the tip of each wire, eventually forming a vast checkerboard pattern. It’s a bewildering introduction that pays off in a big way: The dancers then take control of the sculpture by connecting the strings to their arms and legs, creating a ripple effect across the stage with each subtle move.

In the final third of Connected, the dancers unhook from the sculpture and transform into museum security guards, sharing random stories from the people who are observing you while you are observing art. (The quotes are taken from actual interviews for an aborted film project.) It’s a clever meta twist to close Chunky Move’s sly analysis of the construction—and deconstruction—of a work of art.

Chunky Move presents Connected 8 p.m. Oct. 22 at Portland State University’s Lincoln Hall, 1620 S.W. Park Ave. For tickets click here.

Two Sides of the Same Coin: Folk-pop musician Michael Mirlas aims for balance

Michael Mirlas is drawn to contradictions.

Optimistic melancholy. Ambitious modesty. Independent popularity.

The Portland-based musician has completed his first full-length recording, Soul Riot, which combines elements of folk and pop music. It’s this unique blend of oppositional forces that sets the 37-year-old apart from the rest.

“I wanted to make the album about joy,” he says. “My last album was moody and gut-wrenched. I thought that it was time to live.”

Mirlas admits that he learned a lot about himself during the recording process for Soul Riot. After writing the songs, he says he now views the world through “very authentic rose-colored glasses…to be happy amidst real-life things.”

Mirlas (rhymes with “peerless”) has always taken a nontraditional approach to life. He was born in Ukraine back when it was a Soviet republic. When he was 5, his family immigrated to New York City, where his father made a living as a musician in Russian nightclubs.

“I spent my entire childhood falling asleep at 4 o’clock in the morning at my father’s nightclubs listening to Russian music,” he says, “so music was always a huge part of my life.”

Mirlas says his experience as an immigrant has affected both his politics and his art.

“I consider myself a socialist,” he explains. “I’m drawn to the nuances of the regular person; that’s what I find interesting. To me, part of being an immigrant is writing about people trying to reach their full potential.”

Mirlas is also gay, having come out at the age of 19. He says that his sexual orientation informs many of his lyrics.

“One of the first songs I ever wrote is called ‘The Love Religion,’” he recalls. “The chorus is ‘Come inside my mouth, see inside my eyes, enter the love religion.’ The song isn’t really about sex; the song is about ‘Give me all of you, and see all of me.’”

Mirlas earned a bachelor’s degree in poetry from Baruch College and a master’s degree in philosophy from Brooklyn College. It wasn’t until he met a friend in a musical theater workshop class that he decided to take a beginning guitar class at the age of 22 and try his hand at songwriting.

“I remember her telling me, ‘This is your first real song.’ I called it ‘Dagaz,’ which means ‘breakthrough,’” he says. “It was a real transition in my life of coming into my own passion.”

Mirlas went on to record several collections of demos: Audio Memoirs, Intimate Revolt and First the Garden, Then the Rose. He also performed at legendary New York clubs like The Bitter End and CBGB and toured in Los Angeles, San Francisco and Provincetown, Mass.

“Live performance brings up all of my vulnerabilities,” he says. “The goal is to connect with people and make music for people that I love.”

After moving to Portland in 2008, he got his first big break when his song “Puppy Dog Eyes,” featuring Decemberists bassist Jesse Emerson, appeared in the 2010 film BearCity. The video for “Puppy Dog Eyes” was featured on the DVD release for BearCity, and Mirlas attended five gay film festivals to help promote the song.

“It’s been an amazing experience,” he says. “I wrote that song after a relationship had ended. The song was about emotional bondage—that it’s not what it seems like.”

Mirlas says Soul Riot was inspired by Fleetwood Mac’s Rumours (“I wanted to make a meaningful pop record”), and his favorite musicians include PJ Harvey, Björk and Tom Waits. But his top influences are a pair of women who are rarely mentioned in the same breath.

“To me, Madonna and Ani DiFranco describe the two things in me, which is the folky, completely independent, I-do-not-want-to-work-with-anybody-business-minded mentality and the I-really-want-my-music-to-be-heard mentality,” he says. “It’s not that I don’t love money, but I would never compromise my work for it.”

The songs on Soul Riot—written with collaborator Sam Densmore, who produced the record—find hope even amid sadness. The closing track of the album is titled “Happiness Loves Company.”

Mirlas is already working on his next album, Disarmed, which he describes as “lean and mean danceable folk” music. He looks forward to taking Soul Riot on the road, with a theatrical twist.

“I like to bring the visual element to the material,” he says. “I think that’s the place where my musical-theater background creeps in.”

In the end, Mirlas says he enjoys using the power of music to reflect on the world around him. Songwriting gives him the opportunity to continue—both literally and figuratively—beating to his own drum.

“I’m a folk writer, and I write what I experience or what I need to work through within myself,” he says. “I’m interested in alternative cultures. I always wanted for us to feel like we can see ourselves in art, because that’s what further our understanding about ourselves. It’s makes us feel like we’re not alone. It gives us value.”

For more information about Michael Mirlas, click here.

Four Men and a Deer

Northeast Portland has a new dance venue, at least for the rest of this week.

Alberta Rose Theatre, a moviehouse from 1927 to 1978 that reopened last year as a performance space, is the short-term home for White Bird's Uncaged series, which brings contemporary dance out of downtown and into nontraditional spaces throughout Portland. After all of the hubbub surrounding Last Thursday's degradation from gallery walk to late-night douchefest, it's refreshing to see some actual "art" in the Alberta Arts District for a change.

White Bird consistently draws cutting-edge dance companies from around the world, while keeping an eye out for performers who particularly appeal to gay audiences. (It doesn't hurt that White Bird co-founders Paul King and Walter Jaffe are a longtime couple.) For this round of Uncaged, White Bird presents choreographers Yossi Berg and Oded Graf, a gay couple from Tel Aviv who started collaborating in 2005.

4 Men, Alice, Bach and the Deer is described as "a humorous dark fantasy performed to the music of Johann Sebastian Bach about four men trying to find the ultimate 'man' and daring to doubt his existence." Berg and Graf are joined by dancers Hillel Kogan and Irad Mazliah in portraying the titular horndogs, who enter the stage sporting loud shirts that could've been stolen from the wardrobe of Cosmo Kramer, their faces initially hidden behind Mexican wrestler masks. What follows is a swift and electrifying 50-minute performance that combines extremely physical dance with a cheeky spoken-word interlude that borrows from Queen's "Bohemian Rhapsody." There also are strobe lights, a decapitated deer and hot, sweaty men panting in exhaustion. An unpredictable, exhilarating ride that suits this funky new venue.

Yossi Berg / Oded Graf present 4 Men, Alice, Bach and the Deer through April 16 at Alberta Rose Theatre, 3000 NE Alberta St. For tickets click here. Photo by Pedro Arnay.