Top Things to Do This Weekend: May 10–13
Books & Talks
7:30 p.m. Thu, Powell's City of Books, FREE
Pico writes poetry that skitters off the page, riffing on modern technology while musing on being a queer Native American who ditched his California reservation for life in Brooklyn. He describes his latest, Junk, as a book-length breakup poem (and also “a tribute to Janet Jackson and nacho cheese”).
7:30 p.m. Fri, Powell's City of Books, FREE
In 1981, then-President Ronald Reagan fired 11,359 air traffic controllers after they held a strike. Among those dismissed was Pardlo's father, who spiraled into a life of addiction. Now Pardlo, a Pulitzer-winning poet, releases a memoir entitled Air Traffic, in which he reflects on “fatherhood, race, addiction, and ambition."
Super: Women in Tech
8 p.m. Sat, Aladdin Theater, $12–30
A night of captivating tales told by women in the tech sector? Count us in. For the second annual Super: Women in Tech storytelling event hosted by Back Fence PDX and Diversa, hear accounts from five women who work in the (heavily male-dominated) field. A portion of the proceeds from the evening benefit two nonprofits, the Black United Fund of Oregon and Portland Women in Technology.
OPENING Rain & Roses
7:30 p.m. Thu–Fri, 2 and 7:30 p.m. Sat, North Warehouse, $30–64
BodyVox brings its playful brand of dance-theater to a North Portland warehouse, accompanied by a live band performing songs composed solely by women musicians, from Björk to Billie Holiday to Dolly Parton.
Courtney Marie Andrews
9 p.m. Fri, Mississippi Studios, $13–15
Since she was 16, Courtney Marie Andrews has toured as a backup singer and guitarist for an impressive range of acts, from Jimmy Eat World to Ryan Adams. Now the singer-songwriter finally gets her own, well-deserved chance in the spotlight, with her recently released Americana-inspired album, May Your Kindness Remain, receiving rave reviews for its moving tracks and slow, richly melancholic melodies.
7:30 p.m. Sat, 2 p.m. Sun, Arlene Schnitzer Concert Hall, $24–130
Couldn’t get enough of Joshua Bell’s cameos on Amazon’s Mozart in the Jungle? Don’t miss the chance to see the luminary violinist live at the Schnitz, where Bell will accompany the Oregon Symphony for Serenade, a violin concerto by Leonard Bernstein. Also on the program: a world-premiere composition by Gabriel Kahane, the son of acclaimed classical pianist Jeffrey Kahane.
8 p.m. Sun, The Old Church, $15–17
You probably know this anti-folk music legend for her acoustic songs (like the iconic and adorably sweet “Anyone Else But You”) from the Grammy-winning soundtrack for indie film Juno. But the platinum-selling artist has also created her own record label, released a children’s album called Alphabutt, and played at Carnegie Hall. Not too shabby.
7:30 p.m. Thu–Sat, Keller Auditorium, $35–250
In this tragic tale set in a town in northern Italy—not to be confused with the saga of “two lovers in fair Verona”—a high-powered, promiscuous duke selects the court jester’s daughter as his next subject to seduce. Watch how a father’s revenge unravels as Portland Opera performs Verdi’s masterpiece.
CLOSING Major Barbara
Noon and 7:30 p.m. Thu, 7:30 pm. Fri, 2 and 7:30 p.m. Sat, 2 p.m. Sun, Gerding Theater, $25–72
Chris Coleman, Portland Center Stage’s artistic director since 2000, has chosen a classic for his farewell production at the theater. (He’s leaving to take a similar job in Denver.) In George Bernard Shaw’s comedy, a wealthy capitalist father and his selfless, idealistic daughter feud over the best way to lift people out of poverty. Who will prevail?
CLOSING Luna Gale
7:30 p.m. Thu–Sat, CoHo Theatre, $25–32
Sexual abuse, drug addiction, and a custody battle: the stakes are high in Rebecca Gilman’s 2014 play, a peek into the moral murkiness (and sheer exhaustion) of social work.
CLOSING To Fly Again
7:30 p.m. Fri–Sat, Imago Theatre, $10–20
Imago’s Jerry Mouawad delivers another original absurdist play exploring humanity with an odd, comical tilt. In To Fly Again, a kooky group of clowns roams a bleak landscape in search of a place to camp, attempting to make sense of their own existences while also running into “dusty dancers who live in a world beyond speech.”
7:30 p.m. Fri–Sat, Echo Theater, $5–50
Jess Thom is neurologically programmed to be unpredictable. The British performer and disability rights activist has Tourette’s, which means her live shows veer in surprising directions, and toward gloriously surrealistic turns of phrase. In her comedy piece Stand Up, Sit Down, Roll Over, audiences are also encouraged to move around and make noise.
8:15 a.m.–6 p.m. Sat, 9:30 a.m.–1:30 p.m. Sun, Marylhurst University, $50–100
Feeling good, doing good, making good stuff: not too much to ask, right? Yet inspiration can be elusive, especially up against all the things. And so Portland Monthly brings you our second annual celebration of female leadership, better living, fitness, wellness, solidarity, and positive change. For two days, the campus of Marylhurst University will buzz with a galvanizing roster of speakers; fired-up workshops ranging from exercise to art; heart-starting community distance races; and music and community engagement and cocktails (of course).
11 a.m.–9 p.m. Sat, Revolution Hall, $40
Welcome to the big world of craft cannabis—this one-day competition and expo celebrates Oregon-bred, sustainably produced (i.e. no mineral salts or synthetics) cultivars. With a packed schedule of speakers, panels, workshops, and vendors spanning the course of 10 hours, you’ll be well on your way to cannabis connoisseurship (cannasseurship?).
CLOSING Kingdom Animalia
10 a.m.–8 p.m. Thu–Fri, 10 a.m.–5 p.m. Sat–Sun, Portland Art Museum, $19.99
This exhibit of prints, drawings, and posters—from Dürer and Picasso to regional artists Beth Van Hoesen and Frank Boyden—spans 500 years, showing animals as specimen, symbol, and everything in between.
Noon–6 p.m. Thu–Sun, Ori Gallery, FREE
New York–based Alisa Sikelianos-Carter explores black hair as armor, weaponry, and royal symbol, through collages of braids, dreads, and black textured hair: what she calls a response to—and an escape from—the policing and dehumanization of black bodies.