[various locations]

 Years: 1981 – 1993 

Portland Women’s Theatre

Early History of Portland Women’s Theatre  by Sandra de Helen

Company founded by Sandra de Helen in January, 1981.

“I started it because I had left Actors' Sorority [Kansas City MO] to move to Portland and Portland didn't have a women's theatre company. It seemed to me it should have one, so I started one. No, it was not a 501-c3, or anything official. Not while I was in charge. The company itself lasted 12 years, 10 without me. I believe they had legal paperwork at some point. I don't know if they filed for 501 c3 though.” *See bottom of document

First meetings, auditions, and rehearsals were held in the basement of the Community Law Project, on SE Ankeny St.

The theatre was formed initially from those women who auditioned and were chosen to perform in The Clue in the Old Birdbath (by Sandra de Helen and Kate Kasten). Other women volunteered to do lights, sound, build sets, find props, create costumes, do childcare for performances, take tickets at the door.

The Clue in the Old Birdbath was performed at the Do Jump! dojo in N. Portland in March and April 1981. Directed by de Helen.

The theatre company performed The Notorious McCorkle Sisters (by de Helen) live on KBOO radio that same year. Directed by de Helen.

The next play was When I Was a Fat Woman Poems by Rebecca Gordon adapted for the stage by de Helen. Original music written by Bev Standish was performed live at each performance by a band created especially for this production. The production took place in the World Trade Center at the brand new (at the time) theater, and was directed by de Helen.

Next was The Stake in the Heart of the Heart, a play written by the collective theatre company Actors’ Sorority of Kansas City, Missouri. Actors’ Sorority was founded by Kate Kasten and Sandra de Helen in 1977. This play was directed by Kathay Duff and Sandra de Helen. 

Portland Women’s Theatre Company –1982 - A Stake in the Heart of the Heart – at West Coast Power Studio

Then came The Lydia E. Pinkham Menstrual Show, written by Kasten and de Helen. It was produced at a dance company space in downtown Portland, directed by de Helen, with assistance from Dee Packard. Bev Standish once again wrote and directed original music for the show.

In 1982, the company did another production of The Clue in the Old Birdbath, directed by Kathay Duff. This production was performed at the Do Jump! dojo in North Portland.

It was at the beginning of rehearsals for the 1982 production that I left the company. I was working full time at Standard Insurance and had been promoted into a more demanding job. I did not have the time or energy to commit to the women’s theatre company, and there were very capable hands running the company.

Every production had a capable and creative crew. Both onstage and offstage workers were acknowledged in every program. The company offered a sliding scale, women-only nights, and reduced prices for both older and younger people. We made enough money on each production to finance the next one (except for When I was a Fat Woman when we spent more than we took in) and enough on The Lydia E. Pinkham Menstrual Show to recoup losses as well as finance the next show.

I’ve included dates when I remember them. Please consult old programs for dates and for names of the people involved. My memory is faulty, and I don’t want to leave anyone out.

After Sandra de Helen:

· Portland Women’s Theatre – 1983 – Female Parts – The New Rose

· Portland Women’s Theatre - November 4, 1983 - My Blue Heaven by late Jane Chambers - Pine Street Theatre

· Portland Women’s Theatre 1728 NE 40th Ave 1987-1993. 

 Article in Cascade Voice, Feb 11, 1983

Per notice in Cascade Voice, November 4, 1983 in the BUSY SCHEDULE notices Pine Street Theatre presents My Blue Heaven a comedy by the late Jane Chambers. Doors open 7:15 pm curtain at 8:00 pm $5 at door. Women on Nov 18 & 24, and Dec 2 & 10 Wheelchair accessible PINE STREET THEATRE – 815 SE 9th. And on the Entertainment page 30.

Just out., October 28, 1983, Page 11, Image 11

 Per article in The Eagle Newsmagazine, January 1985,” the company now in its 5th year”

An article in CITY WEEK newspaper, Metro section, page 5, Friday, Nov 13, 1987 reads: NEW WOMEN’S THEATRE OPENS

Article to the left The Oregonian “Openers” November 20, 1987

Article to the right The Oregonian “On Stage” section December 11, 1987 8 x 10 GLOSSY

These are the last notices from the company through The Oregonian. 

In the October 1989 issue of Just Out an Ad “Portland Women’s Theatre Company opens ninth season”

·  In the Oregon Gay News – City Week, Wed. April 6, 1988 UPCOMING CALENDAR LISTING April 15

 Just Out, 1988 ran an article “Women’s theatre motivated by social change”

Alternative Connection newspaper, October 1991

The theatre ended in 1993.

*Per Business Registry Business Name Search (state.or.us) https://egov.sos.state.or.us/br/pkg_web_name_srch_inq.show_detl?p_be_rsn=45002&p_srce=BR_INQ&p_print=FALSE

With the name Adrianne Flagg as the Registered Agent, Don Horn reached out to her via Facebook Messenger in 2022 for any comments.

I'll have to contact Steven Alexander as he and I were sort of stuck with it. It wasn't a real fun time. It was a sad end. We were left keeping it open because we had projects booked in the space. We were trying to honor the founders and the mission but there wasn't a community built around it at the time. It had diffused.

You might want to contact Sam Sunday leave [Sunderleaf] about Portland women's theater. Strangely enough, he's the through line. Steve and I remember. He was part of a long time soap opera that they had going before we got there and then he did a few shows with us after.

I was producing there with Toad City and Steve and Alexander was doing some independent work. We were referred for the board and as soon as we joined nearly all of them left. On reflection they were exhausted and had reached an end. They needed to find replacements. I've seen this with board members many times since. That feeling of you can't go until you have found someone with new energy to replace you.

Their books were a mess. There was not much of a data base or community showing up. No volunteer base. We did just a couple of projects to limp forward. Steven Alexander did a great production of in the boom boom room but ended up independently producing because we couldn't get enough board members to show up and make decisions. I was producing Toad City shows and managing rentals.

I do remember a few squabbles between some women connected with it. Steve and I were kept out of those discussions. Looked like there was history we weren't really party of so we stayed out of it.

One squabble happened at the one benefit I organized. I can't recall who the gals were but none of the board members brought anyone to the event. It was like stepping into some other parents divorce really.

It was the beginning of the end for the need for a women's theatre I think. We were still needing to see the demise of Mamet heavy producers but more women were getting into leadership positions. I was aware of being one of only a handful of female director/producers. But I was aware of it and felt the fight for representation moving forward into other spaces. I think I was a part of a generation of women that didn't need or want a safe space for our stories but wanted to be out there in the general community. This is only on reflection really but I think that's why there was such a bumpy end. I know the few of us that showed up kept asking why we were doing theaters in this way. Separating ourselves. There was one play at the end of particular about breast cancer and it was very much a preaching to the choir play. Well that is important to have. I remember sitting there thinking we're not the ones that need to see this play. Men need to see this play.