The view alone as you are coming in is pretty amazing so get there early before a show and take a…read morewalk around. Or, take a stroll down the waterfront after the show, get some air and wait for the traffic to die down a bit. Parking is also quite good. Portland Classical radio is the building's purpose through the day and if they are hosting a performance then their parking lot opens up to the guests which is great since you do not need to hunt for or pay for parking seeing something so close into downtown. The ticket prices were a bit steep feeling but you get a drink and some pre show snacks that were quite lovely - down to my cup of wine. The shows are much more intimate too so you really feel a bit more connected to the performance. The venue seems very clean and well cared for.

Love the beauty of the concert hall and all the performances, conversations, etc. that it brings…read more It did not feel very accessible for persons with physical disabilities. When I need to use the restroom, I was directed towards lots of stairs. The seats in the concert hall were very low. It felt like I was dropping down into the seats. Loved that they had autographed copies of books available.

Arlene Schnitzer Concert Hall is a beautiful, historic venue right in the heart of downtown…read morePortland. The architecture is stunning, the acoustics are excellent, and the overall atmosphere makes any performance feel special. Staff are professional and the experience is well run from start to finish. A true Portland gem and one of the best places in the city to catch live music or performing arts.

This is somewhat about the Keller Auditorium as well as the Back To The Future show I went to. It…read morewas one of the best live performances I have been to (and I've seen some good ones). I almost didn't stay for the second half because of some early morning obligations I had the next day, but so glad I did- because it was amazing! The likeness of the performers to the actors in the movie wasn't exact but accurate. The dialogue was fun, had spurts of relate-able content to the modern-day audience, but didn't veer off of character too far. And the DeLorean + lights show! Seriously and unexpectedly loved it. And the Keller staff did such an amazing job of herding us all around before & after, while getting drinks, and during the intermission. It was a bit miraculous. What show is next? ;-)

I flew in to see Phantom with my daughter. It was my first time here and was assigned parking about…read morea 20 mins walk. I didn't know there were parking right across the street! It was a little intimidating walking in the dark by ourselves. But at least I now know there are parking closer to the Keller Auditorium for the next time. We got to the door about 10 minutes before curtain call. I was surprised that the line moved quick and with ease. Once we got in, we decided to stop by the souvenir shop after the show and opted to use the restroom on the left side. There was a line of 9 people ahead of us. We stood in line only to find out that it was ONE stall. That explained the long wait. Wish the ushers or staff let people know that there was a ladies lounge on the other side with more stalls. All I heard was that there's restrooms upstairs but it's the same. My impression was that this venue was not equipped for a big crowd. It wasn't a humongous venue and it looked like all or most seats has a good view. We sat on the left side, 7 rows back on the aisle. I think those seats was perfect because we were close to the stage but still far enough back so we can absorb everything. My chair was comfortable and was roomy. I think the lady behind me wasn't too comfortable. She was kinda tall and kept bumping her knees on the back of my seat. My suggestion to taller people, try to get the end seats. That way you can kinda stretch out a little and not be uncomfortable during the show.

I've made so many special memories at Lincoln Performance Hall over the years, it was a joy to…read morereturn this evening for a performance of Spring Awakening. Patrons are still benefitting from the 2013 renovation, which provides roomier and more comfortable seats, and better sound and acoustics. The theater seats 465 people. I'm still recovering from an injury last fall, and I find it helpful to sit in accessible seating. I contacted the theater for information regarding seating arrangements and they were able to give me all the details I needed. I was pleased to find a seat reserved for me the night of the performance, and someone checked in with me to make sure I was comfortable in my chosen location. I didn't expect this level of care and follow through for a college theater production, but thank you so much! I had a wonderful evening. There are many concerts, presentations and special events that take place in this theater each year. I highly suggest looking at the calendar regularly so you don't miss out on any exciting events.

Beautiful performance hall, it's full of old architecture. That being said it doesn't have any…read moremodern amenities. We tried to get tickets to the NBC by steps' performance last year, but it was sold out as it was at our performance today, and I'm so glad we scored tickets!!!This is the perfect first venue for introducing your child to the theatrical world! It's a child friendly performance and a great place for the venue with parking garage directly across the street. We will be attending more performances now that we know how accessible they are.

It was magical what happened on stage at the Clinton Street Theater at…read more8:00PM on June 4. In the indispensable company of the French novelist-poet Sidonie-Gabrielle Colette, Maurice Ravel came to life. Jena Viemeister is the founder of --- and driving force behind --- the recently established Divergent Opera Theater, which was responsible for the magic. Collaborating with co-artistic director Kristin Heller and performing with a remarkable cast of exceptional performers assembled for the occasion --- with most of them singing more than one role --- Jena presented what amounted to a theatrically enhanced 'concert version' of Ravel's L'Enfant et les Sortilèges. Typical Ravel, the work is every bit as challenging as it is ingenious. Divergent Opera shone brightly. An English-language narrative relating the action, scene, by scene, made the performance very agreeably accessible. L'Enfant et les Sortilèges ('The Child and the Magic Spells') is an hour-long one-act opera in French that is certainly a jewel of its kind and possibly a masterpiece of its genre --- presenting an intimate, thoughtfully comedic look into a day in the life of a privileged young lad who hates his schoolwork and impatiently awaits his opportunities to wreak havoc. Viewers look on with an unsettling brew-jumble of amusement and horror to observe the boy indulging mischievous impulses; playing pranks on the toys and his pets and the furniture --- even the wallpaper. They then witness his 'paying for his pleasures' after his mother has resigned herself to her son's defiance and left --- and all his surroundings awaken into a life of their own to torment him in return. Viemeister personally enacted the role of 'l'enfant' with real panache --- imparting the initial spark as the first character to sing and establishing an interpretive momentum that seemed to catch fire in earnest and to be assimilated by each subsequent performer. Notwithstanding the limitations of 'acting' understandably restricted to facial expressions (often extravagantly successful) and a very few props, all the singers seemed to 'reside' in their respective roles. The words and music lived and breathed. Countertenor Loren Masanque was an imposing presence in the dual roles of the child's mother and also of a local herdsman, ably scaling the not inconsiderable heights of the roles that he sang with impressive clarity. His performance was expressively matched by the one delivered by tenor Eric Asakwa in the triple roles of 'The Teapot,' 'Old Man,' and 'Frog.' In both cases the music was clearly so well in hand on the part of its respective performers as to allow the characters to emerge à pleine force. No less successful in her triple roles as 'The Cup,' 'Dragonfly,' and 'Squirrel' was mezzo-soprano Haley Maddox, whose arresting facial features provide her the unmistakable appearance of having been 'born for the stage.' Sopranos Erin Walker ('The Fire') and Lindsay Reed ('The Shepherdess' and 'The Bat') both turned in performances not short of stunning as each showed herself a wonder of agility and finesse in negotiating roles hovering high in the vocal ionosphere. Vakare Petroliunaite, as the last to make her appearance, was, as always, well worth waiting for. She performed the roles of 'The Princess' and 'Nightingale' --- and creamed them both. Chorus members for the production included Karsten Montgomery, Emily Skeen, Jared Young, and Nick Detorre. Of indispensable foundational significance to the excellent performance was outstanding piano accompaniment provided by Rebecca Stager. Conducting for the occasion was Lisa Lipton. Where the Clinton Street Theater itself is concerned, it is altogether tempting to conceptualize the historically invaluable 1925 venue --- with the ambience of the far-from-fully-realized reclamation it continues to need --- as a 'public gathering-space counterpart' of a nineteenth-century Parisian garret. In short, the venue provides an atmosphere very much in the casual tradition of 'come as you are' --- as one can imagine the friends of La Bohème's 'Rodolfo,' 'Colline,' and 'Schaunard' showing up at any hour of the night or day at the garret the trio shares --- flasks in hand, stories to tell; philosophies to discuss a few flights up off the sidewalks of Paris; 'Mimi's' to meet. And look what came out of the kind of garrets exactly like those immortalized in a great deal of nineteenth-century opera --- artists and poets and musicians aplenty. Who knows where 'Divergent Opera' will be showing up in the perhaps not-too-distant future. It says something that Colette and Ravel surely enough came to life on June fourth, and there has very possibly not manifested an apparition more gratifying to witness since Jesus woke Lazarus. Miracles are alive and well in Portland today. Applause, applause. --- RL Remmel

From the owner: Divergent Opera Theater (D.O. Theater) makes it it's priority to bring you inclusive and innovative…read moreperformances and vocal training. We encourage collaboration with individuals and community groups that are traditionally underrepresented in society, such as the disability and LGBTQ communities.

OBT's performance of The Sleeping Beauty was incredible. We were stunned, absolutely mesmerized…read more The dancing was magical (OBT's ballet stars are incredibly talented), the orchestra's music was thrilling, the costumes were gorgeous (perhaps among the most exquisite ever), and the staging was beautiful. We see most of their performances each year. OBT's dancers and company are multi-faceted. If classic ballet isn't your favorite...enjoy one of their more modern performances. They do both with such flair! Highly recommended.

This place is full of self-important wannabes who take all the fun out of dance and replace it with…read morecondescension and arbitrary rules and shaming. It is an actively unhealthy environment for kids and other young people, and especially females. I would avoid, avoid, avoid.

Bought the tix on a Wednesday morning for a Saturday evening show. Received an email from gotickets…read moreasking if the tix were transferred. There were no tix. 3 more emails and still no tix. Went on their chat system. Send more emails to me. No tix. Called the company. Got hung up on. Called a second time. Was told I had to download the Ticketmaster app to get the tix. Did that. No tix. Called bk. Send photo of no tix on on gotickets or Ticketmaster. Told they were re-send. Received another email. No tix. Called again. Told sent again. No tix. 3 days and several hours I spent on the phone, internet and chat system. I finally received the tix Friday night. After all that I then received 8 calls from the company trying to make sure I received the tix. The system was pathetic. The customer service was the worst i have ever seen. I could have driven 80 miles each way to Portland and bought the tix from the box ofc and still spent less time trying to obtain them thru the internet. I have been to this venue before. Never again!!

It's a cool venue. We came to see Cabaret and the seats were spaced out and pretty comfortable…read more Production was pretty awesome, seamless, and entertaining. Bathrooms were clean. I didn't handle the ticketing, so I can't speak on that. I will definitely be back for more shows!

For locals and visitors alike, you Must visit McMenamins…read moreKennedy School. Whether you visit the boiler bar for some billiards and shuffleboard or get sent to detention to try some great whisky the atmosphere is always eclectic and serene at the same time. Sound juxtaposed? Just go and visit, you'll see what I mean. Feeling adventurous on a warm evening, visit the courtyard restaurant and order a Moscow mule but substitute the vodka for their signature Aval Potta whisky, while sitting next to the fire place. Trust me, this is the night out you've been looking for!

Didn't realize this place is in a neighborhood so it's understandable that they close early. We got…read morein there before 10pm (when most of the rooms close) and ordered. We did not get our appetizer but had to ask about it. Our waiter did not address until we did... So that was a bust. We did not see our waiter again as another lady took over. Not sure why. Anyway, the food was alright, nothing crazy, nothing too impressive. We ordered drinks at one of the rooms that was also closing at 10pm. The lady was taking our order when her friends showed up and she decided to greet and talk to them in the middle of me ordering. That's right, she literally stopped listening to me and started talking to them. She did a little, "oh I'm sorry" but definitely felt the ick. Weird vibes from that place and the restaurant. The Boiler Room was the best place cause it stayed open late and the vibes were chill. Ordered a few drinks that were delivered to us since the bar is downstairs & our table was at the top. Cool room and decor.