TeenTix Blog Theater

Fire comes naturally: the hunger, the ferocity, the need to prove oneself to a world that refuses to hand you the lead role. Water must be learned.

When we think of Bruce Lee, we often conceptualize soaring kicks and cracking nunchucks—spectacle, velocity, and force. Others recall his philosophical richness: the insistence on adaptability, on becoming “like water.” Young Dragon: A Bruce Lee Story carefully balances both perceptions—the fire of ambition and the water in transformation.

With 67 seasons under its belt, Edmonds Driftwood Players has earned a reputation as a reliable community theater in the Pacific Northwest. Their funny, well-performed production of The Outsider earns its applause.

As I sat down in the cozy seats of the Wade James Theatre, I was greeted by a surprise: a pre-show sponsor message styled as a political ad. That brief comedic gag set the tone perfectly. The Outsider is a show that knows it is a political satire first and a comedy second, and it delivers that understanding from the opening seconds.

Quick—name the best performance you have ever seen. What made it so memorable? Was it perfectly produced, endlessly rehearsed, or meticulously written? Or, maybe it was memorable because of its spontaneity? 

The most recent play I’ve watched fit the description of the latter—and I’d argue that it was one of the best performances I have seen. 

Some shows win you over slowly. Li at Seattle Public Theater is not one of those shows. This one has you hooked as soon as the protagonist emerges from the wings, looks you straight in the eye, and says, “Let me introduce myself.” That bold opening sets the tone for a production that uses humor and direct audience connection to explore what it means to feel unseen and how healing can take place in unexpected ways. In a venue as small and close as Seattle Public Theater, Li is able to comfortably break the fourth wall and speak to the audience again and again throughout the show in a natural extension of the space’s intimacy. Ultimately, that intimacy is the heart of the show: since Li speaks directly to us, the production turns the audience into an active part of her journey. As a result, this world premiere feels less like a debut, and more like a fully realized story that thrives on the intimacy of the space and the unfiltered way Li lets us into her world.

Even before the play begins, the environment truly sets the tone and primes you for the intimacy that the show thrives on. A buzzing crowd squeezes through a congested hallway just outside the performance space. Instead of feeling isolated from the story in your seat, simply sitting in the room allows everyone to become part of a shared energy, part of the same narrative they are watching unfold. That sense of communal presence becomes essential once Li, a thief from Inner Mongolia, introduces herself. Played enthusiastically by Adele Lim, Li is our narrator, and throughout the show, she continues to joke with us and confide her worries with us. Our laughter and shock become part of the rhythm of the play, creating a pure feedback loop of joy where the actors and the audience feed off of each other.

The lights dim and the story unfolds onto a grey void. Two figures walk out towards each other, meeting in the center. One of them, Marrick Smith, plays an eerily joyous tune on the accordion, and the other, Folami Williams, turns to confront the audience. Behind them, a series of photos flash over the grey screen: Germans in airy summer clothing, enjoying the beach, reveling in leisure activities, all while Williams continues throughout with her chipper narration describing life as a non-Jewish German to the audience.

In a sharp turn of events, the audience is presented with images of children wearing swastikas and hordes of people heiling Hitler, an extreme juxtaposition to the shallow but upbeat mood of the actors. Suddenly, a camera flashes, and the room goes dark. 

Have you ever felt transported back in time because of the detailed sets and convincing performances in a play? Directed by Sunam Ellis and starring Becca Q. Co and Seoyoung Park The Heart Sellers takes place in a mid-size city during Thanksgiving 1973. It follows the story of Luna (Co) and Jane (Park) in Luna’s apartment. Over the course of the show, the two become close as they bond over the struggles of being immigrants in an unfamiliar country after the passing of the Hart-Celler Act, a law passed in 1965 that changed U.S. immigration policy and allowed more immigrants from Asia, Africa, and Latin America to enter the country. Also, they discover similarities in each other’s lives as well as their longing to see their families in Korea and in the Philippines. Incorporating themes such as friendship, family, and courage, The Heart Sellers represents the transcending of cultural and linguistic barriers by creating marvelous set design, elaborate costumes, and showcasing fabulous performances by the leading actresses.

To begin with, the audience was transported into 1973 through Luna’s small apartment. Clothes were scattered across the floor and magazines piled in front of the retro 70s television. The outside of the apartment surrounded the central set, making it so the audience felt they had a snapshot into the setting’s inner workings. Throughout the show, the two women talked more about their lives and became friends. It provided the necessary space for the characters to develop and move through the plot. However, I felt my mind starting to drift due to the lack of set variety in each scene, causing me to miss pieces of dialogue or monologues.

It is rare to see the tremors from a passing memory fully reflected on someone's face. Rarer still to watch the memory play out in their mind. With a small but talented cast and a stage that lies amidst the audience in unique intimacy, Taproot Theater’s production of Till We Have Faces provides an opportunity to do both simultaneously.

This play is the premier adaptation of C.S. Lewis’s novel of the same name, which reimagines the myth of Psyche and Cupid. In the original myth, Psyche is sacrificed by her people and rescued by the god Cupid. She becomes his bride but is forbidden to see his face when he visits each night. Her sister, envious of Psyche, convinces Psyche to betray Cupid's trust by looking at him. This causes Psyche to be exiled, forced by Aphrodite to complete tasks in order to be reunited with Cupid. Written by Karen Lund and directed by Marianne Savell, the show not only captures the essence of Lewis’s story, which explores sisterhood, identity, and what it really means to love sacrificially, but also enriches it through visual metaphor and excellent acting. 

Warning: this review contains light spoilers.

Is a story about 9/11 still meaningful to people who weren’t alive when it happened?

No one wants to work for a sleazy boss and have to argue for equal pay, but if I ever do, I'd want the smart, funny women in 9 to 5 as my colleagues. The Village Theatre’s production of 9 to 5 is a comedic, women-led effort to take on workplace inequality. Well known as a film, the musical features a book by Patricia Resnick, with music and lyrics by renowned country singer Dolly Parton. Although the story was first written in 1980, it still resonates today.

Set in 1979, 9 to 5 follows three secretaries—Violet, Doralee, and Judy—as they sing and dance their way through revenge against their sexist, egotistical boss, challenging the cultural norms that limit their professional opportunities. Initially, their workplace life at Consolidated Industries is bleak. For women, there is no hope for a raise or promotion and no sense of camaraderie. But when Violet, Doralee, and Judy realize they have a common enemy in their boss, they unite to improve the workplace.

What could be more perfect to kick off the holiday season than the nostalgic tale of Cinderella at the Wade James Theater? The Edmonds Driftwood Players delivers a delightful performance of the Broadway version of Rodgers and Hammerstein musical Cinderella, emphasizing the importance of generosity and coming together despite differences to make a better world. There’s no wrong place or time of year for these messages, but they really resonated at a little community theater around the holidays. The lobby was elaborately decorated with wintery themes, pictures of the cast, and a Cinderella photoshoot. All of the ushers, and many of the younger audience members, were wearing tiaras, showing the production team’s excitement to be putting on this musical.

This more contemporary rendering keeps the classic tale of Cinderella while introducing dragon-slaying, the creation of a representative government, the power of kindness over ridicule, and an array of energetic, catchy songs. In this version, Cinderella meets Prince Topher for the first time after he gets back from a mission to kill a dragon that has been terrorizing the kingdom. Topher, under his advisor Sebastian’s influence, decides to host a ball to find a bride. Meanwhile, a revolutionary named Jean-Michael attempts to convince the citizens that they need reform because the people’s land was unjustly taken, but his message is diminished by the announcement of the prince throwing a ball to find his new bride. Cinderella longs to go to this ball, but her stepmother refuses to let her go, similar to the classic Cinderella story. After they leave, Cinderella comes across Crazy Marie, a vagrant woman who Cinderella has always been kind to. Crazy Marie turns out to be a fairy godmother and she helps get Cinderella to the ball. Once there, in addition to falling in love with the prince, Cinderella begins to tell him about the wrongdoings occurring in the kingdom that he hadn’t noticed, leading to reform and a happy ending all around. These twists on the classic tale offer just a little more magic to make all of Cinderella’s fresh and relatable dreams come true.Tamara C. Ford (Madame), Lydia Salita (Charlotte), Jessica Hamilton (Gabrielle), Miki Murray (Ella). Photo by Dale Sutton.

Soft rain echoed through the audience, the noise coming from the stage. On October 12, at 7:30 PM, the empty stage at Leo K. Theater was complete with a ballet barre, window, and glowing exit sign above a door with light streaming through it. It was cozy, if a bit lonely. The theater was set up as a dance studio, but when the performance began, it became clear that the story extended far beyond the aspects of dance. Instead, the world premiere of the play Fancy Dancer feels uniquely like a conversation with a friend, saying, “You are not alone.”

Seattle Rep and Seattle Children’s Theater have collaborated to introduce this autobiographical play, written by Larissa FastHorse and directed by Chay Yew, to a variety of ages. FastHorse and actress Burgandi Trejo Phoenix alternate performances, playing the show’s single role of Lara. Lara grew up in a small town in South Dakota off the Lakota reservation with her adoptive parents. Half Lakota and half white, she spent many of her formative years feeling like she was too much or not enough of both sides of her heritage. This discontent with her identity was mirrored in her body. She struggled with tibial torsion, which made it difficult for her to rotate her legs outward, also known as turnout. Because of this, she was deemed unworthy of dance opportunities again and again, from her second-grade ballet class to her eventual college one. Still, she persevered with her dream and set herself on following the footsteps of Maria Tallchief, a famous prima ballerina, who was also half-Indigenous. This link between identity, emotions, and dance is the core of the production.Larissa FastHorse in Fancy Dancer (2025) at Seattle Rep. Photo by Sayed Alamy.

On Saturday, October 18th members of the TeenTix New Guard went on their first Arts Outing of the year: a visit to Seattle Public Theater for their production of Stage of Fools!

About the show: A scrappy feminist theater company is about to go under when they receive an offer they can't refuse: has-been 80s action movie star Jake Stone will endow them with more money than they've ever dreamed of, if they'll produce King Lear, with him in the titular role. Never mind that he's an entitled, egotistical blowhard. These women can survive anything for the sake of the theater they love...right? (courtesy of Seattle Public Theater)The cast of Stage of Fools. Photo by Colin Madison Photography.

The Roommate at ArtsWest is a beautiful play that will make you laugh, cry, and consider the question, how much can a true friendship change you? Written by Jen Silverman and originally debuting at the Actors Theatre of Louisville in 2015, The Roommate follows two middle-aged women, Sharon and Robyn, and the budding friendship that starts when they become roommates. The two women are as opposite as can be. Sharon is a recently divorced, lonely homebody from a small town, while Robyn is free-spirited, from the Bronx, and in search of a new life. This dynamic leads to an emotionally captivating, comedy-rich play that will keep you both on the edge of your seat and contemplating its themes for weeks.

ArtsWest is a perfect venue for this show. It’s a small Black Box theater. No elevated stage. The actresses are only a few feet away from the front row. The only thing separating the stage from the audience are the small vinyl mats that mark the edges of the set. The set, designed by Devin Petersen, is a small kitchen decorated like a typical house from a Disney Channel sitcom. There are a few plants in the window nook above the sink; a small round table you can imagine a family breakfast around; and a fridge with colorful magnets holding up a few pictures of a young boy who no longer lives there. From the beginning to the end of the play, the set only changes as Robyn’s belongings supplant Sharon’s space. Her plants, weed, and boxes upon boxes don’t drastically change the set, but they make it clear that this isn’t just Sharon’s home anymore. It becomes less a stereotypical family home and more Sharon and Robyn’s home, a mix of Sharon’s more traditional values and Robyn’s careless and sometimes cluttered lifestyle. As we watch this change in the set, we also experience the women beginning to connect. They become entwined in each other's lives just as their things intertwine in their new home. Sharon’s house only becomes their home when Robyn and Sharon start to find home in each other. The Roommate is advertised as a dark comedy, so I expected something much less emotional than what I came away with: a bittersweet story about two completely opposite women finding love for each other and changing each other’s lives for the better.Mari Nelson and Sarah Harlett in The Roommate at ArtsWest. Photo by John McLellan.

Exotic Deadly: One Strange History Lessonby Clara Thorsen

Exotic Deadly: Or the MSG Play is an absurd comedy, coming-of-age drama, and historical lesson packed into just under two hours. Exotic Deadly made its Northwest debut at Theatre Off Jackson, a cozy venue nestled in the Chinatown-International District. The play follows an Asian-American high school student, Ami (Karis Ho), whose world comes crashing down after discovering her family invented the flavor enhancer MSG.

Fooling someone from the distance of a traditional stage is one thing. Fooling someone sitting directly in front of you is much more difficult—and astounding. I discovered this when I was ten years old, during my magic trick phase. I spent hours carefully practicing card tricks from books, and yet my demonstrations failed to elicit the awe that I hoped for from my family. In The Unfair Advantage at Seattle Rep, Australian card shark and magician Harry Milas has mastered the ability to fool and amaze his audience up close.

Using a simple but effective format, Milas exposes techniques used to cheat at cards. First, he demonstrates an awe-inspiring card trick, then—unless the trick is strictly for the sake of magic—he explains the secret behind it. Along the way, he sprinkles in anecdotes from his personal magic journey. Audience members must sign a confidentiality agreement before the hour-long show, which is followed by an optional Q&A session. I admit that the NDA made me dubious, but as I soon discovered, The Unfair Advantage is not just a tell-all. Instead, Milas reveals the methods used by card sharks while still preserving the mystery and quiet wonder associated with magic.

Laughs in Spanish by Alexis Scheer in many ways, serves as a tribute to the vibrant city of Miami. The production more or less conveys a sense of the city, particularly through its set design, use of Spanglish, and lively dancing. However, while the play generally succeeds in this regard, the overall experience feels lacking, like being on the periphery rather than fully immersed in the moment. The play is playful, unserious at moments, yet the plot tends to be anticlimactic and low stakes, particularly towards the end. 

The play opens in utter disarray as paintings have been stolen, and Mari, the main character, is expected to hold an art gallery show that evening. With no paintings to display, her fiery temper (panic mode)  and workaholic nature add to the overall chaos of the situation. However, with the support of her friends and family, the situation begins to stabilize. Juan, a Miami police officer, leads the investigation, while his girlfriend, Caro, offers to lend her paintings for the show. Additionally, Mari’s mother, Estella, unexpectedly arrives in Miami,  accompanied by her assistant and former school friend, Jenny, who further helps.  

Have you ever wanted to see a telenovela, pero, different from all the traditional ones? Laughs in Spanish serves up all the drama and chaos you expect but in a more modern way. 

The play Laughs in Spanish, written by Alexis Scheer and directed by Dámaso Rodríguez, is an amusing, chaotic and  heartfelt comedy that mixes both English and Spanish to deliver the perfect blend of both. Set in Miami during Art Basel, the story kicks off in the middle of a crisis followed by family drama and unexpected discoveries, showing a realistic mother-daughter relationship, strong chemistry between the characters and themes of inclusivity. The talented cast includes Diana Burbano, Diana Garle, Cheyenne Barton, Gabriell Salgado and Beth Pollack.

Laughs In Spanish tells the story of an art show in Miami as an unexpected turn threatens to derail the whole show. While the show has this mysterious turn, it also highlights themes such as family relationships, romance, parenthood, marriage, and real-world themes often faced in today's society. 

Overall, Laughs in Spanish was a mixture of comedic and serious, with lots of plot twists, shocks, and even hidden romance. Although the play did fall short in the opening music and the language department, the play was still an enjoyable experience. 

Laughs in Spanish promises just that. It’s filled with energy, secrets and an awkward love story. You’ll gasp between the laughs and won’t want to look away, except for maybe the romance scenes. Immediately, Laughs in Spanish takes the audience to a vibrant day in Miami. It centers around a gallery owner, Mariana, who has to figure out how to fix things a day before her art show. The play does a good job showing what Miami is like with the cool sounds and visuals, making the play overall entertaining to watch but the romance in the story feels a bit awkward and out of place. The day before Mariana's art show, her paintings disappear while her mom Estella, a movie star, appears and tries to help out. But things only get more complicated and involve themes of family and relationships. Estella's assistant Jenny, who is also Mariana’s love interest, is introduced as well. Her intern Carolina, who is also an artist, uses her art to save the show while Carolina's boyfriend Juan, the cop, tries to figure out who stole the paintings. 

One way the play was successful was being entertaining, keeping the audience engaged. Right from the beginning, it grabbed the attention of the audience with the powerful acting in Mariana’s reaction to her paintings being stolen. It was packed with yelling and panic, making the audience invested in the problem. The plot had surprising twists like when there was a scene where Carolina and Juan both made an unexpected confession and got the audience eager to see what will happen next. There were also random moments of dancing that were fun to watch and got the audience reacting. However, some people might’ve thought that there was a little too much going on, with all the different things happening and it may have been confusing or boring for them. Or that even though there were surprises, some may have been able to predict some of the things that happened because similar things have happened in other stories or movies. For example, it wasn’t shocking how Mariana and Estella's relationship got fixed or the identity of the thief. But even with these potential counter arguments, the strong acting and high energy throughout the play still made it fun to watch. 

Laughs in Spanish was a play performed at Seattle Rep, written by Alexis Scheer. It's set in Miami, Florida, during the holiday season. The play is funny, entertaining, and keeps the viewer wanting more. It's a good play that I would ultimately recommend, even with there being some critiques I would make, such as the set. There are a lot of strong suits, though, like how it was a very light-hearted play even through the deeper topics they talk about and the characters' outfits. The play follows Mariana, an art gallery director, in the Miami area along with her assistant Carolina. The night before an art exhibition was supposed to happen, all the paintings were stolen. Juan, who happens to be Carolina's boyfriend, ends up being the cop on the scene after Mariana calls the police. Shortly after Mariana's mom, Estella, and her assistant, Jenny, show up.

I really enjoyed how the play touches on some deeper topics while still maintaining a more lighthearted demeanor. It touches on insecurity, identity, and feeling unready. Mari really struggles with comparing herself to her mom because her mom was a huge movie star, being immensely popular and not wanting to be like her. Mari won best in show for a painting she made. To celebrate, she went to a bar. She left momentarily to get money out of the ATM. When she came back, all the attention was on her mom. Before Mari told Estella about what actually happened though Estella was making jokes about what could have happened, she said, “I swear to god if he put a finger on you I will hunt him down and cut his dick off” which ultimately led to it feeling like a calmer conversation than if there weren't any jokes. Caro also expresses how unready she felt when she told Juan she was pregnant, she did not know if she wanted to bring a child into the world. Although throughout her talking to Juan, she was making jokes which helped it from being a hard, almost rigid conversation. Instead, it was easy and felt more free flowing. While they were talking, Caro said, “I hope it-THEY-I hope they feel empowered to be whatever gender or non-gender they feel.” It was said in a very non-serious tone, and it helped maintain the light-hearted feeling they were going for instead of an abrupt sad scene.