TeenTix Blog Theater

This holiday season, Seattle Children’s Theatre brings much-loved picture book Corduroy to life under the enthusiastic direction of Kathryn Van Meter. Expanding on the original story by Don Freeman, Barry Kornhauser’s warmhearted adaptation will delight younger attendees and coax forth the child within older ones.

The play begins on an empty stage glowing a rich blue. Combining the talents of scenic designer Tony Bend and lighting designer L.B. Morse, faint concentric circles painted on the walls and floor give the stage the appearance of a whimsical tunnel, drawing the eyes of audience towards its softly glowing orange center. First to enter are two clowns, played by teen actors, who perform an animated routine of physical comedy. The clowns then appear to use the force of their minds to drag on set pieces, slowly assembling a department store. Right from the start, the goofy and whimsical sound effects coupled with the pair’s exaggerated body movements give the show a playful and cartoonish feel.

Sorry Boomers: in Seattle at least, you’ve pretty much lost the “War on Christmas.” While in the days of yore, our monthly theme for December might have been limited to Christmas, we at TeenTix respect cultural and religious diversity—so our reviews this month will simply be getting Festive (whatever that means to you).

MOHAI’s new exhibit, Beyond Bollywood: Indian Americans Shape the Nation, displays the rich history of the Indian American community in the PNW and throughout the country. Through video, audio, and photographs, learn about the underrepresented history of one of America’s largest immigrant groups.

The first hint of the show were the silhouettes of the band members entering the back corner of the stage, nimbly tucking themselves into the arrangement of musical instruments already set up. The house lights dimmed and the stage lights faded on, lighting up the fanciful skeleton makeup that adorned the faces of the band and every cast member. Excitement already began to bubble up amidst the audience members, from elementary school kids to older adults. All have gathered to celebrate the Day of the Dead through the show Sugar Skull! A Día de los Muertos Musical Adventure at Tacoma Arts Live; a story described by Peter Bogdanos, the show’s producer, as “perfectly fitting for a varied audience.”

The play began by introducing us to Sugar Skull, a skeleton made of sugar with a captivating and energetic personality who watched along with the rest of us as the second protagonist, Vita Flores, wandered on stage, very much caught up in the music playing from her headphones. She halfheartedly rummaged with an odd photo or two upon the ofrenda (an altar set up for deceased relatives) before muttering about the absurdity of a display for the dead. This triggered a conflict between the apathetic teen and Sugar Skull, who, in his opening remarks, expressed admiration for the tradition.

As the warm air began to fill with a cold breeze, the drops of rain hit the wooden floorboards. The dull and dark lighting began to lighten up as the lights reflected through the raindrops to create a glistening effect. These were the characteristics of a play called Indecent, where a group of Jewish actors travel through America and Europe during the early 20th century to spread the works of a writer named Sholem Asch and his play God of Vengeance which featured a love between two women which did not end so well. The play was an overall great experience, with how realistic the scenes were and the story that was being shared about a group of Jewish people before, during, and after World War II.

Indecent had many moments where the stage became very realistic and felt like a 3D movie. One moment that stood out was at the end when Rifkele dances with Manke and rain starts to drop down on the stage. When real rain started to pour down from the ceiling, it began to feel colder and made it feel as if I was in the scene with the actors as well. It made the anticipation for this rain dance scene even more exhilarating as lots of people had been waiting for this scene throughout the play. Another scene that had an impact was when the actors were reenacting God of Vengeance near the end for a small crowd. In the middle of a scene being acted out, tremendous bombs were dropping down and the vibration could be felt throughout the entire theatre. With feelings of fear and tension left from the bombs, it became more suspenseful as the audience did not know what to anticipate from the next scenes. This also connects to how Jewish people had to live in constant fear of being targeted and killed at any time in World War II.

*Please note, this review includes spoilers

A show that beautifully demonstrates how Jews (and all people, really) are multidimensional, individual, human beings. Indecent, by Paula Vogel and directed by Sheila Daniels (with the Seattle Rep), weaves the complexities of one’s identity in a powerful hour and forty-five-minute show. Indecent is a play within a play. It follows the playwright, Sholem Asch, and his actors’ process in performing the controversial play, God of Vengeance. In the show, props, light, words, projection, and music come together to create a full and complete story. It was a privilege to witness their interpretation of intersectionalities all humans carry and the commonalities of them with others. We see two lesbian Jews, a playwright with “taboo” ideas, and a Black Jew all in one show. These are identities we rarely see, but they’re very real.

The tale of a Jewish play featuring a kiss between two women, a piece of art that was refused by many, an edge-of-the-seat story of how this little play boosted to the top of the charts and made its way on Broadway; we are introduced to the Seattle Rep’s Indecent.

As we are taken back in time, we are focused on Sholem Asch, a Polish playwright who wrote the play The God of Vengeance. This play in particular contained “scandalous” themes, two of which were homosexuality and the rejection of one’s faith. Because the play contained such themes, the play could not be produced. A man by the name of Lemml, an amateur towards theater arts, saw its magnificence and helped Asch make his play a sensation. From Berlin to Moscow and to all of Europe, they made their way to America. As things begin to go downhill, Asch became more focused on the tragic events happening back at home, leaving The God of Vengeance in Lemml’s hands.

Halfway into the performance, there is a moment where the entire cast within Indecent reveal yellow Jewish stars on their clothes, and one person stands out against the crowd. One star is not just yellow, but a black triangle and a yellow triangle, put together to make the star. The black triangle was used to mark many things, one of those being the mark for lesbians. At first the addition of it was shocking to me, as the black triangle isn’t too often used as a queer symbol, but it rather became a nice addition in a play that concerns a queer Jewish story. Written by Paula Vogel, Indecent tells the story of the writing, producing, success, and censoring of the play God of Vengeance by Sholem Asch. God of Vengeance was the first performance on Broadway to feature a kiss between two Jewish women, one the daughter of a brothel owner and the other an ex-prostitute, which gets the cast of God of Vengeance arrested after their first performance on Broadway. While Indecent is not a queer story itself, the way it choses to explore how people intake queer theater, and how intersectionality plays into that, makes it an interesting and worthwhile play to see.

Within Indecent there are two ways in which the characters view God of Vengeance, one view is with disdain, the other is a love for something that dares to show what some may see as obscene within a beautiful light. The romance between the two female leads in God of Vengeance is brought up many times within Indecent, with one particular scene being mentioned above the rest, this is what is referred to as the rain scene. The rain scene is mentioned over and over, and it is most often described as beautiful, one of which that shows the most wonderful love between two characters who just so happen to be women; one character even compares this scene to the balcony scene from Shakespeare’s Romeo and Juliet. Within this, Indecent shows how queer media and theater can easily be normalized within the eyes of many, allowing some to see it simply as another love story. Meanwhile, there are others within the story that see the love between two women only as something wrong. Within the scene where Sholem Asch first shows God of Vengeance to others, he is met with a clear message: That the story of two Jewish women falling in love at a brothel is not what the world needed to see, especially of the Jewish population. This carries on into the opening night of God of Vengeance on Broadway, in which the one who reports the play to the police, which, in turn, gets the cast arrested, is himself a Jewish man. This man gets an entire monologue to explain his motives, about how he cannot understand why the Jewish author of the play would try to show something, seen by many at the time as obscene, as acceptable. Through God of Vengeance, Indecent shows how one’s ethnicity and religion affects how one views a form of media, especially queer theater.

“We have, all of us, a secret life.” Thunderous and gory and ominous and utterly beautiful and all at once shrouded in darkness and mystery, Dracula explored what the characters did not know about their society, each other, and themselves.

Steeped in blood, smoke, and innuendo, ACT Theatre’s production of Dracula by Steven Dietz twists the quintessential horror classic into something altogether new. In ACT’s modernized iteration of the classic, the story follows Mina, a young woman in love and infatuated with Jonathan Harker, who writes to her from his travels in Transylvania, through her plight to combat the malevolent Dracula as he leaves death and destruction in his wake. Brandon O'Neill as Count Dracula at ACT. Photo by Chris Bennion.

As we transition into winter, the streets of Seattle may look grey and uninviting. It’s tempting to stay at home binge-watching shows you know you like. But look again: there’s a world of thought-provoking and entertaining art under the surface of Seattle’s November gloom, and this month, we want to highlight the events you might pass over at first glance.

Bellevue Arts Museum’s exhibition Hidden In Plain Sight explores how old materials can be made new through art. Similarly, a new exhibition at the Henry Art Gallery with the almost-identical title In Plain Sight, relates to this theme as well. Seeking to explore narratives of racial marginalization, class, and ethnicity repressed and overlooked due to systems of oppression, the Henry showcases visual art and photography to question dominant American cultural narratives.

The Thanksgiving Play, by Larissa Fasthorse, staged at the Seattle Public Theater, is an unexpectedly fun and thoughtful look at race and white guilt. The play stars Jonelle Jordan as the anxious and determined Logan, who’s writing a play about Thanksgiving; Martyn G. Krouse as the hippie Jaxton, her partner, who you love to hate; Andrew Shanks as the shy and passionate Caden, a history teacher; and Zenaida Rose Smith as Alicia, the gorgeous and deeply misled L.A actress.

How do four white people make a culturally sensitive Thanksgiving show for children about the horrific history of Native American treatment in the U.S.? Logan has landed herself in this pickle when her Native American actress turns out to be a white woman with “ethnicity headshots.” Paired with her hippie not-boyfriend, an enthusiastic elementary teacher with a passion for playwriting, and the previously mentioned white actress, the four of them have to create a culturally sensitive show out of their distinct lack of melanin.

What makes or breaks a modern production of a classic story? Is it the acting, the setting, the interpretation? The large amount of “classics” available to us has lead to a pretty noticeable increase in remastered stories.

Seattle Shakespeare Company’s production of The Tempest is an example of one such creation. It tells the classic Shakespearean tale of Prospero (Mari Nelson), a banished Duke with strong magical abilities. The play shows Prospero coping with his past, as the King of Milan and others responsible for his exile find themselves stranded on the mystical island he now lives on. Everything gets more complicated as his daughter, Miranda (Allyson Lee Brown), gets tangled up in the drama, and Prospero finds himself forced to decide between revenge and forgiveness.

With the recent rise of box-office-breaking horror movies, it seems the genre is experiencing a renaissance of sorts. One subgenre of horror, however, that has consistently remained in pop culture’s periphery is gothic romance. For theater fans of the genre, it’s time to get excited. Here to marry gothic romance themes to those of 70s horror and ghost stories is Amy Escobar’s play We Go Mad, which had its world premiere September 20, 2019.

The play centers an unnamed woman who inherits a looming estate (and possibly much more) from her great-grandmother. Escobar draws us into a dark world of fairy royalty, intergenerational trauma, levitation, body dysphoria as a haunted house, and break-ups that break records for their awfulness. But while We Go Mad finds a saving grace in its passion for the mystery and the supernatural sublime, it faces some unavoidable issues with integrating different tones.

Dust off the skeletons. Carve up the pumpkins. Plant the gravestones in the ground, hang the ghosts around the house, and beware the witch around the neighborhood because it’s finally the second scariest time of the year (behind finals season of course): October! The Teen Editorial Staff knows that this spooky season is kicking into full gear, so we’ve got your back with some great art to curl up to.

If you like your horror spawned from none other than the Bard of Avon, you may find Seattle Shakespeare Company's The Tempest particularly intriguing. The literal and literary magic of The Tempest makes it stand tall among Shakespeare’s many triumphs, and Seattle Shakespeare’s performances will no doubt do justice to the time-tested tragicomedy. More traditional Halloween horror might tickle your fancy instead, so look no further than Dracula at ACT, a modern take on the most iconic public domain demon. A thorough reimagining of Bram Stoker’s 1897 classic, Dracula adapts the classic monster for a 21st century audience while still managing to carve out its own niche within the villain’s long and storied evolution. If you are craving a fresh story that you might not have heard of before, check out We Go Mad at 18th & Union, a haunted house story involving a woman inheriting not just her family’s property, but their demons as well. Incorporating unique puppetry techniques including “cinematic shadow play, modified bunraku, and object manipulation,” this show is not to be missed during your month of fright-filled festivities. You might also be interested in the horrors of reality, and there’s no better place than the Powerful Grit screening of short films at NFFTY. Full of hard-hitting, depressing, and all around feel-bad films, it’s the perfect place to go to get a good dose of the feels. If you’re looking for a time at the movies that’s a little less Sour Patch Kids and a little more Haribo Goldbears, look no further than Brief Story from the Green Planet at the Three Dollar Bill Cinema's Seattle Queer Film Festival. Follow Tania, a trans performer who, after discovering an alien among her deceased grandmother’s belongings, goes on a journey with her two childhood friends to return to the extraterrestrial, face their fears, and discover themselves. And finally, for those of you who aren’t much into the Halloween spirit: no worries! We’ll fast-forward to Turkey Day and Native American Heritage Month by seeing The Thanksgiving Play at Seattle Public Theater. In this story written by Native American playwright Larissa Fasthorse, we hear a comedic take on one journey to uncover and share the true origins of the white-washed Thanksgiving holiday in our country.

My mother didn’t want to go to college. After graduating high school, she didn’t attend, electing instead to run away to the mountains of Colorado to become a ski bum. Instead of the free skiing life she imagined, she spent a season cleaning toilets as a maid. Finally, she decided to honor her parents’ wishes and go to college. On her first day of St. Catherine’s, a sprawling and decidedly Catholic all-girls school, she wore fatigues from the army surplus store. Drawing a line down the floor of her dorm with her combat boot, she said to her new roommate (whom she later dubbed “Becky Home Ec-ky”) “this is your side, and this is mine.”

I have heard this story so many times throughout the years, more as mythology than recollection. Every rebellion I stage is due in part to my mother’s genes. Everything Is Illuminated understood this process, how our family stories stretch and shrink to accommodate corners of the everyday. Everything Is Illuminated was a story of stories. It’s part letters read aloud, part family mythology told in projector images, and part recollections of the main characters. The show celebrated the nature of our own mythology, and how it can shape us along the way.

At seven years old, I thought I knew everything there was to know about living a fulfilling life. For me, the path to happiness was simple: become a famous artist, adopt three dogs, and live in a mansion on the lake. However, I soon realized that life wasn’t as easy as I made it out to be. But with these fanciful dreams no longer clouding my thoughts, there were times when I no longer knew who I was, where I fit into my community, or what I wanted to do with my life. This kind of teenage existential crisis is common amongst my peers, and perhaps this is why playwright Eisa Davis wrote Bulrusher, a coming-of-age story about the pathway to self-discovery.

Bulrusher, set in the year 1955, is a production directed by Valerie Curtis-Newton at the Intiman Theatre. When we first meet Bulrusher (Ayo Tushinde), she is a young woman, living in the small logging and farming town of Boonville. The Boonville residents speak a combination of English and Boontling—an elaborate, esoteric lingo known only by the locals. As an infant, Bulrusher was abandoned in a basket set free along the Navarro River, before eventually being found and raised by an old schoolteacher named Schoolch (Charles Leggett). Eighteen years later, she spends her time running her own orange business, getting schooled by the local brothel owner Madame (Christine Pilar), and being serenaded with love songs by a local teenage boy (Adam Fontana). But as one of just two people of color in Boonville, Bulrusher is a misfit in her traditional, white, working-class rural community. She copes with her struggles of belonging by spending time besides the river that kept her alive as a baby. Reginald André Jackson, Adam Fontana, and Charles Leggett in Bulrusher. Photo by Naomi Ishisaka.

Although I was born a few decades too late to experience the Indiana Jones movies as they came out, the franchise was an integral part of my childhood. My dad and I have always bonded over these films, and we even made our way through the entire series. So when I heard that Seattle Public Theatre, in collaboration with theater troupe The Habit, was offering their own spin on these sentimental films, we just had to go together.

I can’t say I was expecting SPT’s Indy Jones and the Raiders of the Last Temple of the Doomed Ark to be anywhere near as great as the original films. I was anticipating a simple re-enactment of the series, with maybe a few new and cheesy jokes. But, Indy Jones exceeded my expectations: it’s a wonderfully comedic mishmash of the first three films, complete with original musical numbers. This production isn’t a simple re-enactment of the show, but a new, fresh, and dick joke-filled take on these nostalgic classics.SPT’s Indy Jones and the Raiders of the Last Temple of the Doomed Ark. Photo by Marcia Davis.

As the great Calvin of Calvin and Hobbes once said, “It is now two days closer to the start of school than it was two days ago.”

We made that sentence its own paragraph, because the idea can stand alone as a bringer of pure, unadulterated panic.

Hey TeenTix-ers: Scholarships are now available for Singing the Gospel, a masterclass from our friends at The 5th Avenue Theatre!

This energetic and uplifting vocal master class will explore the history and influence of gospel music in musical theater. In this two-part course, students will work with Seattle-based singer and actress, Shaunyce Omar, to examine how gospel music has influenced both musical theater and pop music; learn the power of ensemble singing; and discover how to adapt their own personal style to gospel singing. Join in for this fun and engaging class and get singing!

WARNING: SPOILERS AHEAD

Although I had been warned by the sign at the front door—CAUTION: LOUD GUNSHOTS—I still started, pretzeled my arms into my chest, when the trigger was finally pulled. I sat, head buzzing, as the murderer monologued for the final two minutes of the play. The lights went down amidst audience mumblings, then I stood clapping with the room while the actors bowed. My chest was tight with anxiety all through the talkback, the drive home, my pre-bed face wash; even now, I can easily picture the muzzle flash. If art’s job is to affect individuals, then Pass Over deserves a raise.

Race, masculinity, and American identity have all played a key role in making baseball the national pastime. Richard Greenberg, the playwright behind the Tony-award winning Take Me Out (now playing at 12th Avenue Arts through Strawberry Theatre Workshop), understands baseball’s all-encompassing scope, and attempts to use it as means for a spectacle of societal discourse. His results are mixed, but when performed by a capable cast, certain moments hold all the power baseball possesses.

The concept is compelling enough to make one wish it had been handled differently. There's no doubt that the highly-decorated Greenberg is a talented playwright. Whether he’s the one to pen a play of this subject matter is another question. Darren Lemming (Lamar Legend), a mixed-race pro baseball player seemingly based off Derek Jeter comes out abruptly as gay, unbeknownst to the weight of his action. Lemming must then adapt to his demoted status, going from untouchable golden boy to the patronized poster child for a community he doesn’t identify with. When screw-loose Shane Mungitt (Craig Peterson)—a red-state rogue with a habit for saying bigoted slurs—joins Lemming’s team, tensions give way to a cultural battleground. The plot has all has the makings for a fascinating dissection of baseball in all its glory and carnage, a symbol of Americana that has both unified and divided the country. With the historical context of baseball’s long-winded journey to racial integration, there is certainly potential for a truly explosive work. Unfortunately, Take Me Out doesn’t quite live up to that potential until the second act.Take Me Out at Strawberry Theatre Workshop. Photo by John Ulman.