TeenTix Blog

Review of The Cure at Troy by Emma K., age 16Believe the hype. Here are three reasons why The Cure at Troy, currently playing at Seattle Rep, is worth a trip to the theatre:1. It’s relevantThe Cure at Troy was written by Seamus Heaney as a response to the turmoil going on in Northern Ireland during the 1980s and ‘90s. Based on the play Philoctetes by ancient Greek playwright Sophocles, the adaptation retains some classical elements while integrating new styles into the ancient story. The chorus provides a narrative and commentary in mostly poetic verse as the main characters perform in contemporary language; this juxtaposition makes for occasional and welcome comedy (ex. “We’re Greeks with a job to do.”) In addition to being surprisingly funny in moments, the script is also powerful in its theme of conflicting morals – does one do what he is told by his leaders or does he follow his own personal truth? You don’t have to know or understand ancient Greek history to appreciate this premise which is undeniably relevant in today’s world.The cast of The Cure at Troy at Seattle Rep. Photo by Chris Bennion.2. It’s a combination of commanding art forms, not just a playThe story is simple: Odysseus, a Greek general, learns that he needs the bow of Hercules (a god) in order to win the war against Troy. The problem? He has left the bow is possession of Philoctetes, a wounded soldier he abandoned on a barren island with a mortal wound ten years ago. He now needs to retrieve the weapon and sends Neoptolemus, the young son of Achilles, to win Philoctetes’ trust and steal the bow. Movement is incorporated into the story as well as vibrant music by Josh Schmidt. Although some of the dance like motions are out of place, these elements invigorate the production and provide an ‘other-worldly’ quality at times. Lighting by Scott Zielinski also infuses the show with energy and transcendence. Sometimes these efforts are over the top – the Technicolor light show at the climax, the clichéd tune played at the end – but overall this imaginative take on the story protects it from becoming a stuffy remnant of a history book and keeps in fresh and intriguing. The tale is presented as an artistic creation that aims to prove the timelessness of ancient themes.3. The performancesThe cast is committed to their performances, delivering them with drive and assuredness. As Philoctetes, the abandoned archer who now wallows in his own physical and emotional agony, Boris McGiver is determined. He brings a strong sense of urgency to his role and believably transitions from his character’s moments of untainted wisdom to those of his immense anger and pain. Seth Numrich plays the young Neoptolemus with a sincerity, ambition and fitting confusion. As his morals conflict within himself he shows a tender quality of authentic earnestness. The character of Odysseus, played by Hans Altwies with condescension and intent, is not presented as a hero. Rather, he is a man who has given up everything in his ambition. Guy Adkins, Ben Gonio, and Jon Hill are the chorus; their singing is glorious and they deliver most of the movement pieces with precision and fervor.This show is not without its hitches, but the ultimate messages of love and moral purity make it haunting in its significance and clarity.Emma K.April 9th, 2008The Cure at TroySeattle Repertory TheatreThrough May 3rdwww.seattlerep.orgSeattle Rep’s Ticket Office: 206-443-2222Ticket Office Hours: Daily, noon – performance timeSeattle Rep is located at 155 Mercer Street, on the North edge of Seattle Center. It is served by buses 1,2,3,4,13,15,16,18,45, 74 and 85. For bus times: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

Review of The Dead Guy by Jenny B., age 19

“Look at everyone in this country. They’re all desperate to feel something – really feel something. We see torture and murder – it’s kind of upsetting. We’re flat-lining,” Gina (played by Erica Bergman) proclaims persuasively in ArtsWest’s production of The Dead Guy. This is an astonishing story, in which playwright Erick Coble teaches us about life. The message is brought to life by director Rob West’s integration of theatre and television and Will Abrahamse’s set design, which captures even the most absent minded attendee’s attention. With almost everything being recorded, it begs an interesting question of the audience, which feeds into the message of the show: do you watch the screens or the actors?Ray Tagavilla and Erica Bergman in The Dead Guy at ArtsWest. Photo by Matthew Durham.This astonishing story teaches us about the pointlessness of reality television. It shows us how some people live through their televisions instead of experiencing things for themselves. The Dead Guy does this by taking reality TV to the extreme by putting a man’s life in the hands of the audience. The main character Eldon (played by Ray Tagavilla) has a week to live. In that week, through realizations from how he has treated others to how it is important to appreciate the small things in life, he teaches us about love and living life to the fullest. By the end of the performance that I saw, the actors were energetic and convincing, but the beginning the show, for lack of a better word, was void of life. The lines were well delivered, but the conviction behind them was not. The lines delivered by Eldon were funny, but the absence of comedic timing didn’t lead the audience to laughter. About a fourth of the way into the show, though, the energy picked up and then everything started to click. Then, the audience followed and was moved to more than just laughter, but to deep feelings for the plight of this character. Maybe with proper warm-ups this would not happen in the future. The play is surrounded by a charming atmosphere, from the integrated art that lines the walls (a Deborah Paine curated exhibit called Yer Killin’ Me) to the friendly box office crew and concession stand workers, who are helpful and understanding. This show is definitely worth attending just to experience the playwright’s message. This well-written piece that is great for everyone to reflect on their own situations and life. It gives us perspective on how we spend our time and what we value in life. Jenny B.April 5th, 2008The Dead GuyArtsWestThrough April 26thArtsWest’s Ticket Office: 206-938-0339www.artswest.orgArtsWest is located at 4711 California Ave SW in West Seattle. It's served by buses 22, 37, 51, 53, 54, 55, 57, 128, and 560. Bus times: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

I enjoyed reading your review very much..You mentioned the parts of the ballet that you liked best, but you didn't mention who danced them.

Review of A Midsummer Night's Dream by Jennifer K., age 17For those infatuated with ballet, Pacific Northwest Ballet has long held our affection. Arguably the Northwest’s most prestigious ballet company, PNB’s performances are always professional and enchanting. However, there is a large portion of Seattle-ites who, sadly, do not hold this enamored view of ballet. Instead, they think of it as dull, stuffy performances by women in tulle and men in tights that should have ended in the 18th Century. Whether you belong to the first group or the second, PNB’s production of A Midsummer Night’s Dream is an ideal show for you.Pacific Northwest Ballet principal dancers Louise Nadeau and Olivier Wevers in A Midsummer Night's Dream at PNB. Photo by Angela Sterling.A Midsummer Night’s Dream is definitely not a long, dry classical ballet. It is actually a fairly short ballet consisting of two acts. The first act contains the twisting Shakespearean storyline. Oberon and Titania, the king and queen of the fairies, are feuding in the enchanted forest. Two human couples—Hermia and Lysander, and Helena and Demetrius—are also in these woods. Hermia and Lysander are happily in love, but Helena and Demetrius are not so lucky. Helena loves Demetrius, but he scorns her. Puck, a mischievous fairy, has found a flower that causes people to fall in love with the first person they see. He sets out to use it to end Oberon and Titania’s quarrel and to remedy Helena’s unloved plight. He succeeds in doing this, but only after causing some humorous mix-ups between the lovers. These include forcing Titania to fall in love with Bottom, a workman with the head of a donkey. In the second act, all the couples are happily reunited and they celebrate with a series of grand wedding dances.A Midsummer Night’s Dream will not disappoint those who adore going to ballets. The legendary George Balanchine did the choreography, and it is stunning. Of the dances, my personal favorites were Oberon’s impressive solos and the breathtaking Pas de Deux (duet) in Act II. The sets are large and creative, and include a starlit sky and a sizeable spider’s web. The dancing in Act I features quite a bit of miming and acting to tell the story, but Act II gives the typical “ballet” experience, with more classical choreographyIf it is your first time attending a ballet, do not despair. A Midsummer Night’s Dream is still an excellent performance for you. The storyline is clear and entertaining, and there is plenty of humor woven throughout. Puck and Bottom’s solos are especially enjoyable. The ballet does an excellent job of combining the charming events of the famous Shakespearean comedy with the impressive choreography of George Balanchine. No dull pastel tutus adorn the dancers of this show. Instead, sparkling costumes in clear jewel tones swirl across the stage.Please remember that this is a ballet, so it will be a bit “cheesy.” A Midsummer Night’s Dream is a fairytale and should be treated as such. The dancers don’t speak, so they must communicate solely with their bodies. Thus, their acting is overemphasized. The idea of dancing out a story is a bit comical in itself. This is all part of the charm of a ballet. No matter how implausible, though, everyone enjoys a happy ending.After each show, there is a question-and-answer time with PNB artistic director Peter Boal and one of the lead dancers. Opening night, Carrie Imler, who played Titania, attended. She said that one of the reasons she loves performing is that it allows her to take an audience into an imaginary world where they can forget about their worries for a few hours and simply enjoy the story. Even if ballets are not normally in your comfort-zone, I encourage you to see this show. It provides a painless introduction to this important category of the arts. It may even transform you into an avid lover of dance. Enjoy the haphazard story, soak up the lighthearted dancing, forget your troubles for a night, and go home happy.Jennifer K.April 3rd, 2008A Midsummer Night's DreamApril 3 – 13http://www.pnb.org/PNB’s Ticket Office: 206-441-2424Ticket Office Hours: Weekdays 10 a.m. – show time, weekends 90 minutes before show timePacific Northwest Ballet is located in McCaw Hall, 321 Mercer Street, on the north edge of Seattle Center. It is served by buses 1,2,3,4,13,14,15,16,18,45,74 and 82. For bus schedules: tripplanner.metrokc.gov.Did you see this show? Leave a comment and tell everybody what you thought!

Review of The Diary of Anne Frank by Emma K., age 16I first read The Diary of Anne Frank when I was eleven and since then it has had a profound affect on me; I am pleased to say that no film or stage version has moved me as much as the production currently playing at Intiman Theatre.The cast is a group of seasoned actors. The adaptation by Frances Goodrich and Albert Hackett – though not entirely historically accurate – succeeds in giving a humanized look into the lives of eight Jews, who did everything they could during the horrific years of World War II to preserve their hope and, ultimately, their lives. As I was leaving the theatre, I heard the woman behind me saying, “It’s so sad. We all know how it is going to end, but it’s still so sad.” We do know how the story ends, with the discovery and death of all the people in hiding, save Otto Frank; yet, I could feel the audience around me hoping it would end some other way as they began to know these courageous people being portrayed on stage.Lucy DeVito (in foreground) with the company of Anne Frank at INTIMAN Theatre. Photo by Chris Bennion.As Anne Frank, Lucy DeVito is initially impish, appropriately childlike, and the epitome of a young girl going through the trials of growing up. As the play progresses, so does her Anne, becoming a hopeful – but not naive – young woman. DeVito clearly has a gift for comedy, but she proves herself as a strong dramatic actress as well. Her Anne is entertaining, innocent, and humbling, all at once.Matthew Boston plays Mr. Frank, the only occupant of the secret annex to survive the genocide, and the person who oversaw the publication of Anne’s diary. He evokes sympathy throughout, but is strongest during his silent moments – his expressions and physical tension are exceedingly powerful. Equally affecting is Amy Thone as Mrs. Frank. She is a worn, silent sufferer in this role – compassionate and strong, even through her exhaustion. As Margot Frank, Lindsay Evans does not have a large part, but delivers it with fitting grace and reservation, echoing the performance given my Ms. Thone.The audience feels for Connor Toms as Peter Van Daan, the boy who becomes a friend and confidant to Anne. He perfectly captures the frustration and confusion a young boy growing up under such conditions must have experienced. He is sensitive and touching.As Mr. and Mrs. Van Daan, Michael Winters and Shellie Shulkin provide comic relief but also have some of the most vulnerable moments of all the characters. They are human, and these actors showcase their fear and anxiety. Alban Dennis plays Mr. Dussel, the dentist who hides with the Franks and Van Daans. His is the only character that pronounces resignation to his plight – he is aware and paranoid, so very awakened to the suffering outside. Dennis has a wonderful physical presence; even when he is silent his character’s anxiety and stress is evident.Carol Roscoe, as Miep, and Jim Gall, as Mr Kraler, play the people who looked after the eight souls in hiding. They perform their roles with compassion and subtle apprehension; however, their characters do not have many chances to appear – this is a story about the people in hiding.The set design, by Nayna Ramey, is impressive, creating an apartment of many levels which is based on the factual secret annex. Sound, by Chris R. Walker, is also to be noted – along with the lighting by Marcus Dilliard, it helps to make the production realistic. Costumes, by Frances Kenny, are practical and appropriate to the time period down to the underclothes. The play is admirably directed by Sari Ketter.This is a humbling production, one that reminds me how powerful the theatre can be. The chemistry between the cast and audience was so strong, the story touching everyone’s heart. Anne Frank was a special girl, not for the way she died but because of the way she lived. This production reminds us of that by making her experience real – alive, humorous, pitiable. I hope that everyone will see this play and be inspired to take action against the genocide and oppression still going on in the world. Intiman should be tremendously proud of this presentation.Emma K.April 5th, 2008The Diary of Anne FrankMarch 21 – May 17http://www.intiman.org/INTIMAN’s ticket office: 206.269.1900INTIMAN Theatre is located at 201 Mercer Street on the Seattle Center campus. It is served by buses 1,2,3,4,13,15,16,18,45, 74 and 85 and others. For bus times: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

Review of How? How? Why? Why? Why? by Ian S., age 17First I just hear Kevin Kling's words. Or, more accurately, a jumble of words. I'm somewhat distracted, and this seems a bit boring, so I'm not hearing exactly what he's saying. My eyes keep darting around the stage taking in the scene before me, but my thoughts are just somewhere else entirely. And then I notice something: Kling hasn't moved his right arm the whole time he's been standing up talking. His left is atrophied, and it has been since he was born, I can tell by just looking at it. And I understand that. But why hasn't he moved his right arm?And then it occurs to me: he's going to tell us about why he hasn't moved his right arm. And there's got to be an interesting story behind it. And I start listening to every word he says. And I'm hooked.Kevin Kling and Simone Perrin in How? How? Why? Why? Why? at Seattle Rep. Photo by Chris Bennion.Kling makes near perfect use of the stream-of-consciousness style to tell his story. Though the delivery sometimes feels slightly forced, what he's saying is so compelling that it hardly matters. The story flows freely, going off on tangents wherever Kling feels it's necessary. He's got a lot of stories to tell, and they all seem to point towards the eventual climax: his motorcycle crash. If the motorcycle crash is the climax, then his recovery is the falling action. The rest of the play deals with his childhood and his personality. With the help of an accordion-playing woman (Simone Perrin), Kling presents a mosaic, giving us hilarious caricatures of friends and family from his life before the crash. But most of the story is all his."…and this little kid in the elevator at the hospital says to me, 'I bumped my head on a post and I had to get eight stitches back here.' And I say back, 'Oh yeah, well I had to get stitches from up here down to here and all the way around here and back up here.' And the kid says, 'Well yeah, but mine hurt.' And I said 'ok.' Who am I to deny another man's pain?"Ian S.March 18th, 2008How? How? Why? Why? Why?Seattle Repertory TheatreThrough April 19thMore info and show times: http://www.seattlerep.org/Seattle Rep’s Ticket Office: 206-443-2222Ticket Office Hours: Daily, noon – performance timeSeattle Rep is located at 155 Mercer Street, on the North edge of Seattle Center. It is served by buses 1,2,3,4,13,15,16,18,45, 74 and 85. For bus times:tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

I sa this movie March '07 at the Cleveland International Film Festival. Like you say in your review I often associate documentaries with a good nap, but not this. I cried during this film. The curator of the Louvre at the time sits on a set of stairs in the louvre watching a statue carried out and says 'i won't live to see it's return' and then the voice over lets us know he never did. After seeing it I wanted to learn more...it was so powerful.Not the best comment but my mind is currently a jumble.

Review of The Miser by Paulina P., age 17There is just something about an up-to-date translation that warms the heart and brings a kind of fellowship between the audience and the characters, especially when those characters accuse the audience of stealing their money. David Chambers' new translation of Moliere’s The Miser keeps enough of the 17th century to keep the character in context but an equal part of the Seattleite to keep local audiences entertained.Brian Claudio Smith, Todd Jefferson Moore and Jennifer Sue Johnson in The Miser. Photo by John Ulman.The Miser directed by Robert Currier at the Seattle Shakespeare Company uses these local jokes to accent a story that already has a wealth of hilarity. The slapstick comedy with the movements of the characters and the sound design are just supplemented by the witty remarks and the stereotypical moves of the characters.The story’s central character, Harpagon, played crooked and crazily by Todd Jefferson Moore, is an aged man who always has enough fight for his money. That race for more cash leads him to try and marry is only daughter, Elise, to an older rich man and persuades him into marrying the woman his son, Cleante, is in love with. These quadrangles of love and money cause lots of fist fights and jokes between the family members who drag their lovers into the fray.These lovers swim or swoosh across the stage towards one another and agree to abandon their father and his promise of inheritance if they could only have their love. These highly stylized movements are done on a very decadent set for Seattle Shakespeare Company. It has doors that open and close and intricate perspective design and even candles. It helps to bring in the eccentric world of modern Moliere and create an equally funny backdrop. The style of the costumes also help to show the depth of the stereotypical characters. The brother, Cleante, is fantastically overdressed for the time and makes faces that parallel his almost clownish garb.Seattle Shakespeare Company has made every inch of this production a wild entertaining ride and is a nice intro to the kind of satirical comedies that befit Moliere. One should see it if only for the dancing.Paulina P.March 14th, 2008The MiserSeattle Shakespeare CompanyMarch 13 – April 6More info and show times: http://www.seattleshakespeare.org/Seattle Shakespeare Company’s ticket office: 206-733-8222Ticket office hours: Tues – Fri: 1 – 6 p.m. and one hour before curtain Mon, Sat & Sun: One hour before curtain.

Seattle Shakespeare Company is located in the Center House Theatre at Seattle Center. It is served by buses 3,4,5,8,16,19,24,74 and 82. For bus times: triplanner.metrokc.govDid you see this show? Leave a comment and tell everyone what you thought!

Review of Director's Choice by Renee A., age 16Two hours of watching ballerinas twirl around a stage was not exactly my idea of a great Thursday night. After doing ballet for ten years I wasn’t used to being the one in the audience, and I didn’t think that I would like it. So as my friend and I headed to McCaw Hall to watch Pacific Northwest Ballet’s latest performance called Director’s Choice, my expectations were not so high. But I would like to take this moment to admit that I was completely proven wrong. Apparently I am a fan of being in the audience, as the show completely exceeded my expectations.Pacific Northwest Ballet company dancers in the PNB premiere of William Forsythe's One Flat Thing, reproduced. Photo by Angela SterlingDirector’s Choice is a showcase for contemporary works specifically chosen by PNB Artistic Director Peter Boal. This year’s performances are called Sense of Doubt (choreographed by Paul Gibson), Fur Alina (choreographed by Edwaard Liang), Vespers (choreographed by Ulysses Dove), and One Flat Thing, reproduced (choreographed by William Forsythe). Sense of Doubt is the first performance and it is a great way to open the show. This dance features a solo, duet, trio, and quartet that take turns displaying beautiful choreography on the stage that suggest a sense of anxiety and intrigue. The soloist was my favorite part of the dance. Her name is Noelani Pantastico and she is a joy to watch.Fur Alina, my favorite display of the night, shows the struggle between two lovers. The music is barely there which makes the emotions flowing from the two dancers all the more real. Batkhurel Bold and Miranda Weese definitely deserved the rounds and rounds of applause they received at the finish of their piece.Vespers is the most upbeat dance in the show, literally, as the music consists of erratic drumbeats. The choreography consists of six female dancers, all wearing some variation of a black dress, performing around wooden chairs. This piece was inspired by the choreographer’s grandmother and the other women that she worshipped with. My favorite part of this dance was that once again I was able to witness Noelani Pantastico dance.The last piece of the show is One Flat Thing, reproduced and is by far the most impressive dance of the night. The choreography involves fourteen dancers moving swiftly and erratically around twenty metal tables. Every dancer wears a different color so the dance is filled with a medley of colors. The dramatic movement of the dancers is almost confusing-I didn’t know where to look-but I enjoyed every moment of it.I would encourage all people to go see this show. Besides the high performance quality, the venue is great and the staff is eager to help make your evening the best it can possibly be. Even if you don’t think you like ballet, try something new and give this show a chance because I am quite sure you will not regret it!Renee A.March 13th, 2008Director's ChoicePacific Northwest BalletMarch 13 – 22More info and show times: http://www.pnb.org/PNB’s Ticket Office: 206-441-2424Ticket Office Hours: Weekdays 10 a.m. – show time, weekends 90 minutes before show timePacific Northwest Ballet is located at McCaw Hall, 321 Mercer Street, on the north edge of Seattle Center. It is served by buses 1,2,3,4,13,14,15,16,18,45,74 and 82. For bus schedules: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everyone what you thought!

Ah, I wish I'd been there! The one meeting I miss and of course it's the most exciting one...I liked The Breach, though, haha.Love you guys!Terry

A review of a class about reviewing, by Bianca G.Finally, our Young Critics Workshop met the fine humans behind the bylines of The Stranger. And it was as glorious as we had dreamed! Seriously. They entered like an army of hipsters armed with their thick, horn-rimmed glasses and were as weird as expected, but in all the good ways. Allow me to quickly spew all the compliments I have bottled up. They are scholarly, yet too cool for school; they are opinionated socialites; they are handsome, witty, and charming. They are not arrogant about their coolness, as their slogan "Seattle’s Only Newspaper" would suggest. In fact, they laugh a lot.Stranger day at Teen Tix's Young Critics WorkshopThe five kind souls that volunteered their time for the good of young critics were (in alphabetical order): Paul Constant, Charles Mudede, Matthew Richter, David Schmader, and Miz Lindy West. And of course, our faithful teacher Brendan Kiley. The Stranger seems to be mostly guys, which is weird because our young critics circle has only two . The Stranger panel talked about how they drift between work and play like it ain’t no thing, because their job is so enjoyable that work and play become one and clocking hours is trivial. Then they shared their stories of how they all "stumbled" or "fell into" The Stranger, meanwhile we were thinking with purpose how we must work there. It’s like they didn’t realize that this is an era of people who admire The Stranger and want to be part of it, beginning with The Stranger’s 19 year-old public intern who has written about being star struck by Dan Savage. We have been reading their work since middle school, since I had to sneak The Stranger around because my mother thought it was inappropriate.The Stranger's Brendan Kiley, Matthew Richter, Charles Mudede, Paul Constant and Lindy West at Teen Tix's Young Critic's WorkshopDavid Schmader met with a group of three of us to read our reviews of the horrible play The Breach (Holly is the world's most optimistic person, and even she said "I didn’t love it.") He said pleasant things, (considering his usual reporting on infant deaths, pitbull attacks, etc) complimenting our verb use and making reasonable suggestions. But it wouldn’t have mattered if he had told us our work smelled as bad as The Breach, because he, THE DAVID SCHMADER, was there in real life! Reading our writing! He even LOL’d a few times!YCW students with The Stranger's Brendan Kiley, Charles Mudede, David Schmader and Matthew RichterLindy West also shared stories from her days at Garfield, then Charles Mudede spoke very precisely about his epiphanies from reading Marx or something. And Mr. Schmader assured us that writing "gets easier." I was in such a good mood afterwards, my parents noticed. It was the absolute best session of YCW we’d ever experienced, and ever will experience until the day Dan Savage comes.Young Critics Workshop students basking in the scholarly glow of the guest Strangers.The Young Critics Workshop is Teen Tix's seminar for 11th & 12th graders who are interested in critical journalism. For the past four months, the eleven writers who were invited to participate in this year's workshop have been working under the guidance of Stranger Performance Editor Brendan Kiley on improving their critical writing skills. Applications for the 2008-2009 Young Critics Workshop will be available in July.

Review of Stars by Kirsten O., age 17The world of ballet is a strange one, and it didn’t take long for me to realize that I was probably in a bit over my head after watching the first few minutes of Stars of Today Meet Stars of Tomorrow. The performance itself sounds incredibly promising: it boasts several world renowned dancers from prestigious dance companies such as Kiev Ballet (Ukraine National Theatre Opera and Ballet), the Bolshoi Ballet (Moscow), the English National Ballet (London), and Alberta Ballet (Canada). However, as the first piece, “Pas de Quarte”, played out in front of me, I realized what I had gotten myself into; four female dancers in frilly white dresses frolicked, pranced, and daintily twirled around the stage. With smiles plastered on their faces and wreaths of obnoxious white flowers adorning their hair, the whole thing was a little too sugary and maybe a bit ridiculous for me. It seemed stiff and rigid, and while the dancers were all amazingly talented, executing every twirl, jump, and step to a tee, it was not the most exciting thing to watch.As the production continued, I quickly grew tired of men and women prancing about in what looked like glorified lingerie, and while I kept trying to tell myself that I should respect and enjoy the art form as it played out in front of me, I just couldn’t help but escape the thought that this whole thing was a bit silly. And then, all the sudden, salvation! As the fourth piece, titled “Cachaca” began, the energy and liveliness emanating from the stage made me wanted to stand up, clap along with the beat of the music, and maybe even start dancing myself! The five female dancers wore sassy knee length floral print dresses, and bounded around the stage, still incorporating many impressive leaps, jumps and twirls. The dancing was much less rigid, and while it still maintained the daintiness that characterizes ballet, it had a certain edge and energy. This was actually fun to watch!Photo by Rex TranterYet another highlight was a piece called “Qualia”, and it was perhaps the most impressive bit in the entire production. The two dancers, Sarah Lamb and Edward Watson, wore no frills or gaudy sparkles, and instead were stripped down in plain white shorts and t-shirts. For even a novice ballet goer like myself, I knew that this was a serious showcase of talent: both dancers expertly executed their complex moves without hesitation, and the strength exhibited by both dancers was absolutely remarkable. Both dancers were constantly flowing and moving with each other in a series of intricate twirls and twists, and both gracefully contorted themselves in ways I had never thought possible. The passion and emotion the performers seemed to have for each other translated into their dancing, and I was left speechless after their stunning performance. Even if I didn’t understand ballet, I could still respect it, and this piece forced me to see what a beautiful and complicated art form ballet truly was.In the end, Stars is not for everyone. It is a treat for anyone who is dance enthusiast or a lover of ballet, but otherwise, it is lost on the casual viewer. But even then, there are pieces that don’t require you to be an expert on ballet to marvel at the skill and energy that the dancers showcase on stage. However, if you fall into this category, you’d be much better off seeing a movie or a play, and leave Stars for those who truly enjoy this complex and difficult art form.Kirsten O.March 8th, 2008Did you see this show? Leave a comment and tell everyone what you thought!

Hey! I wrote a review for this for The Portland Mercury. It will be out tomorrow. Whee!

Review of The Hundred Dresses by Jennifer K., age 17No matter how old people become, they always love to act like children. There is something therapeutic in letting the worries of the teen and adult world drift away and simply having fun. Childhood has an age-old reputation as a time of innocence and happiness. However, this view is not entirely accurate. Children have fun, but they also make wrong decisions, learn difficult lessons, and go through pain just like adults. The Hundred Dresses, based on the book by Eleanor Estes, tells both of these sides of childhood. Maddie and Peggy are best friends living during the great depression. They are puzzled by an immigrant girl named Wanda. Peggy teases Wanda, and Maddie, though never joining in, does nothing to stop her. The consequences of the girls’ actions are more serious than they expected, and they must learn from their mistakes and try to do better next time.Sarah Harlett, Emily Cedergreen, Troy Fischnaller, Tim Gouran and Betsey Schwartz in The Hundred Dresses at SCT. Photo by Chris Bennion.Allison Narver directed this superb play. Betsy Schwartz plays Maddie and Sarah Harlett plays Peggy. Sharia Pierce plays Wanda. Seattle Children’s Theater does an excellent job of making this story come to life. The sets and costumes are simple and realistic, and the lighting effects are quite well done. To add to the mood, 1930s radio clips play during set changes. At various times throughout the play, the audience gets glimpses of what is happening in Maddie’s imagination with mini dream-sequences. These are portrayed as old-fashioned radio shows, and help to lighten up the play’s serious mood.Yes, the play is serious. Its message of tolerance is a heavy one, both for the characters and the audience. They learn that in life, it is not easy to realize you were wrong, but it is vital. Though the moral is grave, it is woven so skillfully through the children’s crisp autumn schooldays that the audience accepts it as simply another part of life. Rather than showing an ideal but unrealistic chain of events, The Hundred Dresses portrays the err-and-repent way that life usually happens. Thus, the audience can empathize with the characters rather than feel preached at.The characters truly make the play remarkable. The cast members do an incredible job of acting like children; they make it look effortless. Each of them has their own unique personality, so the audience can always identify with someone. They are familiar characters—the leader, the pleasing friend, the silly one—and the audience members feel as though they have met them all before, or even as if they are one of them. Everyone has been in Maddie’s situation. Everyone has faced peer pressure. These characters tell us that we, like them, can make the right choice next time.The Hundred Dresses is a children’s story. It is simple, clear, and comforting. The moral is an old one. Do not hurt other people’s feelings. Put yourself in their shoes. Find out the whole story before you judge. But, it is not merely a children’s story. Like a proverb that has lasted a thousand years, its message has new meaning every time you hear it. It is entertaining, colorful, and fun, but it is also wise and poignant. No matter what age you are, you can learn from The Hundred Dresses.Jennifer K.March 2nd, 2008The Hundred DressesSeattle Children's TheatreThrough April 6thMore info and show times: http://www.sct.org/SCT's Ticket Office: 206-441-3322Ticket Office Hours: Friday 9 a.m. - show time, Saturday 10 a.m. - show time, Sunday noon - show timeSeattle Children's Theatre is located at the West entrance to Seattle Center, just north of Pacific Science Center and West of the Space Needle. It is served by buses 1, 13, 15, 18, 19, 24 and 33. For bus times: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

Review of Girls Rock! by Ashraf H., age 17As I, a seventeen year-old dude, sat down to watch Girls Rock!, a documentary about an ultra-cool Rock n’ Roll camp for girls, I came to ask myself why I had taken on such a screening. The answer I came up with consisted of two parts: (a) because members from two of my favorite local bands (Carrie Brownstein from Sleater-Kinney and Beth Ditto from The Gossip) appeared in it, and (b) that I wanted to see for myself if this is just another girls-are-from-Venus-boys-are-from-Mars film that blamed men for all of the problems that women face today. As I soon found out, it’s nothing of the sort; it’s an eye-opener to both men and women alike to what girls today have to go through everyday, and a camp made especially for them to express themselves and learn various life lessons via rock n’ roll.As mentioned earlier, Girls Rock! is a documentary following the experiences of four girls at The Rock n’ Roll Camp for Girls located in Portland, Oregon where about a hundred girls from across the nation, both amateurs and experienced in their weapon of choice, form bands and join for a week of workshops, practices, and classes all leading up to a final performance with fellow camp-formed bandmates in front of more than 700 people.The girls: Laura, a fifteen year-old Korean adoptee and metal-head who, despite her outgoing personality, has extremely low self-esteem; Palace, an eight year-old princess with an attitude; Misty, a seventeen year-old former drug abuser, street rat, and gang member, looking for a change; and Amelia, another eight year-old, whose favorite bands include Sonic Youth and whose dog, Pippi, is her greatest muse.This documentary is one of the better ones I’ve seen in my short lifetime. It’s made in a way that the both the super young and super old could both enjoy at the same time. With informative, fascinating, and sometimes shocking facts and statistics strategically placed throughout the film, getting bored is not an option. There were parts in which I literally LOLed and there were parts in which I, a male teenager, actually got goosebumps. I recommend this film to anyone and everyone, guys and girls, with even the slightest bit of interest in music and how it changes lives of those around it. And don’t be intimidated by the fact that it’s a documentary; the fact of the matter is, documentaries are just like other movies, but about real people and real events, which make them all the more appealing. Do yourself a favor and check it out, you might not get another chance.Girls Rock! SIFF Cinema March 7th - 20thMore info and showtimes: http://www.seattlefilm.org/SIFF Cinema Ticket Office: 206-324-9996Ticket office opens 1 hour before show time.SIFF Cinema is located at the Nesholm Family Lecture Hall at McCaw Hall, 321 Mercer Street, on the north edge of Seattle Center. It is served by buses 1,2,3,4,13,14,15,16,18,45,74 and 82. For bus schedules: tripplanner.metrokc.govDid you see this film? Leave a comment and tell everybody what you thought!

Review of The Imaginary Invalid by Ori R., age 17Hypochondriacs are easy to make fun of. Moliere takes a "sick" joke to a whole new level in The Imaginary Invalid. A man who constantly believes he is sick tries to marry his daughter off to a doctor. The play is a beautiful catastrophe. People who love a hilarious mess will adore this production! Invalid is a musical, and as most musicals are, it is a high-end presentation. The sets are astounding, the costumes are elegant, and the actors are top-notch. The play may seem a tad long for a comedy, but the two hours fly by. I took my younger brother (15) to the play with me, and he didn’t even notice what time it was when I took him home. This musical was so hilarious, I could barely settle down to go to sleep afterwards!Julie Briskman and Bradford Farwell in The Imaginary Invalid. Photo by Chris Bennion.The Imaginary Invalid is incredibly witty, clever, and littered with thin-masked innuendo. All of these elements combine to make a classic comedy that teens and adults alike shall love. For the boys: fart jokes. For the girls: misled romance. For the adults: quite a lot more than a review should say. This play had so many quotable lines, and if you know Latin, then the doctors’ dialogues will strike you as comical indeed. All in all, take as many friends as you possibly can to see this play, or send your parents for a comedy-packed night on the town!Ori R.February 27th, 2008The Imaginary InvalidSeattle Repertory TheatreThrough March 22ndMore info and show times: seattlerep.orgSeattle Rep's Ticket Office: 206-443-2222Ticket Office Hours: Daily, noon - performance timeSeattle Rep is located at 155 Mercer Street, on the North edge of Seattle Center. It is served by buses 1,2,3,4,13,15,16,18,45, 74 and 85. For bus times: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

I saw Hamlet opening night at SCT, and I was blown away. The intensity each actor brought to the stage was phenomonal, and made each hour-long act fly by. Fantastic!

I have a crush on him. Did you ever go to the show??!!!?

An interview with Hamlet's Connor Toms, by Bianca G., age 18Connor Toms is an actor, and you can tell. He’s articulate, like someone who has taken voice lessons, he knocks on wood frequently and superstitiously, and he’s so animated that he constantly shifts around in his chair. He’s currently playing the role of Hamlet at the Seattle Children’s Theatre. Here he discusses everything from how stage fright was like puberty, to how Spokane community theatre was like Waiting for Guffman.Faking it: Toms as Hamlet at SCT. Photo by Chris Bennion. BG: I heard the famous lines were missing. Do you feel disappointed?BG: Do a lot of people tell you that you look like Ferris Bueller?CT: All the time. I used to also get this actor named C. Thomas Howell. If you’ve ever seen The Outsiders, he played Pony Boy. About once a week I get that. But it’s great, I’d rather have that than Nathan Lane or somebody else.BG: All right, well I haven’t seen the play.CT: Oh, NO! Oh my goodness.BG: Do you get stage fright at all?CT: I did in high school quite a bit. Now I only get scared when my parents come. My parents are old hippies; I think they actually met on a commune. They love everything and they’ll love me and everything I do. But it’s true that I want to prove to them that I’m worthy of doing this.Darragh Kennan, Toms and Renata Friedman in Hamlet at SCT. Photo by Chris Bennion.BG: How did stage fright used to affect you? Shaking?CT: Oh, absolutely: shakes, quavering voice, you know. It’s like going through puberty all over again. Also, I couldn’t look other actors on stage in the eye. I’d be too afraid.BG: Is there a lot of spitting on stage?CT: Yes. There have been very hysterical moments of very dignified actors in town here…I won’t mention their names. Because when you’re so excited and you’re in the moment, you don’t want the resonance of your voice or your diction to be lost in any way. I’ve had people spit onto my face, into my eye… You kind of have to shake it off and keep going with it. Just the other day I had a student matinee, and I was spitting. I spit into the front two rows and these kids just squealed and freaked out. But it was fun. Not that spitting on kids is fun, but it was fun to hear them screech about that.BG: Have you ever forgotten a line? CT: Oh yeah. We call it going up on a line. Every single show that I’ve ever been in, there’s been a moment where some actor on stage looked at me with just no idea. Sometimes you get kinda lost, when you’re doing eleven shows a week especially, you kinda go on autopilot. You’re up there, and you’re doing your best to say your lines, but you’re also going through your grocery list, making sure you walk the dog. Just today someone said, “The King is very … unhappy?” because they completely forgot what they were supposed to say.BG: What’s your strategy for remembering all of these lines?CT: It’s just spending time with the script, for me. I actually don’t memorize until I’m in the rehearsal room. I can spend hours and hours and hours on my own going over it, and I won’t remember it until I’m up, on my feet, with the other actor, with my script in hand. And then I can do it once and I got it. Shakespeare writes in iambic pentameter, so it comes out in this very lyrical, rhythmatic way. So it’s kind of like how you can memorize a song after hearing it twice. It comes pretty quick actually, especially if you’re doing Shakespeare that has rhyme.BG: Do you like reading Shakespeare?CT: I was lucky enough to go to a 2-week camp course in Ashland, Oregon when I was 17 and I kinda got the bug of the love for Shakespeare. I had some weird, obsessive dream to read all of Shakespeare’s plays by the time I got to college.BG: How many are there?CT: 37. I think I made it through about five. And I can’t say that I understood them, at all. I got a little tired of that, but I came back from that camp going “I’m gonna read them all. I’m gonna read them all!”BG: Would you ever just Sparknotes the play?CT: What is Sparknote?BG: Say in high school you’re assigned to read Hamlet and you don’t want to, so you go to Sparknotes.com and they give you the summary and the analysis for free.CT: Oh really. No way. Why would I do that?BG: Well for me, I don’t understand what he’s saying, and I can’t relate to it, and no one talks like that, and I don’t enjoy reading it. So if I have to read it for school…sometimes people just go to Sparknotes.CT: Interesting. That’s great.BG: Teachers, I don’t think they like it.CT: Well of course not. My mom’s a teacher, I’ll bet she hates it. I’ll have to ask her about that. If I’m going to be playing Hamlet I’d rather read the actual play than go to Sparknotes.com. But I can see how that would be very tempting. I’ll bet that if I was in school, that’d be a place I’d go very, very quick.BG: So if you’re doing Hamlet for kids, they must not understand anything you’re saying. CT: The thing is, they do. That’s the very interesting thing. One of the reasons is this adaptation is very clear.BG: Is it original Shakespeare lines?CT: Oh yes it is. Instead of the four and a half hour play, it is down to just this one boy and his relationship with his family. His mother, his father, his uncle, and a couple of his friends come through. The surprising thing is that there are lots of kids that might not understand the vocabulary, but they get this play. They’re moved by it and they’re very, very into it. By the end kids are getting weepy, getting sad, that happens all the time.BG: Wow, crying? They don’t just get bored? CT: Well there’s a couple that get bored. I can see them in the audience texting and playing rock paper scissors.BG: Is Hamlet really crazy, or is he faking it?CT: No, he’s faking it. Particularly in this adaptation, trying to explain that isn’t as interesting as telling the story of this kid who makes an awkward decision, and then has to justify it. If he’s completely sane, how do you justify a completely sane person acting like this and it results in the death of his entire family; and his girlfriend; and his pseudo, possible father-in-law. Like, they all die. Because of what he does. I don’t necessarily think it’s the smartest choice for anyone to do, like I’m just going to pretend to be crazy to get away with a whole bunch of stuff. It’s something only somebody with the clout of a prince, of royalty, could probably get away with. But this was also written 400 years ago and times were different back then, so who knows? I would picture that today, that rebellious kind of phase is just grease your hair back, put a couple of earrings in, and listen to Panic at the Disco and get all emo or goth. That would be a way you could separate yourself from the crowd and get figure out secrets or the truth. You’re looking to ostracize yourself, and for Hamlet that means pretending he’s crazy.Faking it: Toms as Hamlet at SCT. Photo by Chris Bennion. BG: I heard the famous lines were missing. Do you feel disappointed?CT: Sure. They were honestly discussed. The director, she was also the adapter, so she had final say. It broke her heart. She hated doing it. And it’s horrifying, and it sucks, but it makes the story clearer and therefore, it works. It’s unfortunate, but it works.BG: Do you like performing for children better than adults? CT: I can’t say I like anyone better. This business is so rough that you take whatever you can get. I didn’t attack Hamlet with any less gusto than I would for someone else, but we tailored my performance for a teenage audience. Kids are a harder audience than adults any day. If adults don’t like it they will sit there politely and not like it. Kids line up afterwards for your autograph, and then tell you they didn’t like the show, to your face. Kids are ruthless, but I’d much rather have an honest answer like that than an adult who’d come up and say “Aww, yeah, mmm, mm…programs, look, great.”BG: Are you worried that after this you’ll be out of a job until you’re cast for another play?CT: I’ve been pretty lucky for the last couple of years to always have at least the next six months planned out for me. And it is luck. It’s just what kind of work is available and who can get it. It was scary for awhile, especially when I got out of college and I wasn’t getting any work. That was terrifying. I’m now a very good waiter, and an even better bartender. But I do live off my acting wages.BG: Would you do this for the rest of your life?CT: If I could, yeah. I would.BG: You’d never get sick of it?CT: No. I don’t think so. I don’t want to sound too cheesy, but it’s too indescribable. The feelings that you have when you’re on the stage and you’re just hittin’ it and audience is lovin’ it. Now that I’ve had it, it’s like I want it all the time. Also, I don’t know of many other professions where a large group of people clap for you when you’re done. The thing is, if I ever did get bored, I’d quit immediately, because it wouldn’t be worth it to the audiences and to the people who are like me, who love it so much.BG: Was there an epiphany moment, when you realized this is what I want to do for the rest of my life?CT: Well there wasn’t one big bomb, but there were a series of minor explosions that happened when I was 12 until I was 21 and graduated college. Not only can I do this, but I want to, and those are two completely different thoughts.BG: So when you were my age, you pretty much knew?CT: Pretty much. Nothing else really spoke to me, other than sitting down and listening to Nirvana all day. I started when I was four, and I did do other stuff: I played baseball, I was a wrestler, I wrote a lot of really bad poetry.BG: Really? CT: Yeah, oh yeah. It’s sitting in my room from when I was fourteen years old.BG: You should send some of it to me.CT: Alright, you just have to promise you won’t use it in this interview.BG: Ok. So didn’t you and Holly (Teen Tix director) go to Junior High together? CT: Yes. And then I went to Lewis and Clark high school in Spokane, Washington. Holly can testify that they had the worst drama program in the state. It was just horrifyingly bad. We had about five people, I was maybe the only guy, and no stage, no money to speak of. All of our funds went directly to the football team. I was pretty much the only one that really cared. I’m pretty sure she went to Ferris, which had this amazing budget, with musicals all the time, I was so jealous of her, and everyone that got to go to her school.BG: How did you deal with that drama program?CT: I did a lot of community theatre in Spokane. I hate to say this, but a lot of those shows are sub-par compared to here. I would go to school, the drama class, and then spend the rest of the night at the theatre, just hanging out with the actors there, doing shows.BG: Is it like Waiting For Guffman?CT: Yes, very much so.BG: Actually? CT: Oh yeah. You know, small town theatre people who think that they’re fantastic.BG: Any parting words for the teenagers of the Teen Tix community? CT: Oh jeez, no. I mean, thank you so much, this is great. This is actually my first interview, so I hope I did well. I guess just keep supporting theatre. You’re the next generation coming up, so I hope you enjoy it.Bianca G.February 8th, 2008Hamlet plays at Seattle Children's Theatre through February 24thMore info and show times: http://www.sct.org/SCT’s Ticket Office: 206-441-3322Ticket Office Hours: Friday 9 a.m. – show time, Saturday 10 a.m. – show time, Sunday noon – show timeSeattle Children's Theatre is located at the West entrance to Seattle Center, just north of Pacific Science Center and West of the Space Needle. It is served by buses 1, 13, 15, 18, 19, 24 and 33. For bus times: tripplanner.metrokc.govCheck out Jennifer K.'s review of Hamlet!

I thought this column was terribly captivating and informative. Keep up the good work Leah! - Olivia