TeenTix Blog

Review of Metropolis @ SIFF Cinema by Ori R., age 17In 2026, the rich revel in the pleasures of the future as the poor are forced to live underground, working on the machines that power the overworld. A New Tower of Babel houses the man who rules over it all. This is the premise of Fritz Lang’s Metropolis. The film was revolutionary for its time, combining ancient philosophies with futuristic technology, including the idea of the “Middle Path.” The plot was a version of the Exodus story that touched on many ideas, including loyalty, love, and father-son relationships. There were some impressive special effects, and new concepts such as hydroelectricity and robotics were introduced. This movie is referenced quite often by the science fiction of today. Flash Gordon, one of Sci-Fi’s most popular shows this year, draws heavily from the world of Metropolis.While revolutionary for its day, modern audiences will find Metropolis difficult to sit through. The film is silent, and requires a great deal of imagination to determine what is happening. Much of the original film has been lost, and the missing scenes have been replaced with summary text blocks. To my dismay, these often appear during action sequences. The pace is extremely slow, and characters may speak in pantomime for an entire minute, followed by one or two lines of text; however, the story is quite enjoyable, and leaves the audience with something to think about in the end. Overall, this film is not suited for most audiences; however, it is vital for any sci-fi lover to see it to understand the true origins of modern science fiction.Ori R.11/16/2007Did you see this film? Leave a comment and tell everybody what you thought!

Review of The Cook by Jenny B., age 18The Cook brings to Seattle Repertory Theatre a whole new perspective on a historical event. When talking about Fidel Castro’s takeover of Cuba, we always seem to discuss the people who left Cuba, and not those who stayed behind. This story steps you through the gain and loss that the average Cuban family went through during this period.Zabryna Guevara as Gladys, the cook, Jessica Pimentel as Elena, and A.K. Murtadha as Julio in The Cook. Photo by Chris Bennion.This show focuses on the perspective of Gladys, a cook for a wealthy family. It goes through her entire life, showing how the revolution affected her and her family. She is obsessed with the idea that the old owner of the house that she is living in will come back. She anticipates it for forty years, only to be surprised by a guest.The house, like Gladys’ hope, starts to deteriorate. The passage of time is shown through intense and convincing aging that is added during the second intermission. The bright walls turn into a yellow gray and some wallpaper appears to peel, showing Scenic Designer Mikiko Suzuki MacAdams’ brilliance at her art. The open layout of the kitchen makes you imagine the vastness of the entire house. All of the action appropriately takes place in the kitchen, showing the meaning of food to a family, especially Gladys’; throughout the story the only thing that tends to be consistent is Gladys and her food.Over time every character but Gladys changes costume to follow the age. Everything from a communist workers suit to bright 70s pants is worn. Every costume accents the change that the character has gone through over the years. The 70s outfit worn by Gladys’ cousin is shocking compared to the rest of the drably-dressed family, though compared to what people were wearing in other parts of the world at the time, it doesn’t seem as extravagant. This is the perfect way to show what can be normal to some is deadly to others.Every actor on the stage is worth their salt. They seem to capitalize on jumps between moments of joy as well as moments of pain. Whether they are switching characters or time periods, there is almost never a doubt in your mind as to exactly what is going on, even when nothing has seemed to change.The always-open arms of the Seattle Repertory Theatre embrace everyone, from their audience to Eduardo Machado, the author of the play, who came to watch the show on opening night. I hope he was as impressed as I was at the actors’ ability to tell this heart-wrenching yet touching story. Overall, the heavy symbolism and quality of this production will keep anyone greatly entertained for the entire show.Jenny B.November 7th, 2007Note: This play contains some coarse language and discussion of sexuality. For more information on content, please contact Seattle Rep directly.The CookSeattle Repertory TheatreThrough December 1stMore info and show times: www.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!

It was an amazing show, and I the character playing Jem Finch is my friend. It was ana overall really good show.

Review of Contemporary Classics by Emma K., age 16Dance is one of the most versatile and mesmerizing art forms. Pacific Northwest Ballet’s Contemporary Classics is a truly spectacular testament to this fact. Dancers from PNB’s troupe of forty-five perform four separate pieces, each more unique and stunning than the last.The first piece, Agon, recently marked its 50th anniversary. First performed by the New York City Ballet, it was choreographed by George Balanchine and set to music by legendary composer Igor Stravinsky. Agon is made up of four sections, each set against a plain blue background. Dressed in simple black and white, the dancers accomplish tremendously complex physical feats while managing to make them look effortless. The real thrill of Agon is the duet of Louise Nadeau and Oliver Wevers. Formerly, the choreography has been abrupt, sharp, and synchronized. Now, the lighting and music soften while the dancers’ motions are fluid and beautifully formed. While there is no obvious story to be followed, the piece is full of emotion and easily draws the audience in.PNB principal dancer Mara Vinson in Kiss. Photo by Angela Sterling.Kiss, the second piece, is hauntingly beautiful and gives the audience a sense of defying gravity with endless motion. Mara Vinson and James Moore are suspended in the air by harnesses. Manipulating the ropes holding them aloft, they swing above the stage, separating from and returning to each other. Dramatic lighting and evocative music by Arvo Part add to the raw human emotion brought to life by Susan Marshall’s choreography. The performance is hypnotizing.The third piece in the series, Caught, is nothing short of stunning. Choreographed by David Parson, the piece is meant to be a series of ‘snapshots’ examining flight. On a dark stage, the shirtless Jonathan Porretta leaps about the stage, while a strobe light catches him only when he is airborne. The effect is brief flashes of light that make it appear as though the dance is taking place almost entirely in the air. Every few moments, a spotlight shines on Porretta when he returns to a neutral stance center stage – as if he has been there the whole time. Robert Fripp’s music – solely performed by electric guitars – admirably adds to the novelty of this performance.Finally, In the Upper Room– choreographed by Twyla Tharp in 1986 – is a delightful mix of color and light. A fog machine runs throughout the performance, giving it a cloud-like quality. Dancers begin the piece in pajamas and throughout the presentation change costumes until they are all in red. The choreography plays with the arts of running, flight, and unity. Music by Philip Glass compliments the growth of this piece, as it seems to begin in the light of morning and end in the dark of night.On opening night, the audience was thrilled by the performances and the curtain calls lasted several minutes. Contemporary Classics is a fascinating and thrilling study of modern ballet, not to be missed.Emma K.November 1st, 2007Contemporary ClassicsPacific Northwest BalletThrough November 11thMore 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 in McCaw Hall Seattle Opera, 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 everybody what you thought!

Check out Seattle Children's Theatre's new blog SCT Behind the Curtain, currently featuring an interview with Disney's High School Musical star (and Teen Tix member!) Mickey Rowe. Here's a snippet:Why do you do what you do?That is a hard question to answer… Why does a Business Man do what he does? Well, I’m not in it for the money. I guess I do theatre because it is what I am passionate about. It makes me tick. I like people, and theatre is people collaborating ideas with each other and coming together to create a story to tell to other people and hopefully through that story I can share some insight on life with the audience. It makes me think of the quote, “Art is much less important than life, but what a poor life without it.” -Robert MotherwellDisney's High School Musical is playing at Seattle Children's Theatre through November 24th. Check out teen reviewer Jennifer K's review of High School Musical, then see the show, just $5.00 day-of-show with your Teen Tix pass. Rock.

Review of Pericles by Delaney M., age 15The play Pericles is currently running at Seattle Shakespeare Company (SSC). Pericles was written by William Shakespeare, and SSC’s version is directed by Sheila Daniels. The role of Pericles is played by Reginald André Jackson, Thaisa is played by Alycia Delmore, and Marina is played by Kate Czajkowski. Seattle Shakespeare Company’s Artistic Director, Stephanie Shine, also plays the part of Dionyza in the production.The play takes place along the eastern coast of the Mediterranean Sea. Pericles is Shakespeare’s attempt at writing an action-adventure play, so it’s full of unexpected turns of fate. During the course of the play there are shipwrecks, incest, tournaments for the heart of a lady, a wedding, death, and brothels.Molly Tomhave, Reginald André Jackson, and Alycia Delmore in PericlesPhoto by Erik StuhaugThe theater at SSC is very up close and personal; there are only seven rows of seating and the actors walk up and down the steps between the seats. The set design is very ingenious in that it is able to switch from being a boat to a palace or an island with only a few minor changes. All of the actors are very well cast; they all seem very suited to their own roles. The actors are very talented at speaking in Shakespearean language but still getting their point across. As an ensemble, the cast works very well together. They play off each other and make the play even more interesting. Jackson does a spectacular job as Pericles; he has a very difficult role to play, and he goes above and beyond. Also, Todd Jefferson Moore, who plays all of the many kings as well as the brothel owner, does a spectacular job; he is by far the funniest actor.Seattle Shakespeare Company has a very nice venue inside the Center House at the Seattle Center. SSC draws a very eclectic crowd of all ages. On opening night, everyone seemed genuinely excited to be there, and there was a lovely post-performance reception, catered by Palomino, which gave an opportunity to meet the cast and directors. SSC does a very good job of making Shakespeare seems intriguing and funny.As a side note, Pericles does deal with some mature content, such as a brothel and incest, so it may be best not to bring anyone younger than a teenager to the performance. Also, unless you have studied Shakespeare extensively, you may have a little difficulty understanding everything the actors say; so just sit back and, if you don’t understand something, let it go. It will all become clear soon enough.Delaney M.October 26th, 2007PericlesSeattle Shakespeare CompanyThrough November 18thMore info and show times: http://www.seattleshakespeare.org/Seattle Shakes’ Ticket Office: 206-733-8222Ticket office hours: 1 p.m. – show timeNote: This production contains some mature subject matter, including sexuality. For more information on content, please contact SSC directly.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.govRead Delaney's interview with Pericles star Alycia Delmore here.Did you see this show? Leave a comment and tell everybody what you thought!

Review of Dracula by Paulina P., age 17Ballet is not my forte. Seldom do I elect to go and see one, no matter what the piece, but Dracula really kept me entertained. It was my first time to Vera Altunina’s International Ballet Theatre (IBT) and I was surprised that there even was a ballet for Bram Stoker’s Dracula. I knew the story, and wondered how they would interpret the story of this great vampire. I tried to look for examples of the music for this ballet, but every one that I found was different from the last. So, the only thing I was sure of was that there was a vampire. This very eclectic and romantic version of Dracula will be playing through Halloween, so go see it while you can.Dracula has many stories attached to it. IBT’s cult classic is the story of Jonathan, Mina, and Lucy, three young people who come to a small Transylvanian village and are slowly seduced into Dracula’s castle. This story has many extremes and easily contrasts the loving gleeful youth with the violent but passionate demons.Kristofer Forrest’s lighting design makes Dracula’s world come to life with gels and complex layering. He extends the world of Transylvania by having light projectors shining out into the audience. While mildly blinding, it is a good way to show the confusion in the characters. The characters are also highlighted by the use of spotlights during particular scenes. During a passionate dance between Jonathan and Mina, Forrest lights the dancers, but also entwines their silhouettes. The shadows never line up properly and seem to symbolize the fact that, though Mina and Jonathan are ready to be married, they can never be together.This symbolism extends to the music. It has a range of styles from waltz jazz to some very entertaining Irish jigs. It reminded me of putting my computer’s music on shuffle. However, that does not distract from the storyline. Each piece is chosen specifically for the scene that it portrays. The sequence with the demons is wonderfully done with Charles Gounod’s Faust. It has the energy and passion of the demons and ghouls, while it still has some beauty to it. Its strength is in the harsh but commanding mode of the piece.Ballets generally do not have much of a wooden set and Dracula is no exception. The only set that is used is four wooden boxes on wheels, a set of chairs, and a table. This gives the dancers room to dance, but is also functional. The boxes give the dancers levels to dance on and creates a much-juxtaposed world. Sheila Edwards’ projections help to add a nice background for the story. They don’t inhibit the motion of the dance, but do establish a world to dance in. The projections also show the passage of time. If one were to watch just the background, one could see how long each scene is and how quickly the characters are admitted into the soul of Dracula.Dracula and his world of Transylvania are defined by the spectacularly done costumes in the show. Treva Putsche’s choice of traditional eastern European dress is fantastic; it helps to show where they are in the world. The character costumes are kind of non-descript, but the folk scene really puts the audience into Transylvania. Each costume is very detailed and unique. Each demon has its own interpretative costume that helps to portray its individuality. In addition, the costuming of the gypsies is unique. Each female gypsy has a floor length gown, which is a stark contrast to the village girls, whose skirts are only knee length. It was my first time seeing an interpretation of a gypsy who was not considered to also be a tart.The gypsies give a lot of life to the show and so do the rest of the dancers. The group scenes are just as well done as the intimate dances. The choreography is not just that of ballet but also of jazz and other art forms; it made it entertaining. It has the basics of classic ballet but then it takes it to a new level. It shows the passion in the dance because of the mixture of the different kinds of dances. The love story is a slow and moving classic ballet, while the demonic portions are fantastic and vivacious. At the performance that I attended, there were a few costume malfunctions in the first act, and the performers were not always together. Though as a ballet this may have looked bad, as a folk dance it was perfect. Folk dances do not need to have every dancer doing exactly the same thing because they are for celebration and not for artistic feeling.The story is a unique interpretation of Dracula because it focuses on the people who are not Dracula more than Dracula himself. He seems to be just the token character of the story instead of the main character. He does not even dance in the ballet, which is somewhat odd. However, IBT does stick to the theme that they present. They create their own world of Dracula by picking their music, and though at times it seems strange to see an Irish jig at the end of a Transylvanian play, it is still a lot of funThe venue is completely dressed up for Dracula. Outside there is a moving and talking gargoyle to accent the creepiness of Dracula’s castle. There are some very cool little stands with toys and stuff for the production, which also advertise their upcoming shows. There were not very many people on Friday, but I think that it will be packed for Halloween. This performance was very different than what I expected but it was still really entertaining. One just has to adopt the mindset that Dracula is a story for all to interpret and enjoy.Paulina P.October 26th, 2007DraculaInternational Ballet TheatreThrough October 31stMore info and show times: interballettheatre.orgIBT's Ticket Office: 425-284-0444Special offer for Teen Tix members and their guests: 2 for $10 advance tickets to Dracula on Tuesday, October 30th! Call 425-284-0444 to reserve your tickets today! Note: you must be a Teen Tix member to take advantage of this offer. You will need to show your Teen Tix pass at will call in order to claim your tickets. Not a Teen Tix member yet? Sign up today, it's FREE! Go here to register.International Ballet Theatre performs at the Meydenbauer Theatre, 11100 NE 6th St, Bellevue, WA. It is served by Metro Transit routes 555, 556, 271, 233, 237, 249, 261, 342, 230, 232, 253, 240, 885, 921 and many others. For bus routes and times: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

By Delaney M., age 15

Last week I met Alycia Delmore, a 30-year-old local actress, at the Starbucks in the Center House. Alycia is tall and has shoulder length dark brown hair. She was dressed in the typical Seattle fashion of jeans, a sweater, a puffy vest, and a scarf. She’s currently starring in Seattle Shakespeare Company’s Pericles. Intrigued by Alycia’s interest in Shakespearean theater, I set off with a long list of questions for her. After she had gotten a tea, we sat down and talked about how nervous we were, because this was both of our first interviews. Alycia made our interview very enjoyable with her down-to-earth outlook on life. She came off as very strong, independent, and an inspiring person. She is very easy to relate to and entertaining to speak with. I feel lucky to have gotten to meet her!

Review of The Legend of Sleepy Hollow by Cindy C.It was a dark and stormy night – perfect conditions to see one of the most classic Halloween stories brought to life by the Driftwood Players on a small stage in Edmonds - Washington Irving’s classic story The Legend of Sleepy Hollow.I had never been to Edmonds, let alone to the Wade James Theatre, so I was surprised at the small size of the venue. The maximum occupancy was 220, which might seem small but turned out to be surprisingly cozy. Before the show, people of all ages, from toddlers dressed up in Halloween costumes to seniors, mingled in the warm lobby.The only interpretation of Sleepy Hollow I knew about before seeing this production was Tim Burton’s macabre film version, with Johnny Depp and Christina Ricci. However this production was fun, appropriate for all ages and perfect for getting into the spirit of Halloween. Ichabod Crane (Scot Garrett), a new schoolmaster from Connecticut, competes with Brom (William H. Bowen), a man who is as crude as Crane is educated, for the affections of Katrina Van Tassel (Jesse Roth), the beautiful daughter of Baltus Van Tassel (Dennis Heetbrink). In addition, Sleepy Hollow is haunted by various spirits, most famous of whom is the Headless Horseman.The actors are well-suited to their parts, and their genuine enjoyment of playing these parts is evident in every line. Garrett is delightfully awkward and endearing, because Ichabod doesn’t quite fit in with the town. He also channels Johnny Depp’s memorable performance as he jumps and trembles in fear of the Headless Horseman (and the sight of blood). Yet Garrett also conveys Ichabod’s confidence along with spot-on comedic timing, especially when fighting over Katrina with Brom. Bowen couldn’t have been more perfect for the part of Brom – it would have been easy to hate Brom in the hands of a lesser actor. But thanks to Bowen, Brom is almost lovable, as he delights in taunting Ichabod (which provides for some hilarious moments) and provides a contrast to Ichabod’s refined manner towards Katrina.Though Sleepy Hollow has elements of a horror story (like the Headless Horseman), under the direction of Rachel Bowen the tone is much more lighthearted. The townspeople take delight in poking fun at Ichabod’s fear of ghosts and ghouls, providing ample comic relief in addition to the hilarious physical comedy of both Brom and Ichabod as they fight for Katrina’s affections. Not only are the comedic elements present, but the horror elements are as well. When the Headless Horseman finally appears on stage, the use of lighting and shadows to create a monstrous effect are impressive, especially for a venue of this size.This play was made for the community, by the community. That much was evident throughout the show. The children sitting in the audience were delighted by the slapstick humor and frightened by the Headless Horseman. The teens and adults in the audience were treated to a few in-jokes as well, including the use of the Star Wars“Imperial March” in one hilarious scene with Ichabod primping for a date with Katrina. After the show, audience and cast members lingered in the lobby to chat, and there was a dessert table as well. The general atmosphere was warm and everyone seemed to know each other, congratulating each other on their accomplishments.The Legend of Sleepy Hollow is a perfect Halloween treat for the whole family, and I highly recommend it. With only one act at around 50 minutes, Sleepy Hollow is part of the Driftwood Players’ Alternative Stages productions. It is a great example of how unconventional formats can work to a play’s advantage. Sleepy Hollow is scary, funny, and just a little silly – just like Halloween itself.- Cindy C.October 19th, 2007The Legend of Sleepy HollowEdmonds Driftwood PlayersThrough October 28thMore info and show times: www.driftwoodplayers.orgDriftwood Players’ Ticket Office: 425-774-9600Ticket Office Hours: Open for phone calls 10 – 6 Tuesday – Saturday. Ticket office at the theatre opens one hour prior to show time.The Driftwood Players are located at 950 Main Street in Edmonds. It is served by Community Transit routes 110, 131, 404, 416, and 870. For bus times: tripplanner.metrokc.govDid you see this show? Leave a comment and let everybody know what you thought!

Review of The Women by Paulina P., age 17Susanna Wilson, Anne Allgood, Julie Briskman and Emily Cedergreen are just a few of The WomenPhoto by Chris BennionIt was an adventure to get down to Seattle to see The Women at the ACT Theatre and I had no idea what to expect. I did not recall seeing any shows directed by Warner Shook, had actually never seen a performance at the ACT Theatre, and had never heard of the playwright. I hoped that going into this play knowing almost nothing about it would be a good thing. I did a little research, reading the summary online, and got the vague impression of a witty piece about the role of women in the 1930s. The play itself does center on that theme but there is much more to it than just high society gossips.The Women is about a few East Egg married women who get together to lunch and gossip about the absentees. Each woman has her own life, filled with new love, scandal, children, work, and (sometimes) contentedness. This story centers on Mary Haines, played by Suzanne Bouchard, who loves the life that she has with her husband of twelve years. One luncheon, however, Mrs. Haines’ good friend Sylvia Fowler, played by Julie Briskman, has some interesting news to tell. Someone has heard tales that Mr. Haines was out with a common shop girl. As a true friend of Mrs. Haines, Mrs. Fowler cannot bring herself to admit the story that she has heard…so she has her oblivious new manicurist tell the tale.Before the show, the audience was treated to some wonderful recordings of 1930s jazz, soft familiar favorites that put one in the mood for talking. The show itself does not have much music in it but the music afterward is just terrific. It has a completely different style than the beginning of the play, which helps to accent the growth of the characters and also makes for a good transition back to the present day.The story is complex and the performance reminds the audience of that in every detail, from the lighting to the costumes. The lighting compliments both the personalities of the characters and the feelings of each scene. The entrances and exits are phenomenal. The director, Warner Shook, overlaps each scene so that set changes serve a greater purpose than just to change the furniture. By allowing the audience to see her just waiting in her coat outside or lounging in a bathtub, the scene changes give an extra glimpse into the character of each woman. Each scene always has a little flair to accent a detail, such as an amber-colored light to highlight some animal trophies or an actor lit from below.Lighting Designer M.L. Geiger was able to light them so well in part because of the extensive use of a hydraulic lift on the stage. It helps to move big portions of the set on and off the stage quickly. The set is minimalist but definitely has everything that it needs. All of the furniture has the ability to move on and off the stage quickly. The set is a stylized but semi-modern portrayal of things in the 1930s. The colors are bright and brash but have a nice older feeling to them too, which is a really good way to hook a modern audience while keeping the time-period straight. This is also done through the costuming. The styles of all the dresses and outfits are definitely from the depression era, but each reflects the character that wears them. They have bright patterned colors that stand out and help to create the world, and sizes and styles that would look good even now.Now, to the performance itself. I feel that all of the actors are fantastic in this piece and really do the fullest with their extreme characters. Almost all of the actors are well cast, especially those within the ensemble. They really work as a team to give the audience the feeling of high society, even those who change characters. On opening night, the only actor that I felt needed to play more with the team was Megan Schutzler, the young actor who portrays Little Mary. She didn’t seem to have a cohesive understanding of the child character. Every time she spoke, it seemed like she was delivering one-liners instead of a whole personality. It disappointed me because the casting was almost perfect other than that.The show works together well, with each aspect complimenting the same theme and same setting. The ensemble members have the same amount of character development as the main characters and are just as well dressed. This really helps to make the world come to life because everyone lives in the same idea. Each person and detail helps to further the theme of each scene and make it come alive. Everything flows together nicely, from blocking to the automated set. Though the lobby does not contain any displays for the show, this only helped to add to the intrigue beforehand. The lobby allows one to know the setting and the theme but not any details so that everything is new and crisp during the performance.This performance was a wonderful introduction to the ACT and I had a lovely time there. The placing of the theatre was a little confusing because I did not realize that they had multiple stages in the same building. With the help of the staff, it was easy to navigate the area. They were all very welcoming and informative if one ever had a question. The audience was mostly older people so I got the impression that it may not have been their first time seeing this show. They still seemed to enjoy all of the witty remarks, but there was one joke which only a few others and I had the pleasure of indulging, something about Wagner and a dress.The Women is a wonderful play, very smart, with many layers of understanding. One could take it at first as just a satire of the women of the time but the themes are more powerful than that. It contains the idea that fancy may change but real love with last forever if one fights for it. It gives a humorous key to a serious story, but lets both sides have equal time to flourish. It shows the wit and intelligence of the writer but allows slapstick to parallel with the complex wit. It would be a great introduction into theatre for someone who has the interest to pay attention and would be perfect for teenage female audiences. It just ropes the audience in with fast lines, scandalous situations, and chains of smoke.Paulina P.October 11th, 2007Note: ACT recommends this play for people who are high school age and up. For more information on content, please contact ACT directly.The WomenACT TheatreThrough December 2ndMore information and show times: www.acttheatre.orgACT's Ticket Office: 206-292-7676Ticket office hours: Tuesday - Sunday noon - show timeACT Theatre is located at 7th & Union in downtown Seattle. It is served by a whole bunch of buses. For bus routes and schedules, visit tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

Review of Dinah Was by Jenny B., age 18Stephanie Hatley stars as Dinah Washington Photo by Andre HelmstetterI’m sure that every jazz musician knows the story of Dinah Was, the opening show of the 2007–2008 season at the Seattle Parks and Recreation's Langston Hughes Performing Art Center (LHPAC). Directed by Jacqueline Moscou and staring Stephanie Scott-Hatley, this inspiring production follows the life of the amazing jazz singer Dinah Washington. Though no one can say that Dinah didn’t have a positive impact on the world we live into today, this sad and provocative story shows another other side of her history. Even though Dinah was on top of the world when she was on stage, she had issues off of it. Her personal life was in shambles for most of her life, and yet she put on a proud face, broke new ground and changed the nation. LHPAC brings this show to life; Dinah’s amazing music is being heard again through her story.Every aspect of the show is well put-together. The jazz ensemble fills the venue with soul and music. On opening night, Scott-Hatley’s voice carried to the back of the audience, not just telling us Dinah’s story, but making us live it. Chills ran through the audience during her rendition of “What A Diff’rence A Day Makes.”She shares the stage with two other amazing singers: Felicia V. Loud, who captures the audience’s heart as the poor maid with a gorgeous voice, and G. To’mas Jones, who plays a devious character who, in the end, you can’t help but forgive. Other actors include Ton Davis, and Nik Doner, both of whom have to switch from a hated to a loved character just by changing hats. They accomplish this beautifully and there is never a doubt as to which character each is playing. The same can be said of Scott-Hatley’s clean steps through time - you always know exactly where she is and why. The greatest aspects of this show are the inspiring story and the people who portray it.Other elements of the show, though, are just as important. The lights make every transition clear, and every fade is perfectly timed with the message. The pliable, multi-leveled set makes the steps through time easy to portray. The best part of the set is the platform from which the star performs. As soon as she heads for it, we know we are in for a treat. Plus, the artistically painted face of Dinah imprinted on the set watches over the play as if Dinah herself were there. At the end of the show, the eye-catching backdrop sparkles. As Loud walks off, she touches it, showing the ripples that Dinah made throughout her life.Throughout, Dinah Was portrays the wonderful things that Dinah did to change our world for the better. The opening night audience was inspired to a standing ovation, and I wouldn’t be surprised if this becomes a common practice during the run of this production. The whole theatre had such a great atmosphere, and I felt like I was stepping into a tight-knit and talented community. Telling this kind of story on stage takes a team and a lot of talent. This cast, band, and technical team did it amazingly well. I know that I will see shows at Langston Hughes Performing Arts Center in the future.Jenny B.October 12th, 200711.2.2007: Langston Hughes PAC regrets to announce that, due to a significant injury to the principal performer, ALL remaining performances of Dinah Was have been canceled.

Review of Murderers by Emma K., age 16Sarah Rudinoff as Minka in MurderersPhoto by Chris BennionMurder may not be your typical topic for a comedy, but it is certainly entertaining. Currently playing at Seattle Repertory Theatre, Murderers, by former actor Jeffrey Hatcher, is a compilation of three monologues, each told by an unlikely murder suspect residing at the Riddle Key Retirement Community. Steven Dietz creatively directs Sarah Rudinoff, Mark Anders, and Joan Porter Hollander – a talented and seasoned trio. Murderers comically examines the lives of Gerald, Lucy, and Minka – three people who committed crimes to, as they put it, serve justice.Each character takes the audience through the events leading up to their crime and its aftermath. Mark Anders plays Gerald, a young man who marries his girlfriend’s mother so that they can inherit her millions after her imminent death. Without revealing too much of the entertaining plot, suffice it to say that their marriage and life at Riddle Key holds many unexpected and hilarious twists. Joan Porter Hollander, as the foul-mouthed and senile Lucy, provides a bit of heart in her somewhat convoluted, yet ultimately touching and funny story of infidelity at an advanced age. Finally, Sarah Rudinoff, playing Minka, a Riddle Key employee, tells the tale of her obsession with murder novels placed on Broadway (such as “Pippin Must Die!”) and how their influence results in some homicides of her own.Presented in the smaller venue at the Rep – the Leo K. Theatre – Murderers is expertly lit by Rick Paulson and includes excellent sound design by Eric Chappelle. Susan E. Mickey’s costumes are appropriately simple. The set, designed by Carey Wong, is fashioned to look like a golf course, with a few tables and chairs here and there and multiple palm trees. Though it helps to transport the audience, the set is excessive and draws attention away from the performances.Mark Anders was convincing as Gerald and clearly had an aptitude for the more “performed” and theatrical bits of his piece. Jeffrey Hatcher’s writing can be convoluted and this element is the most visible in this first monologue. As Lucy, Joan Porter Hollander was enjoyable, but parts of her monologue subjected her to playing the stereotype of a crude older woman rather than a completely original character. Her piece visibly dragged and the story – while funny – was far-fetched. Finally, Sarah Rudinoff, my personal favorite, was hilarious and created an ease and rhythm with the audience that is crucial to stand-up comedy. Steven Dietz’s direction was well done – monologues are completely reliant on the performer and can become boring, but Dietz’s staging kept things moving.Be warned, Murderers has moments of very crass humor. It also may be better suited for older audiences since most of its jokes and content resonate with their generation. On opening night, the older audience was enthusiastic and seemed to enjoy the show very much. Applause and long moments of laughter were frequent, after the especially good jokes.Murderers is not for those people who do not enjoy raunchy humor, but is a delicious treat for lovers of a good mystery.Emma K.October 10th, 2007Note: This production contains coarse language.MurderersSeattle Repertory TheatreThrough November 4thMore 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!

Review of Les Samedis de la Danse by Jennifer K., age 17Photo by Michael ThatcherMost of us will never perform in a ballet. The closest we come is attending one or two performances of The Nutcracker. Watching a ballet is a magical experience, but behind the glittering costumes and ethereal movement is the intense, exhausting, and often painful practice of dancing. Les Samedis de la Danse gives audiences a peek into that practice.Walking into the “theater” at Dance Fremont! feels like entering an ordinary dance studio. There is no stage. Curtains hang on the sides of a spacious room to form narrow wings for eager dancers to peek out from behind. Wooden barres are mounted on the wall, ready for class. Yet this unassuming space houses a unique demonstration of the more honest side of dance.Les Samedis de la Danse (or “Saturdays of Dance”) is a program put on by Next Stage Dance Theatre and Dance Fremont! on the first Saturday of each month. Next Stage Dance Theatre is a fairly new company devoted to giving mature dancers opportunities to express themselves through movement. It also had programs for the Seattle Public Schools and local senior centers. Dance Fremont! is an academy of ballet and modern for dancers of all ages.October’s Les Samedis de la Danse contained a wide variety of performers. Some of these were Next Stage Dance Theatre’s dancers. In the loud, swaying “Discourse/Aside,” Erin Mitchell examined human conversation by speaking random syllables in rhythm throughout the piece. Kazuko Yamazaki’s “Etude” contained traditional Japanese dancing, including a fan. All of NSDT’s pieces were very unique. They reminded me of modern art, combining stark simplicity with unusual props to create an original story or mood.Dance Fremont!’s level III ballet and modern classes also performed. They were about 12 years old and provided a lovely contrast to the somewhat intense NSDT dances. Some members of Dance Fremont!’s Danceworks Company also performed. Their number channeled Audrey Hepburn. These young girls showed the enthusiasm vital to a career in dance. Looking into their faces, one could tell they loved to dance.The show’s most memorable numbers were the excerpts from “The Exile Project,” a musical to be premiered in March, 2008. Holly Eckert is both directing and choreographing this tale of a man released from prison after 20 years. The excerpts were from a dream sequence and the choreography was superb. Vocals from Selena Whitaker-Paquiet stole the show, and the ballroom danse-esque “Tango Dreams” was my personal favorite number.These Les Samedis de la Danse performances display multiple genres of dance, from classical ballet to modern to traditional Japanese. Because audience members are only a few feet away from the dancers, they experience a behind-the-scenes aura. They can hear shoes squeak and see the dancers’ eyes. They can even ask questions at the end of the show. Anyone wishing to know more about the dance world should definitely attend at least one of these “Saturdays of Dance.”Jennifer K.October 6th, 2007Les Samedis de la DanseNext Stage Dance TheatreNext Performance: Saturday, November 3rd @ 7 p.m. @ Dance Fremont!Fall Repertoire Performances: November 16th & 17th @ Velocity Main SpacePhone: 206-633-0812 x 3Web: http://www.nextstagedance.org/Note: There are no over-the-phone sales for NSTD shows, but it is expected that there will be plenty of tickets available at the door, and Teen Tix members are strongly encouraged to attend!Dance Fremont! is located at 4015 Stone Way N. (Fremont/Wallingford). It is served by buses 16, 26, 31, 45, 46, 74 and 82. For bus times: tripplanner.metrokc.gov

Review of Bat Boy: The Musical by Elisabeth S.Troy Wageman is Bat BoyPhoto by Matthew DurhamI've been living in a cave - but obviously not the same one as Bat Boy.If I had been, I would have known about his theatre debut, the spawn of a tabloid phenomena that has graced the shelves of grocery stores for years. The theatre production in his honor, however, has grabbed more attention for Bat Boy than any cheap gossip column ever could.After premiering on October 13, 1997 in Los Angeles, Bat Boy has been produced Off-Broadway, in London's West End, and in the Edinburgh Festival to name a few of the famous places that have embraced Bat Boy's eccentricity and flare for the dramatic.Sharing cult classic characteristics similar to The Rocky Horror Picture Show, Bat Boy is the story of a strange bat child discovered in a cave and then introduced into a thoroughly religious society of people who have trouble accepting him into their lives, no matter how hard he tries to become a human."It's a show that needs the intensity and intimacy of a fringe theater combined with the budget-based flourishes possible at a larger theater," said director Christopher Zinovitch.Zinovitch couldn't be more right. The musical is filled with epic numbers that are reminiscent of a huge stage in a big city. The actors fulfill the wish of every director: they use their whole bodies to move and cover every inch of the stage. The music is equally sweeping. It’s bigger than the tiny theatre, but then again so are the voices and the choreography.The play is all together stylish, fun, and sexy, with actors like Krystle Armstrong as Shelley Parker and Jimmy Scheider as Rick highlighting the vocal and dance talent of the whole cast, as well as showcasing their own characters’ immaturity and bubbly innocence turned upside down with hilarity and grace.The real treat comes from Troy Wageman as Bat Boy. He transitions from bat to boy smoothly, but his time as each character is equally believable. He is playful and animalistic in mannerism and voice as the bat, displaying almost gymnast-like qualities while trapped inside his cage, then awkward and silly as the refined Edgar later in the play.But what really holds this play together is the ensemble. Complete with three dumb farmers, a mayor clad in rubber boots, and a ridiculously enthusiastic mother, the ensemble proves their versatility and their role as comic relief. They work incredibly well together, interacting easily and creatively to make the Bat Boy experience a more funny and exciting one.For such a funny play, the plot is dark and scary, with sexual undertones that, at one point, move past innuendo and right into a blatant showcase that seems to forget the meaning of subtlety. One scene simulates an act on stage in such a crass, rude, and hilarious manner that it borders on offensive, while another scene describing Bat Boy's horrific origins is so disturbing and explicit, I felt bad laughing. In fact, towards the end, the play becomes so strange it practically turns into a messy fiasco, but the cast holds it together and finishes cleanly. This musical is surely not for children or the faint of heart, and should only be seen be the adventurous and open-minded.Bat Boy, complete with a thrilling plot twist, a dynamic cast, and a sensibility that screams Broadway, is bound for success and controversy. Anyone up for true originality shouldn't miss this musical or its hilarious, talented cast. Bat Boy offers something more to a theater-going audience: honesty and real drama, never washed out or sugar coated. And no matter how ridiculous it gets, Bat Boy holds its audience at attention, even, if not especially, when they want to look away.Elisabeth S.October 6th, 2007Note: This show contains mature themes, including sexuality, and on stage violence and gore. ArtsWest recommends the play for people ages 15 and up. For more information on content, please contact ArtsWest directly.Bat Boy: The MusicalArtsWestThrough November 10ArtsWest’s Ticket Office: 206-938-0339More info and show times: www.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. For bus times: tripplanner.metrokc.gov

Photo by Chris BennionHigh School Musical fever has swept the nation. Since its first appearance in January, 2006, the Disney Channel Original Movie has enjoyed outrageous amounts of success. Maybe you love the movie, maybe you hate it, or perhaps you’ve never watched it. Whatever your position, Seattle Children’s Theatre is bringing you a stage-adaptation of the movie that has everyone singing. It’s directed by Linda Hartzell, choreographed by Kathryn Van Meter, and musically directed by Mark Rabe. It features about 30 talented actors, the largest cast Seattle Children’s Theater has ever used.The stage play has the same plot as the movie. Troy and Gabriella are from opposite ends of the high school spectrum. He’s the star of the basketball team; she’s the A+ student. A love of singing brings them together unexpectedly, and soon they find themselves auditioning for the school musical, much to the displeasure of the “popular” Sharpay Evans and her brother Ryan. These two do everything they can to stop Troy and Gabriella from breaking the status quo. In the end, however, the whole school learns the importance of doing what they love and breaking out of their stereotypes.For those who love the movie, this stage production has the catchy music, fun choreography, colorful set, and energetic cast. The song “Get’cha Head in the Game” has the basketball dance break, and the finale is just as exhilarating as the one on film. All the main characters are there with similar costumes and lines. This production includes favorite scenes from the movie like Troy and Gabriella’s cute karaoke meeting and Sharpay and Ryan’s hilariously over-the-top audition.What if you thought the movie was cheesy? Well, this show definitely tones that down. All the singing is real, with no computer tweaking or lip-syncing. Writers of the stage version transformed Gabriella’s music-video-esque “When There Was Me and You” into a subtle, sweet duet with Troy. A new character named Jack Scott gives humorous comments on characters’ actions throughout the show. Effective lighting and sets create a more whimsical, “this is theater, not a movie” environment.Jason Kappus’ performance as Troy and Khanh Doan’s portrayal of Sharpay were quite different from the movie. Kappus looked a bit old and Doan’s voice was lower than what I was expecting. They both lacked some of the energy displayed by the rest of the cast. Kasey Nusbickel gave a lovely performance as Gabriella. Don Darryl Rivera played Ryan Evans and was by far my favorite character. He stole the show with his hilarity and panache. Timothy Wilson also gave a standout performance as Zeke Baylor, the jock who confesses a love for baking. Though the leads are strong, make an effort to glance past them and you’ll see an incredible ensemble. This group of talented actors even includes some highschoolers. Throughout the show they hit every note and nail every dance step, all with huge, genuine smiles on their faces.Overall, the show was quite entertaining. Troy and Gabriella’s voices blended beautifully during their duets, and the ensemble songs were fun and energetic. As an audience member, prepare to encounter lots of small children, complete with high pitched “When’s it gonna start?” comments. Once the curtain opens, though, they make for an enthusiastic crowd. Also, the detention and audition scenes in Act I are a bit confusing. Other than those two moments, the show is a complete success. From the opening “Wildcat Cheer” to the finale “We’re All in This Together,” High School Musical will have your undivided attention. It will wake you up, cheer you up, and just might make you leave the theater dancing.Jennifer K., age 17September 28th, 2007Disney's High School MusicalSeattle Children's TheatreThrough November 24thMore info and show times: www.sct.orgSCT’s Ticket Office: 206-441-3322Ticket Office Hours: Friday 9 a.m. – show time, Saturday 10 a.m. – show time, Sunday noon – show timeNote: This extremely popular production is expected to sell out many performances. You are strongly encouraged to call the box office before going to theatre to ask whether or not they expect to have Teen Tix tickets available for the show that you wish to attend.Seattle 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.gov

Charity Parenzini as Gwendolen, Kevin Brady as John Worthing and Pam Nolte as Lady Bracknell in The Importance of Being Earnest. Photo by Matthew Lawrence.What do you get when you combine a beautifully detailed set, phenomenal actors, an evening full of laughs, and an over-all dazzling show? Say hello to Taproot Theatre Company’s newest production, The Importance of Being Earnest, directed by Karen Lund. Earnest was originally subtitled “a trivial comedy for serious people”, and that is exactly what TTC’s cast and crew’s combined efforts achieve. The Importance of Being Earnest, written by Oscar Wilde around 1895, is about two fashionable young gentlemen and their eventually successful courtship. The young ladies who have captured the gentlemen’s affections adore the name Earnest, and both are under the impression that their lover is named Earnest – which they are not! The story is full of mix-ups, absurd imaginations, and is, as TTC dubs it, “a delightful comic romp.”As soon as the house lights dimmed, and the applause died away, the audience was ushered into a beautiful 1900 London townhouse. It was interesting to watch the exquisite scene changes being made during both intermissions; it was obvious that the scenic designer, Mark Lund, put a lot of thought, time, and energy into the details of the set. Sarah Burch Gordon’s beautiful costume designs were befitting of both the time period and the characters – even Lady Bracknell’s hat in the first act enhanced her character!The cast was in no way a let-down either. Since Aaron Lamb (portraying Algernon) and Kevin Brady (portraying Jack) did speak somewhat fast at times to where it was a bit hard to catch everything, it was helpful being already familiar with the story. Charity Perenzini and Bethany Hudson absolutely sparkled in their roles of Gwendolyn and Cecily, and Bill Johns, a.k.a. Rev. Canon Chasuble, was a delight whenever he set foot on stage. Each of the actors has had loads of experience, and it was very apparent throughout the show. (At one point, part of the set unexpectedly fell, and the performers presently onstage were able to just go with it and play it for the biggest laugh of the show!)I’ve attended numerous Taproot productions in the past, and I haven’t ever been let down with what I’ve seen; Earnest was in no way an exception. The theatre was clean, the staff was helpful, and the audience was kept engaged and excited throughout the show. After the show, the audience was treated to era-appropriate lemonade, finger sandwiches, and cakes, which added a nice touch. Pre-teens and younger children probably wouldn’t get the adult humor, but it was delightful for a slightly older crowd. Each act built in excitement and entertainment, and the actors left the stage at the end of the show to thunderous, enthusiastic applause from the audience. When the house lights went up, there were smiles on every face, including mine. The Importance of Being Earnest was a very pleasant experience and a very charming show, and I’m excited to see what other masterpieces Taproot will dish up for Seattle in the future.Rachel N., age 15September 28th, 2007The Importance of Being EarnestTaproot Theatre CompanyThrough October 27thMore info and show times: http://www.taproottheatre.org/Taproot’s Ticket Office: 206-781-9707Ticket office hours: Tuesday – Saturday, Noon – show timeTaproot Theatre is located at 204 N 85th Street (at the intersection of Greenwood Ave and 85th), Seattle, 98103. It is served by buses 66, 67, 68, and 242. For bus times, go to tripplanner.metrokc.gov.Did you see this show? Leave a comment and tell us what you thought!

Since this is a popular show that might sell out, Intiman Theater is also selling reserved seat tickets for $10 to anyone under 25 years old. You can get them at the box office (in advance) or purchase at their website with a credit card.

Hi. Thanks for commenting (and actually reading the reviews!)I just wanted to say that the reviews are positive this week because the reviewers happened to like the shows that they saw. I'm sure that that won't always be the case, but I don't think it's accurate to say that there is no critique. Each of these reviewers give specific examples of what they liked, and they comment on how those elements fit into the overall vision behind the show (as they understood it). If they were just lavishing praise without providing examples, I would agree with you that that's not a very useful critique, but criticism can be serious without being negative. We asked the reviewers to give their honest opinion - good or bad - and they did. You're more than welcome, by the way, to use the comments to add your own thoughts about a show if you've seen it.- Holly (Teen Tix Program Manager)

Well, nevermind for this one anyway. I reread it and I must of skipped over the puking part.

This is just a general comment because I couldn't find another place to put it. Why are all these reviews so positive? Where's the balanced reporting in that? It doesn't help give you an idea of whether you'd want to see these shows if they're just overflowing and oozing with compliments and no critique.