TeenTix Blog

Seattle’s own Moisture Festival labels itself a vaudeville variety show. But what exactly does that entail? In all honesty, even after attending the event myself, there is no easy answer. With dozens upon dozens of acts in the festival as a whole, and an outlandish lineup of comedians, acrobats, clowns, and more, each show in the four-week run is a unique collection. The lineup caters to all audiences: there are family-friendly shows in the evenings and more risqué performances later in the night.

The festival’s home, Hale’s Palladium, is a brightly painted structure on the backside of the modern and hip Hale’s Brewery. At its entrance, we were greeted by a man in a gaudy orange astronaut costume and a nametag labeling him Zee. Zee scanned our tickets with a smartphone app—the last piece of modern technology we would see for the duration of this event—and ushered us inside. The Palladium is a much humbler and informal venue than such a name might suggest, with an exposed wood ceiling studded with lights of all kinds stretching over many rows of chairs facing a low stage. An acrobat’s swing is tied up in the rafters, foreshadowing acts to come.

American Junkie starts in the middle: Tom Hansen, our narrator played by Ian Bond, is shooting up heroin after having done it too many times. Losing most feeling in his limbs, Tom barely manages to call 9-1-1. This leads him, bitterly, to rehab. Adapted by director Jane Jones and Kevin McKeon from Tom Hansen’s memoir of the same name, American Junkie follows two time periods: one of Tom’s entry into rehab and stumbling towards recovery; the other of his childhood, adolescence, involvement with the Seattle punk scene, and everything else leading up to his 9-1-1 call. American Junkie, which had its last performance at the Book-It Repertory Theatre on March 10, is not an uplifting story of recovery: rather, it’s a portrayal of the stranglehold of addiction, as seen through one man’s funny, honest, and wry internal monologue. It’s also a portrait of Seattle before the tech boom, and of the punk scene before Nirvana made it famous. Poised for the current moment, where opioid addiction is ravaging whole communities, American Junkie is a moving, visceral portrait of addiction and the dirty underbelly of Seattle.

Visual arts: cool. Tours of exhibits: cooler. Tours led by the artist themselves: the COOLEST.

On Saturday, April 13, BAM is offering 10 spots to TeenTix Members in an extra-special tour with Clyde Petersen, the artist behind Merch & Destroy. Clyde himself will be leading the 45min tour through his exhibition that’s currently on view through April 14, so it will be one of the last days to view the exhibit!

The classic conundrum: you want to see a show with your TeenTix Pass, but you're not sure there will be tickets at the door. What's an artsy teen to do?

DESPAIR NO LONGER. TeenTix Members are invited to Returning the Bones at Book-It Repertory Theatre on April 6th @ 2pm, and you can sign up for seats ahead of time right here. Just fill out the form below with the requested info, and Book-It will get in touch by April 5th to confirm your reservation!

My name is Spencer and what I’d like to do, is talk about Boom Bap with all of you! It’s my new favorite show at CSz if you wanna know, why read my review and see!

When you walk into Atlas Theater in Fremont, WA, the jokes start before the show does. Above their cash register is a dollar bill hanging on the wall with the caption “The First Dollar That CSz Seattle Ever Framed.” CSz Seattle, of course, refers to the Pacific Northwest’s iteration of what is a national league of competitive improv referred to as “Comedy Sportz”.

FP2: Beats of Rage at Grand Illusion Cinema reminded me why I love movies. So much character has been put into every shot—at one point I thought I could see the reflection of the filmmakers in the cinema screen. The screen, by the way, was tiny, but it was balanced out by the small size of the room. In fact, the whole theater had a sense of closeness, partially because the will call and concessions had to be managed by the same person, but also because the room was packed. The crowd was lively—they laughed at all the jokes, pointed out all the green screen flubs, and made me feel as though I’d stepped into a tight knit group of friends. Everyone seemed to know someone there; even the person introducing the movie called out a few regulars and had conversations with them.

The story revolves around a tournament for a video game called Beat-Beat Revelation, typically abbreviated to just Beat-Beat, which is absolutely not just Dance-Dance Revolution. That would be silly. This game is the primary way in which conflicts are resolved in this post-apocalyptic society, and the tournament serves as a way to determine who will rule over the FP (Frazier Park), which is filled with this world’s hottest commodity: booze. When the Beat-Beat player known as AK-47 threatens the freedom of all those who just want to have a good time, the legendary Beat-Beat ninja JTRO is forced to come out of hiding in order to secure alcohol for his people.

Join Seattle Men's Chorus for a complimentary evening of sparkle, sequins and song as they celebrate one of the world's most infamous pop icons of all time: Cher!

You and up to four other folks are invited to see this performance for FREE with your TeenTix Pass on March 30. All you've gotta do is sign up below with the requested information to claim your FREE tickets to this event! Visit this link to directly fill out the form, or scroll down this page to enter your info.

Sound Off!, a music competition hosted by MoPOP, showcases the talent of local artists and bands under the age of 21. The event’s atmosphere is enhanced by being hosted in the Skychurch, where the high quality space and materials allow for professional performances by the contributors. This year’s music came from a wide range of genres and exemplified the unique influences of each performer and how they will come to change the music scene in the following years.

The Finals consisted of three bands and one individual artist who advanced from the semi-finals held earlier in February. Of the talent presented in the Finals, each had a distinctive style and sound that drew upon and combined various different genres. The musical ability of each group was atypical of what is expected in such young artists, and the fact that the entirety of the material performed was original, was even more astonishing.

The Catholic Mass is generally structured around the reading and interpretation of a passage from the Bible. At many of the churches I’ve attended, there’s a service after the Sunday Mass for the kids, where they lead you into a classroom and break down the scripture, as well as teach you the general tenants of Catholicism.

It was in these Sunday school settings that I was first presented with an interpretation of the Virgin Mary. She was said to be a feminine ideal, a figure of compassion and mercy. A Jewish girl selected to be Jesus’ mother due to her openness to God’s will, the Virgin Mary is often held up as a symbol of purity and goodness in humanity, as she was born into an ordinary family and lived an ordinary life up to her “choosing.”

Calling all stop-motion animation fans! Have you ever wanted to make your own short film? There's no time like the present! TWO of our Partners are offering opportunities in this field just for teens.

“What’s past is prologue.” We hear these words of Shakespeare spoken again and again throughout the play, but does it mean that tomorrow is a fresh start? Or does it reveal that history is doomed to set the scene for one’s inevitable fate? As Fire Season draws us into a series of interconnected narratives in a deserted rural Washington town, we are invited to interpret Shakespeare’s classic quote for ourselves.

Fire Season, written by Aurin Squire and directed by Kelly Kitchens, captures the bleak stories of a few residents in a forgotten rural town. Squire shines light upon the struggles of drug addiction, poverty, abortion, and racism that are so often overlooked in the thousands of rural communities across the country. Fire Season is the third production in Seattle Public Theater’s 2018-2019 season #Confronting America, which reveals our nation’s most pressing problems through diverse perspectives.

Everybody dies. While this fact should come as no surprise, the realities of death and what happens after it remains far more mysterious. The uncertainty and unpredictability surrounding death frame the central conflict of “Everybody,” a play written by Branden Jacobs-Jenkins and presented at the Strawberry Theatre Workshop.

In dealing with these heavy, existential themes, which all must inevitably face, the play employs a great deal of comedy interwoven throughout the plot. The experience begins with a monologue by the humorous usher, who comically urges the audience to obey the common courtesies of theater, and details the development of this seemingly age-old story.

March is notorious for Mardi Gras—the ritual where individuals indulge in rich, fatty, foods, and other pleasures before the fasting of Lent. But this month, the Teen Editorial Staff is acknowledging another holiday, to feed our unfathomable desire to see art. Enter, Arty Gras. This TeenTix-wide celebration of the arts scene starts right here. Right now.

We have curated eight shows that encapsulate the many mediums of art. From MoPOP’s Sound Off! Finals, “FP2: Beats of Rage” at the Grand Illusion Cinema, to Hugo House’s Literary Series—your craving for art, in all its forms, will be satisfied. These heavenly picks will make you want to smack your lips, and come back for more—be it the Moisture Festival or Boom Bap at Comedy Sportz, there is little wrong with giving free rein to your cravings for art.

Going into CHOP SHOP: Bodies of Work, I wasn’t sure what to expect, and felt slightly intimidated. While I’m not entirely new to dance, having seen performances like the Nutcracker, I still classify myself as a dance newbie; I’m unfamiliar with the movements and lingo. However, I was pleasantly surprised to witness an event curated for people like me, with the purpose of presenting “accessible, creative work from artists that want to share their stories.” Bodies of Work offered an introduction to dance through eight captivating performances by various artists—allowing the audience to explore both the medium and their feelings regarding each piece.

The first piece, Lauren Horn’s Text Messages, consisted of Horn performing impressively rapid dance movements. She would elongate her arms and legs, crawling across the floor while intermittently reading text conversations between herself and her friends. It wasn’t exactly the dance movements that appealed to me in this piece, but rather the concept behind it. The story that Horn told—of texting her friends in a manner that would be funny (or weird) to anyone but those involved—was one that I could relate to on a personal level. I’ve undergone similar conversations that could only be understood by myself and the person with whom I was speaking because of both the oddity of the subject, and lack of context. As a result of such reflections, Horn’s work influenced the audience to think about technology’s role in their lives and their composure when behind a screen. Horn addressed the juxtaposition between face-to-face and face-to-screen communication by embodying dramatizations of topics over texts and emojis (through verbal and physical cues) in her piece. Although there were times in which the conversation was not understandable, the sheer weakness of the pronunciation a result of Horn’s breathlessness while dancing, the piece left a lasting impression and sparked a pondering question among the audience about our use of technology in this day and age.

To an English speaker, the letter ‘M’ is deceitful when placed alone. In our world, we base the assumptions of an unknown person entering a room on their prefix, the “Mr.” or “Ms.”. We shape our expectations of them on it. But, what if the preface is but a single “M.”? If an unknown person entering a room greeted you on paper only as “M.” who would you prepare yourself to see?

So it is in M. Butterfly, written by David Henry Hwang and directed by Samip Raval. We are told the story of Rene Gallimard (David Quicksall), a French diplomat in China and a man enraptured in his own incompetence. In his mind, and as reassured by his colleagues, friends, and wife, there is a meekness about him that robs him of what he may be.

Are you a young performer? Do you love being on stage and making music? Poetry? Spoken word? Read on to find out how your talents could be used!

Our Community Partner, The Bushwick Book Club Seattle, is a group of musicians who create new music inspired by literature. On March 30th at Hugo House, they will be presenting a show of original music inspired by Angie Thomas' The Hate U Give (it's a Teen Night, too!). They would love to include some younger voices in this upcoming program and are looking for performer submissions, particularly from young artists of color. Participants will be asked to read the book and write a song inspired by it, whatever speaks most to you and your aesthetic. Bushwick may even be able to team you up with a professional songwriter from the Seattle music community!

One Girl is a raw portrayal of the varied lives of four individuals living along the same meridian in South Sudan, Romania, Palestine, and Finland. Shown as part of the Children’s Film Festival Seattle at Northwest Film Forum, the crowded, cozy theater hosting the documentary already gave me a taste of the lively, intimate show I was about to see. One Girl begins with a short introduction, voiced by the girls themselves, as we see them getting ready for school. The juxtaposition of snowy hills in Finland and sun glinting off ancient rooftops in Palestine was a perfect pretext for the rest of the film. As we were personally introduced to each girl, their honesty sparked a quick connection between the viewer and the characters. It was this continuous honesty throughout the film, shared by all four girls, that made One Girl special. The girl living in Palestine brought up her restriction from Jerusalem, a city she could admire from her home but never enter. A serious topic brought up as an everyday truth affected the audience with its informal delivery. Even when this honesty was portrayed as bored sighs during a long lesson, or an awkward expression after a hit to the face with an out-of-control ball during P.E., it was all beautiful. It was their openness, their willingness to welcome us into their lives for just a day, that endeared the audience to the girls.

Missing Halloween? We are, too! February has been no fun with the snow and rain - but you can catapult back to October with this ~spooky~ play at Seattle Repertory Theatre!

Thanks to our generous friends at the Rep, TeenTix Members can get in on the 2 for $10 deal for the following two performances of The Woman in Black: Sunday, February 24 @ 7:30 PM (already counts for the deal, but there's lots of TeenTix tickets available!) Wednesday, February 27 @ 7:30 PM (suuuper special, never-before-seen day to bring a friend!)

In 1912, Rutherford and Son, written by anonymous playwright K.G. Sowerby, was heralded as a masterpiece and placed on a list of the top 100 plays of the 20th century. When it was later revealed that the author was, in fact, the female writer Githa Sowerby, critics were shocked—yet the meaning of the piece became all the more profound.

Performed for the third time in the United States, the play is the thesis production of third year MFA (Masters of Fine Arts) directing student, Cody Holliday Haefner, and examines the life of a family overcoming obstacles in a sexist, classist, and racist society. John Rutherford (guest actor Brace Evans) is the patriarch of an upper class family on the brink of coming undone. As he desperately tries to save the family glassmaking business, he fails to recognize that his family has been torn apart by his actions and expectations.

“i hope the honesty of my searching and unknowing feels like a palpable thing a viewer could hold. because my experience, this sensation, is not unique. it is, sadly, so many of ours to share. and i hope we can sit here with it, here, in the quiet of this room, with this work’s embrace of its precarity and incompleteness—its recognition of its own insufficiency as an archival object—and know that maybe we, in our flawed unbelonging and unknowing diasporic selves, are also enough.” -Satpreet Kahlon