TeenTix Blog

Review of Contemporary 4 @ Pacific Northwest Ballet by Safaa D.Oh, dear! Is it possible not to like a PNB production? I shall attempt to give as clear and honest a review as possible without gushing like some crazed female fan after a Justin Bieber concert.Pacific Northwest Ballet principal dancers Carla Körbes and Olivier Wevers in Mark Morris’s Pacific. Photo © Angela SterlingThe evening’s performance begins with Pacific, a piece by our own Seattle man Mark Morris.His normally turbulent stage is settled somewhat by this dance, which is meant to evoke a sense of the sea and native Pacific islanders. The flowing costumes give it a light graceful feel, and the sharp precision that ballet dancers train years to perfect is replaced with floppy, seemingly less controlled movements, characteristic of Morris.Pacific Northwest Ballet corps de ballet dancers Ezra Thomson and Margaret Mullin in Marco Goecke’s Place a Chill. Photo © Angela SterlingThe next performance brings us to the darker, more scrupulously choreographed Place a Chill. Marco Goeke (pronounced GO-KEE) returns to us with his new work based on the story of a talented cellist whose career and life were cut short when a disease caused her to lose control over her limbs and core. Goeke has the dancers twitching, jerking and waving. Men and women in gray flannel pants and ballroom shoes resolutely use every limb and digit in this very physical dance. Though not what I would call visually stunning I enjoyed the simple yet dramatic presentation. It was also the perfect contrast to the next performance: The loud, the red, The Piano Dance.Pacific Northwest Ballet soloist Chalnessa Eames and corps de ballet dancer Josh Spell in Paul Gibson’s The Piano Dance. Photo © Angela SterlingSet to the score of five different composers, a piano lends music to this daring and physically challenging piece. The raciest of the four, this dance twirls through pas de trois. Complex lifts captivate the audience. The rouged smiles and snakelike maneuvers give this piece an almost burlesque feel, though with the grace and litheness of ballet. It is an unforgettable performance and a wonderful build up to Alexei Ratmansky’s ballet.Pacific Northwest Ballet principal dancers Karel Cruz and Carla Körbes in Alexei Ratmansky’s Concerto DSCH. Photo © Angela SterlingOn to the last dance by the choreographer I most looked forward to this night. Concerto DSCH is set to the score of Dmitri Shostakovich (remember the Steadfast Tin Soldier’s music in Fantasia 2000?) and quite deserving of the grand finale. It is a spectacular dance that takes you from the sexy eight person Piano Dance to a rollicking full stage of dancers leaping higher and higher!The compilation of grace, darkness, light, and classic never lets your mind wander.If you want a smorgasbord of different styles, maybe introduce yourself or someone to ballet, grab your tickets and meet me in the house for Contemporary 4!Contemporary 4Pacific Northwest BalletThrough March 27

When Marie Howe walks onstage, something tells you that she is a woman that you want to listen to. Maybe it is her amazingly, delightfully big hair, which seems to have a personality all of its own. Maybe it is her calm, collected manner, or her erudite sense of humor. Maybe she has figured out how to distill gravitas and perfumes herself with it. At any rate, she is captivating from the start, and so is her poetry. Howe does what any good poet must; her words are finely, exactly chosen, and her poems lead you where she wants you. She made us laugh, wonder, and most of all to delve deep into the mind and souls of her work. Howe writes predominantly in personae, many of them religious. Several of the poems she read that night were written from the perspective of the Virgin Mary, reflecting casually on the Annunciation. Howe certainly does not shy away from megalithic archetypes in her work; perhaps the most striking poem of the evening was her piece written as Eve, describing the moment after the Fall. This is where Howe truly shines. She has the ability to worm her way into the giants of our lore, myths, and tradition, and make them seem human. In no way did her work debase them to make them accessible, but in assuming the personae of figures such as Jesus, Mary Magdalene, and others, she was able to remind us that they were living, breathing people, too. When she speaks to you as Eve, it is not hard to imagine that you are simply having a cup of coffee with your friend over lunch, a conversation like any two people might have. Where society has elevated these characters beyond the stature of normal life, Howe’s poetry was able to casually reach up, bring them back down to earth, and to make them real. In doing so, Howe only makes their stories more powerful and more vivid. Tragically, Marie Howe has left Seattle and is back to doing whatever it is poets do during the work week (of all the great mysteries of life, poetry has yet to explain this one to me). However, other opportunities await. The poetry series at Seattle Arts and Lectures never fails to disappoint, and is not to be missed. Seeing Marie Howe and hearing her work took my brain in new directions, put words together in ways that had me nodding up and down, or laughing out loud, and my money’s on the fact that the next poet that SAL has in will too. Check it out—you’ll be glad you did. Maria Howe was a one night only event Next Up at Seattle Arts & Lectures' Poetry Series: Poetry Triple Threat with Brian Turner, Major Jackson & Susan Rich Thursday, April 14 @ 7:30 PM Benaroya Hall REMEMBER: Seattle Arts & Lectures events are ALWAYS FREE for Teen Tix members, and you can ALWAYS bring a guest for $5.00!

Contemporary 4 @ Pacific Northwest BalletLet's not talk about ballet. Let's look at ballet.Carla Körbes and Batkhurel Bold in PacificLucien Postlewaite and Benjamin Griffiths in PacificChalness Eames and Josh Spell in The Piano DanceAll photos by Angela Sterling.Contemporary 4Pacific Northwest BalletMarch 18 - 27

Review of Distracted at ArtsWest by Allison C.Photo by Michael BrunkI sit like a deer in headlights as the “actor with ADD” (Zach Adair) yells at me about Ritalin and how it has changed his life. Wait, no, is he Dr. Karnes now? No, maybe he’s Dr. Jinks? Before my mind can even really process these questions I’m drawn back to what he’s saying. The house lights are on, we’re making eye contact, and I feel like everything he’s saying is directed only at me. To tell the truth, I’m a little scared.It’s hard to be distracted watching Distracted. I swear, I’m doing all I can to keep my mouth from gaping open like a fish. The plotline is fast-moving and extremely relevant to today, and the organization is compelling (and yes, a bit scary). Distracted follows a mom and dad dealing with their son’s diagnosis of Attention Deficit Hyperactivity Disorder. Dad (played by Brandon Felker) refuses to believe that his son, Jesse (played by 12-year-old Cameron Lee), has a problem, and leaves Mama (played by Heather Hawkins) to sift through the conflicting advice she gets from doctors, therapists, teachers, and neighbors to find a way to help him. With a seemingly endless flow of media from screen projections of email, the news, Facebook, Wii, and TV, the play blurs the line between ADHD and the modern lifestyle. It makes me question if the increase in ADHD diagnoses is due to medical improvement, or the avalanche of new technological distractions. Between online shopping, phone calls, TiVo, and work, let alone their son, Mama and Dad barely even find time to discuss anything. At times they appear even more distracted than Jesse. The battle against our impersonally technological world is hardly unique, yet the play stands out in my mind.Photo by Michael BrunkThere seems to be a trend in shows aimed to portray the struggle over whether or not to medicate for mental illness (like Next to Normal playing at the 5th Ave Theatre). The familial struggle is not outstandingly different from other productions, either, but what makes this play different is the way it is presented. The actors openly admit that they are playing multiple roles and sometimes go out of character, asking who they are supposed to be playing. Mama often speaks directly to the audience and even acknowledges the fact that she is on stage. Instead of ruining the illusion of looking into a family’s actual life, it strengthens the play, making it seem more personal. What we see is what the characters openly choose to tell us. We are their listeners, their confidants. It is our job to take what they tell us and learn from it.Distracted left me feeling like I had gained something. Something mental or emotional, I can’t tell. I feel like a more aware and weathered person. It is as if I was Mama, and I had just lived through her life, taking the lessons she learned along with me. I am ready to face the world with new eyes. My mind is clear of its usual technological buzz. Don’t let me get distracted.DistractedArtsWestThrough April 2Ages 14+ for adult language and themes

bad move there nwff.

Review of Nick Cave: Meet Me at the Center of the Earth by Samantha V. Have you ever seen a creature that had a body made out of what looked like twigs or hundreds of plastic hula skirts? There is one way for this to be possible: you might have seen one of artist Nick Cave's inventions called a "Soundsuit". The Seattle Art Museum has had many great exhibits come through its doors and Meet Me at the Center of the Earth is one that, like Picasso, I had to see. A lot of the materials that are on the soundsuit my Mom and I could easily have made or found ourselves, but it is how they are put together in such wonderful mix-matched harmony that makes Mr. Cave the professional artist and not us.As I make my way up to the forth floor of the museum, I can't help but almost skip in anticipation. Then as I walk in, I am welcomed by a 6 foot tall grizzly bear made out of sweaters! You wouldn't believe how many different things this guy can find uses for: baskets, buttons, granny squares, those little plastic tabs you find on new clothes, human hair and so much more. On my way through the exhibit, I found some pieces I really liked. There were these two huge circles of black fabric covered in beads, sequins, and embroidery. One reminded me of the stars twinkling on a clear night, the other of a floating garden. A soundsuit covered in dolls greatly resembles what my room looked like when I was six. At the end of this exhibit there is a little shop full of things of Nick Cave's own design that you can buy - for a price. The leggings run for $240. They are designer after all. Other then that, I was completely satisfied with the way things went. This exhibit challenges us to break down the barriers that society has put up. Throughout the whole thing I was daring myself to ask "What is beautiful and what is ugly?", and I found that something I would have thrown out can with a little work be changed into something priceless. I'm so glad that SAM is giving us a chance to see this beautiful ugliness for ourselves.Nick Cave: Meet Me At The Center of the EarthSeattle Art MuseumNow through June 5, 2011

If the realization hits you about an hour into Cold Weather that absolutely nothing has happened yet, my best advice is to calmly collect your things and exit the theatre as unobtrusively and politely as possible. The bad news is that you’re dead right—nothing has happened. The worse news is that for the remaining hour or so, it only gets worse. I exaggerate a little. True, stuff happens in Cold Weather. The problem is that it happens at about intervals of about half an hour. And when it does happen, it is done in a manner that is so clichéd, contrived, and sophomoric that it’s almost worse than nothing happening at all. I spent large sections of this movie intently wondering if it would be more satisfying to drive an ice pick through my own head or the head of the grating main character Doug, who is as moronically ridiculous as he is coma-inducing. Even more regretfully, the two mildly interesting characters abruptly and inexplicably disappear for large sections of the film, leaving the audience like castaways on a desert island, desperately trying to find a way off Part of the problem may have been that I had high expectations for this film. Promotional materials touted it, saying “[Director Aaron Katz’s] coy and funny thriller keeps audiences guessing, while sharpening his singular cinematic style. Cinescope hailed it as ‘the greatest American film of the year,’ and we happen to agree.” After reading this and watching the actual film, I can really only come to the conclusion that we were either watching different movies, or that I am a complete and utter moron. However, I don’t think I’m alone, given that several other patrons got up and left in the middle of the movie. I envy them. The fact of the matter is that for every second of footage that might be remotely considered thrilling (if you squint really hard, maybe) there is about five solid minutes of absolutely nothing happening whatsoever. Director Aaron Katz must really, really, love making movies about people sitting in parked cars discussing topics that have absolutely nothing to do with the storyline, because he seems to have gone far out of his way to fill up this film with it. I have a long list in my head of things I could have done rather than see Cold Weather, running the gamut from “read a really interesting book,” to “write an angry and confused letter to Aaron Katz asking why he thinks we are so interested in watching people sit in parked cars.” In the meantime, I will be hanging on to my receipt for the movie, because I expect that when I die I will be able to get the time I spent watching the film subtracted from my sentence in Purgatory. I will be sure to let you know if Purgatory or Cold Weather is more interesting. P.S. Readers! Did you see this movie and agree that I am a complete and utter moron? Please tell me why, because I am mystified. Sincerely, Tucker. Cold Weather Northwest Film Forum Through March 17

Review of Sarah Michelson | Devotion @ On the Boards by Kaysy O.It is often said that true art forces you to think. Devotion, created and choreographed by Sarah Michaelson doesn't force thought as much as it inspires you to think about ideas in a new way. Although the show is Michaelson's vision it uses and is inspired by the text of playwright Richard Maxwell and the music of Philip Glass. The show is labeled "experimental dance" but utilizes several artistic forms as it thoroughly explores the essence of being human.The show begins with Michaelson's voice reading the text of Maxwell as a lone dancer takes the stage. While it seems unconventional to have a dance choreographed to language rather than music, as soon as Rebecca Warner, who is simply named "Narrator," dove into the routine, a sequence of stark simplicity, fine balance, and artistic athleticism, I knew I was watching something special. Maxwell's rich words are sculpted like poetry. He tells the classical biblical stories of Adam and Eve as well as the Virgin Mary and birth of baby Jesus with a twist. Instead of focusing on Christianity he instead focuses on the characters. They are just discovering what it means to be a human. As Warner tests the capacity of human strength and flexibility, we ponder "What is day? What is night? What is sky? What is sea? All are in a stage of discovery and wonder.”

This is NonOne dancer that particularly shines is 14-year old Non Eleri Griffiths who plays Mary. A tiny figure, at first she seems almost frail but she disproves that quickly. She's a spitfire of energy as she takes the stage for 20 minutes or so of jumping, spinning, and thrusting. Halfway through her routine James Tyson, who plays Jesus, joins her onstage. The contrast of his full muscular body to her delicate build makes their duet breathtaking. Although they almost never touch they work off each other brilliantly as they switch between dancing as completely separate entities to dancing in perfect unison.Another memorable routine is that of Adam and Eve played by Jim Fletcher and Eleanor Hullihan. In contrast to Mary and Jesus, this routine involves Eve leaping, falling, and throwing herself into Adam's arms. Hullihan is like a marathon runner sprinting back and forth, jumping, and diving while Fletcher stays as sturdy as a rock, always ready to catch her.I went into this show not knowing at all what to expect. While there were moments of confusion, including a point where Griffiths switches her shoes onstage only to switch back into the previous pair a couple minutes later, I was amazed at how moved I was by this beautiful performance. Whether you come to see the sheer strength of the dancers, the thoughtful insight of Maxwell's words, or the daring and unique choreography of Michaelson, Devotion will leave you thinking in a new way about old ideas. In the end, I think that's all we can ask of art.DevotionOn the BoardsONE WEEKEND ONLY: Closes Sunday, March 13Note: On the Boards' programming is best suited to mature audiences ages 16 and up.

Cold Weather @ NW Film ForumAfter becoming an indie sensation with his films Quiet City and Dance Party USA, Aaron Katz returns to the screen with the maturity of a veteran filmmaker whose arsenal of cinematic tools seems to know no bounds. Cold Weather, his newest work (set in his native Portland), is simultaneously a story of siblings Doug and Gail and a mystery in the great tradition of crime and detective fiction. Katz’s coy and funny thriller keeps audiences guessing, while sharpening his singular cinematic style. Cinescope hailed it as "the greatest American film of the year."Watch the trailer:Cold WeatherNorthwest Film ForumMarch 11 - 17Daily showings at 7:00 PM and 9:15 PM

olivia - this is a very well written review. it is also a true review - not a mere recap - it tells the reader why you like it and makes him (her?) want to attend. will attend with a yard head.

Review of The Mysterious Content of Softness at Bellevue Arts Museum by Olivia O.Ever since I was eight and my grandma taught me how to cast on with some fluffy purple yarn, I’ve been hooked on knitting. Since then, my free time is usually spent churning out hats, scarves, sweaters, and the occasional pair of pants (not kidding). Although I have an obsession with all things yarn, I knew almost nothing about “fiber art,” the medium showcased in The Mysterious Content of Softness at Bellevue Arts Museum.Lacey Jane Roberts. We Couldn’t Get In. We Couldn’t Get Out. 2006 - 2007. Hand-woven wire, crank-knit yarn, steel poles, assorted hardware. Courtesy of the artistThe exhibit showcases 11 artists at various stages in their careers who use crocheting, knitting, embroidering, and other fiber arts to create metaphors for the fluidity of life and what it means to be human. Despite the traditional techniques used to form them, these aren’t your grandma’s sweaters– everything from knitted fences to embroidered plastic bags to crocheted urinals are on display. The pieces are funny, thought-provoking, whimsical, and baffling – sometimes all at the same time.Miller & Shellabarger. Untitled (Crochet, Basel, Switzerland). 2008. Archival pigment print, edition of 5, 1 AP. Courtesy of the artists and Western Exhibitions, Chicago, IllinoisMany of the artists use their artwork to address gender issues. One of my favorite pieces, a photo of artists Miller & Shellabarger knitting a bright pink tube while sitting on a fishing boat, takes on two very different images of tough-looking guys and a feminine activity and creates a humorous and interesting combination. Lacey Jane Roberts’ self-described chain-link “fence in drag” creates a bright pink barrier that deliberately interrupts the flow of the exhibit. I loved these pieces; they boldly challenge stereotypes and expectations and give the viewer something to think about.Nathan Vincent. Locker Room. 2010. Crocheted yarn, foam, wire and polyester stuffing. Courtesy of the artist. Yarn donated by Lion Brand YarnOther highlights for me in the exhibit include Nathan Vincent’s Locker Room, complete with life-size replicas of lockers, urinals, and showerheads all made out of yarn, and Angela Ellsworth’s Seer Bonnets: A Continuing Offense, a collection of nine bonnets formed by beautiful pearl-tip corsage pins with the pointed ends sticking out menacingly on the inside.If you want to see all the creative ways that needles and thread can be put to use, check out The Mysterious Content of Softness. Whether you’re a yarnhead or not, you’ll find a fascinating exhibit that will wow you with the ingenuity and imagination of these incredible fiber artists.The Mysterious Content of SoftnessBellevue Arts MuseumThrough June 26, 2011Bellevue Arts Museum Hours:Monday - Thursday 11 am - 5 pmFriday 11 am - 8 pmSaturday - Sunday 12 - 5 pm

Review of Shadows of a Fleeting World: Pictoral Photography and the Seattle Camera Club @ Henry Art Gallery by Isabella F.Dr. Kyo Koike. Reconstructive. c. 1930. Gelatin silver bromide print. University of Washington Libraries, Special Collections, UW29048z.Shadows of a Fleeting World is a very striking photography exhibit. The photographs taken in the time period between the World Wars shed a light on everyday life in Seattle during the early 1920’s. Similar camera clubs in San Francisco and Los Angeles only accepted Japanese immigrant men into their groups, but Seattle’s club had more diverse membership. Club members were not only Japanese males but also women and whites. The inclusive nature of the club is made more striking by the fact that these Japanese immigrants were not able to gain citizenship.Ella McBride. Judging a Print. c. 1926. Gelatin silver chloride print. Private collection. One photograph, by Hideo Onishi, stood out the most to me. A man stands on a rowboat with a still lake in the background and small ripples on the water. Each subject has complete black and white contrast and the water from the lake can be seen dripping from the man’s coat. Much of the exhibit includes work by Dr. Kyo Koike. His most dramatic piece for me is of the ocean from far above with a man in a rowboat as a speck on the water. Every time I walked past this photo I felt a sense of enlightenment. Other works by him are just as beautiful and moving. One of the highlights of the exhibit is an array of greeting cards sent to Dr. Koike from around the world.Yukio Morinaga. Magellans of Today. c. 1925. Gelatin silver print. University of Washington Libraries, Special Collections, UW29044z.A photograph taken of the Seattle skyline has dramatic cherry tree branches in the foreground and a lighter view of downtown Seattle behind a deep layer of clouds. The Smith Tower is the skyline's only skyscraper. Scenes like these produce not only incredible composition but a view into the history of Seattle. More lighthearted photographs by Wayne Abee focus on dancers and actors dressed in elaborate costumes. The variety of scenes and types of photographs in the exhibit kept me enthralled for well over forty-five minutes.The 1928 American Annual of Photography wrote about the club, “The influence of this group on our Pacific coast has put a lasting mark on photography in the country, the repercussions of which are echoing throughout the world.”Shadows of a Fleeting WorldHenry Art GalleryThrough May 8, 2011Henry Art Gallery Hours:11:00-4:00 Wednesday11:00-9:00 Thursday, Friday11:00-4:00 Saturday, SundayClosed Monday + TuesdayRemember: The Henry is ALWAYS FREE for Teen Tix members, and you can always bring a guest for $5.00!

Please see my review. Watch Preview VIDEO. GO. ENJOY.http://www.facebook.com/?ref=home#!/SpectrumDance/posts/115905341817685

http://www.facebook.com/?ref=home#!/SpectrumDance/posts/115905341817685

Hi,16 and older is just a recommendation, based on the fact that the show contains adult themes (like prostitution). But yes, you're allowed - you won't be denied a ticket because you're 14. I would say just talk with your parents and use your best judgement. If you're teacher, who knows you, is familiar with the show and felt that it would be appropriate for you, then it's probably fine.If you or your parents have more questions about content, you should get in touch with Seattle Shakespeare Company directly. You can call their box office at 206-733-8222.Hope that helps! HollyTeen Tix Program Manager

Why does it say ages 16+? I am 14 and my teacher reccomended this musical to me. Am I allowed to go evem?

Special Enviro-nerd Edition!There are two films playing this week that should be on the calendars of all you compostin', tree plantin', recyclin', lovahs of the land (We're not making fun of you, we swear. We are you.)Queen of the Sun @ Northwest Film ForumMarch 4 - 10Director in attendance opening nightMore info at nwfilmforum.orgQueen Of the Sun provides a profound, alternative examination of the tragic global bee crisis, known as Colony Collapse Disorder. Featuring Michael Pollan, Gunther Hauk, and Vandana Shiva, Queen of the Sun reveals both the problems and the solutions in reforming a culture to be in balance with nature.Watch the trailer:Carbon Nation @ SIFF CinemaMarch 4 - 10More info at siff.netBilled as "The Climate Change Movie That Doesn't Even Care If You Believe In Climate Change," Carbon Nation is an optimistic, solutions-based, non-preachy, non-partisan, big tent film that shows tackling climate change boosts the economy, increases national & energy security and promotes health & a clean environment.Director Peter Byck spent three years traveling the country to visit with everyone from ordinary citizens to titans of industry, all of who are striving to be part of a new, low-carbon economy. The good news is we already have the technology to combat climate change, and it also happens to be very good business.Watch the trailer:Both Northwest Film Forum and SIFF Cinema participate in the Teen Tix program. Day-of-showing tickets are always $5.00 for Teen Tix members. Ticket availability is not guaranteed. We recommend calling ahead before you head down to the theater.

The Mother of Us All, presented by Spectrum Dance Theater @ The Moore TheatreOur Crush of the Month, Amber Mayberry, stars in this "cheeky prat-fall down the rabbit hole of contemporary Africa. Using a kaleidoscopic mixture of dance, music, spoken words and gripping imagery, Artistic Director Donald Byrd plumbs the complexities of modern Africa in an evening of dance|theater that will defy the status quo as it entertains and challenges audiences."Watch the GORGEOUS preview video:

Spectrum Dance Theater - Mother Of Us All • Preview from Spectrum Dance Theater on Vimeo.Can dance change the way we think about an issue as complex as modern Africa? Can if be entertaining at the same time? If Spectrum's previous two pieces in their Beyond Dance: Promoting Awareness and Mutual Understanding (PAMU) series are any indication, the answer is a resounding YES. Go, and find out for yourself.The Mother of Us AllTHIS WEEKEND ONLY: March 3 - 5Spectrum Dance Theater at the Moore Theatre1932 Second Ave, Seattle, WA 98101

Shadows of a Fleeting World at Henry Art GalleryThe Seattle Camera Club (SCC) was founded in 1924 by Japanese immigrants to the Pacific Northwest. Despite the pervasive racism that prevented Japanese immigrants from gaining citizenship, the work of SCC members was well received, finding prizes, purchasers, and general acclaim. Acknowledging the prominence of West Coast camera club photographers, the editor of the 1928 The American Annual of Photography wrote, “the influence of this group on our Pacific coast has put a lasting mark on photography in this country, the repercussions of which are echoing throughout the world.”Here's a perfect, unprecedented chance to check out some of their work. As The Stranger's Jen Graves says "This is a story of your city, in pictures"Shadows of a Fleeting WorldHenry Art GalleryHours11:00-4:00 Wednesday11:00-9:00 Thursday, Friday11:00-4:00 Saturday, SundayClosed Monday + TuesdayREMEMBER: Teen Tix members always get in FREE at the Henry Art Gallery, and you can always bring a guest for $5!

Hard-working, cute-boots-wearing, Janet Jackson-loving dancer Amber Mayberry Check out Amber's interview with Tucker C.: You can see Amber dance in Spectrum Dance Theatre's upcoming show The Mother of Us All March 3 - 5 The Moore Theatre More info at spectrumdance.org