TeenTix Blog

Filmmakers and film lovers, this is an amazing opportunity!At film festivals around the world, a selection of accomplished filmmakers and other film professionals are selected to watch a series of films and award ONE as the best film in the program. At SIFF 2011 (May 19 - June 12), fourteen youth (seven Films4Families and seven FutureWave) will be selected to award the Youth Jury Award for Best Feature in their category.We are looking for students from across King County who have a passion for seeing movies. Youth in grades 3 - 7 are eligible for the Films4Families Jury and teens in grades 8 - 12 may apply for the FutureWave Jury.Download the application here.Any questions about the Youth Juries or SIFF Educational opportunities may be address to futurewave@siff.net or by calling 206.464.5830.

Review of The Threepenny Opera presented by Seattle Shakespeare Company at Intiman Theatre by Rachel T. “Art isn’t nice,” says Macheath, main character of The Threepenny Opera, with a smirk. Art is humanity expressed through song, dance, canvas, and more. It is the representation of what mankind truly is – and when you get down to it, the fundamentals of mankind aren’t always lollipops and rainbows, as Bertolt Brecht, the playwright, shows us with this savage satire. In eighth grade, I was forced to learn the opening number of The Threepenny Opera, "Mack the Knife," a song about a suspiciously shark-like Macheath and his lengthy list of crimes, from rape to robbery. Ironically, the number was added to the show at the last minute, but became the most well-known song. So I went to see the play expecting a dark musical drenched in violence, lust, and thievery. Gordon Carpenter as Readymoney Matt and John Bogar as Macheath (Mack the Knife). Photo by John Ulman. It is immediately evident to me that the acting is top-notch. Normally when I see plays, it’s easy for me to tell which actors are better at their jobs than others. However, with The Threepenny Opera, each actor/actress, no matter how small or big their part, does a breathtaking job. John Bogar carries the play as Macheath, a deceivingly genteel knife-wielding leader of thieves and charmer of ladies, feared by all. He reminded me of a twisted Jay Gatsby. Russell Hodgkinson is J.J. Peachum, a shopkeeper whose slate isn’t as clean as it appears to be, doing his best to bring the baddie (who has stolen his daughter’s heart and purity) down. Although these two are enemies, it’s difficult to identify the protagonist from the antagonist, since both have many immoralities. The sets are simple, (for example, just a bed and crates in one scene), but the actors’ skills leave you riveted on them and not the semi-barren stage. Even the use of shadows on the wall behind the characters is used artistically to subtly (or not so subtly) convey messages about what is going on.

Confession: At the start, I wasn’t really thrilled about doing this review. Don’t get me wrong—I think poetry is super-awesome and have zero problem with it, but it just wasn’t something that I normally would have gone to. Regardless, there I was, in Benaroya Hall on a Tuesday night, about to hear a poet that I previously knew nothing about. This, however, was not a huge problem. As it turned out, Patricia Smith is one of those special people who really require no introduction. From her first moments on stage, she was captivating. Her poetry can wax long but never frivolously. She is always in control of her words, and she reminds you of it. At points, the raw power of her words grabs you by your shoulders and flings you across the room into the wall. Her introduction described her style of writing as “trying on many pairs of shoes, seeing which ones are most uncomfortable, and making them dance.” And she did. The dance was not always pretty and simple. Her remembrances of racism growing up in Chicago and the brutality of life after Hurricane Katrina at times made us cringe, shifting our weight in our seats. This was the measure of her power as a poet; to make us look unflinchingly and directly at what we had previously only seen on television and in textbooks.

Photo © Seattle Poetry Slam on flickr

2011 BFA Dance Concerts at Cornish College of the ArtsFeb 19 @ 2pm & 8pmFeb 24 @ 8pmFeb 25 @ 8pmFeb 26 @ 2pmFeb 26 @ 8pmBroadway Performance Hall1625 Broadwaymap & directionsRead Anna B's review of last year's concerts:The BFA dance concerts need some sort of more attractive name. One glance at the title and you yawn, thinking of your little sister’s ballet recitals in third grade and the humdrumness of watching little girls in tutus forget their steps and wave at their parents. Which, actually, can be really entertaining, but not entertaining enough to intentionally go see unless dragged to.Photo by Chris BennionDon’t worry; the BFA dance concerts aren’t anywhere near as boring as their title. Young dancers from Cornish College of the Arts perform original pieces from choreography students; solos and large ensemble pieces. The music ranges from bizarre to lyrical to quirky to classical, and the dance pieces themselves are all over the place. It’s a fantastic chance to see a wide variety of dance styles and ideas smushed into one night; instead of a candy-box assortment of chocolates, it’s like someone threw the whole candy store up on stage—not usually recommended for any concert, but somehow they pull it off.Photo by Chris BennionThere are six BFA dance concerts, but three different shows, which unfortunately means you won’t be seeing the same one as me (my show only played the 18th and 19th). Nevertheless, I’m sure you’ll find awe-inspiring dancing in whatever show you go to. Some of the pieces will be breathtaking, some funny, some quirky, some puzzling, and some will just be blah. It is student work, and some of the pieces fell flat. But I assure you, the rest of the program will more than make up for the flops. At the end of the night, you’ll wish—like I did—that you could dance too, just to join in this creation of new art.- Anna B.February 18th, 2010

Review of The Odyssey at Taproot Theatre by Lauren W.The Aegean Sea. An enchanted island. The hall of a king. The underworld. The Odyssey, most epic of myths, takes the reader bounding through a fantastical ancient Greece. The images it conjures are grand and cinematic. How then can a theatre like Taproot hope to mount a production on its small thrust stage? The answer comes, quite simply and immediately, at the top of the production. A woman enters, Odyssey in hand, weakly attempting to recite the opening lines, until a muse descends to inspire her to truly embody Homer’s spirit. The storyteller and the muse speak and move as one, dance-like and captivating. This moment sets the stage for Taproot Theatre Company’s production of Mary Zimmerman’s The Odyssey: it’s not about making a spectacle, it’s about telling the tale.

Photo by Erik Stuhaug

The Odyssey is, at its heart, about a man who needs to get home and the family that longs for him. If you’re not up to speed, Odysseus has just fought in the Trojan War (the whole horse thing was his idea). On his way home, he runs afoul of the god Poseidon, who dooms him with various afflictions that prevent him from coming home for twenty years. Most adaptations would cut to the chase and follow Odysseus’ story right from the beginning, but that’s not how Zimmerman’s script does it, because it’s not how Homer does it. Instead, the story unfolds to us in its own twisty rhythm, introducing us to Odysseus’ wife and son, letting us see the interplay among the gods, and whetting our appetite to finally meet our protagonist.

Photo by Erik StuhaugAnd when we finally do meet him, the production loses none of the feeling of a community narrative. The thirteen players band together, each playing dozens of characters, all to tell the story of this man. Odysseus himself takes on the role of the bard for the central portion of the story, leading the audience through his own adventures. Scott Nolte’s direction in this portion of the myth is intuitive and delightful. The men need to sail? They fall into form and row in time, the sound design providing the waves. They need to become pigs? They sink to the ground and snort. It’s incredible how simply and effectively the cast and director find ways to convey the fantastical, physical elements of the story.

Photo by Erik StuhaugThroughout the production, Taproot keeps a balance between nods to ancient theatre and modern dialogue and structure. The result is refreshingly straightforward, but not lacking in touches of fun and artistry. From the plaintive bards’ songs to Hermes in converse to the big fight in the end, Taproot Theatre’s Odyssey is organic and captivating. Whether The Odyssey is a story you know by heart or a foreign narrative, Taproot’s production will remind you of the power of a tale well told.The OdysseyTaproot TheatreThrough March 5

Review of The Brothers Size at Seattle Repertory Theatre by Ehrik A.There has been a lot of hype surrounding “newcomer” Tarell Alvin McCraney. Already, his work has been compared to those of David Mamet, Tony Kushner, and August Wilson. So when The Brothers Size (part two of McCraney’s Brother/Sister triptych) came to Seattle, my expectations were high.The Brothers Size follows brothers Ogun (Yaegel T. Welch) and Oshoosi (Warner Miller) Size and doesn’t need its audience to be familiar with the other plays of the trilogy. The older Ogun is hardworking and determined to protect all that he has—ownership of an auto-repair garage and the company of his brother—while the younger Oshoosi currently wrestles with his new freedom after having been released from prison. Enter Elegba (Eddie R. Brown III), an ex-con who befriended the younger Size while in the pen, who also wants to have a loving and guardian relationship with Oshoosi. The audience observes the fraternal love triangle organically evolve as what can be taken as a conventional story becomes as captivating as it is moving.Each actor plays his character exceptionally well and is able to further showcase a variety of theatrical talents as the cast sings, chants, and dances throughout the play. Brown’s Elegba is particularly entrancing as you are constantly forced to reevaluate his character as a both a genuine friend and an ominous threat to the young Oshoosi. Welch and Miller also share a special chemistry that authentically models the highs and lows of brotherhood.And while each performance is virtually perfect, the true star of the show is the writing of 30-year-old Tarell Alvin McCraney, who wrote the script for Size while attending the Yale School of Drama. Replete with fast-paced dialogue and vivid and eloquent speeches, the language perfectly injects poetry into contemporary vernacular and is even ritualistic at times, playing into the elements of African storytelling that are prevalent throughout the show (the names of the characters stem from Yoruban mythology). Furthermore, the repeated use of more familiar (and profane) slang and the use of the “N” word continuously ground us in the delicate reality that serves as the foundation for this modern myth.Still, Size shares with the audience many heartfelt moments straight from brothers’ home including a soulful rendition of Otis Redding’s “Try a Little Tenderness” that leaves you smiling and mildly uncomfortable at the same time. And the play concludes with an emotionally searing and beautiful ending heavy enough to keep you in your seat despite your attempts to get up for a standing ovation. But I assure you. Get up you will. Go see this play.The Brothers SizeSeattle Repertory TheatreThrough February 27Ages 14+ for profanity, sexually suggestive language

Review of Vanities: A New Musical at ACT Theatre by Safaa D.Photo by Chris BennionHave you ever passed by an advertisement for a show and knew you just had to attend? It happens to me more often than not. This was how Vanities came to me and I was thrilled to have the opportunity to review it.Vanities: A new Musical follows three best girlfriends from the changing 60's to the narcissistic 80's displaying their transformations from teenage queens to experienced older women. In spite of their best laid plans, they follow different paths in life, not knowing when they’ll meet again. Set to the musical numbers of David Kirshenbaum, the actresses relay the lives of Joanne, Mary and Kathy through heartbreak, happiness and all the rest. Never leaving the stage--even for costume changes--the actresses sing their hearts out to tell the stories of these three women.Billie Wildrick as Mary, Jennifer Sue Johnson as Joanne, and Cayman Ilika as KathyPhoto by Chris Bennion Jennifer Sue Johnson, Billie Wildrick and Cayman Ilika take the stage and fill it with their powerful voices. Ilika (Kathy) outdoes herself with a rich and melodic voice that she seems to project effortlessly. You don't have to be a great singer to play in a musical, but Ilika's voice would be enough on its own. The fairylike Johnson (Joanne) and spicy Wildrick (Mary) portray their characters well, bringing out different personalities from two girls of the same town, each with their own view of the world.The music goes from upbeat to slow in tempo with a live piano/keyboard accompanist. Ilika's solo "Cute boys with short haircuts" lends a sweet note to the play. While the cheer routine by the three make it fun and tell the hopes and dreams of 1960's girls. Kirshenbaum's score is fun and entertaining, while telling the stories and aspirations of three American women.Photo by Chris BennionThis coming of age play craves audience for its 101 performances and, even though it’s a story about women, it promises to please all genders. I find this play has a wonderful authenticity. It asks questions like: What does being beautiful mean? How do you choose the right road? Is there one?Vanities will sweep you away in a whirlwind of music, thought, plans and cleavage. ENJOY!Vanities: A New MusicalProduced by 5th Avenue Theatre and ACT TheatreACT TheatreThrough May 1, 2011

Review of Cinderella at Pacific Northwest Ballet by Alyssa T. Calling all people! Whomever you are—old, young, romantic or not—seeing Pacific Northwest Ballet’s Cinderella can evoke ideas of fantasy and wonder in your mind. Imagine being a kid again. Watching the ballet is much like watching your favorite fairytale come to life. How much awe would you feel if characters magically popped out the storybook you were clutching, and suddenly began to twirl and spin out before your eyes?! With the PNB’s lovely production of Cinderella, you’re almost literally cast into a temporary wonderland.

This actually made me laugh really hard. ~A.T.

Sci-Fi on Blu-Ray Series @ SIFF CinemaYay! It's back! The series that won the 2009-2010 Teeny Award for Best Film is bigger and badder and backer than ever. Check out this year's line up:Dark CityEscape from New YorkForbidden PlanetGalaxy QuestSerenityStarship TroopersTime Bandits aaaand...Spaceballs Quote-Along!Who cares if it's sunny outside? Let's go watch some sci-fi on the blu-rays!!!!1!!Sci-Fi on Blu-Ray SeriesFebruary 4 - 6SIFF Cinema

Experiments at Henry Art GalleryWish there were a way to look at art other than just, y'know...looking? This is for you. This weekend only, Henry Art Gallery, in partnership with some cool Museology grad students (YES IT'S A WORD) are bringing you "Experiments in Participatory Design." What is it? It's a chance for you to interact with the exhibit Vortexhibition Polyphonica in some radical, interactive ways, such as:Air Your Dirty LaundryDo you have a secret that you’ve never shared? Something that you are just dying to reveal? Air Your Dirty Laundry at the Henry, and help us sort and hang the secrets of other participants. You can also get into an artist’s head, and tell us what secrets their artwork reveals.Alphabet Soup with XavierA little silver man is living in the Henry Art Gallery. What is he thinking, what is he feeling? Rearrange, combine, create and build on streams of thought in his bubble. Let us know what his story is, or even better, tell us your story!Stringing ConnectionsYou will have the opportunity to create and build upon previous connections on a large-scale collaborative map, located near the entry to the gallery. What pieces in the gallery fit together, how do they connect? Leave your mark on the exhibition, and see the ways that others have interpreted the artwork.Sounds kind of interesting, right? Yeah, we thought so, too.Experiments in Participatory DesignHenry Art GalleryActivities will take place5-7 PM and 8-9 PM Friday, February 411:00-4:00 Saturday, February 5, and Sunday February 6REMEMBER: The Henry is ALWAYS FREE for Teen Tix members, and you can always bring a guest for $5!

Dr. Horrible's Sing-Along Blog, presented by Balagan Theatre @ ACT TheatreDry your tears, Joss Whedon fans! Thought you missed Balagan's wildly popular production of the sensational internet musical last summer? Well, kids, it's bigger, it's badder, and IT'S BACK! This time at the elegant ACT Theatre in downtown Seattle. You've been given a second chance - we trust you won't waste it.We'd like to draw your attention to Kyrin's review of Balagan's first iteration of the production currently playing at ACT:Review of Dr. Horrible's Sing-Along Blog at Balagan Theatre by Kyrin C.I would like to first point out that I am a crazy Dr. Horrible fan. I adore everything about the original Internet videos and I even have them on my computer via iTunes. I have watched the commentary and I would give anything to hang out with the actual cast. Joss Whedon is my hero. When I saw the opportunity to see the show live, I generally freaked with excitement. My mom is the one who introduced me to the world of Dr. Horrible, so, naturally, I had to take her with me. We went, and I have to say, we were not disappointed. I laughed so hard at times that I was almost in tears. The theatre itself was very small, but very fitting for the show. The actors assumed all their roles to perfection and brought the joy of the Doctor's blog to the stage. They also included several song numbers that were not in the original show, but added a lot to the stage. If given the opportunity, I would definitely go again, and again, and again, and again.Dr. Horrible's Sing-Along BlogThrough February 12ACT Theatre

definitely a cool cat...

Review of Emilie: The Marquise Du Chatelet Defends Her Life Tonight at ArtsWest by Safaa D.Emilie! Shout it for the world to hear! This lady may not come to the forefront of your thoughts when the phrase "world's greatest minds" is uttered but it's time to add her to your vocabulary. Perhaps more often known as Voltaire's hot-rod mistress, the spotlight is finally shined upon Emilie Du Chatelet in this Seattle debut performance.Photo by Michael BrunkBorn an aristocrat in the early eighteenth century Emilie (Kate Witt) is given the rare advantage of being highly educated as a girl. Married at a young age to an officer in the army and having three children, she continues on with her thirst for knowledge that her father inspired in her as a child. Learning six languages, experimenting with the mass of fire, and correcting Newton's theories about life and the universe is what she does best. (All while tending to society and fueling a passionate affair with Voltaire [Nick DeSantis].) Unable to freely speak her mind due to the sexism of the day, Emilie is portrayed as of one of the greatest minds and feminists in history.Playwright Lauren Gunderson brings the story alive through love and philosophy, along with a good dose of comedy. The mature Emilie is portrayed by Kate Witt who demands your attention throughout the evening, never allowing your mind to wander, she has you roped and tied. Scenes from Emilie’s life when she was young are showcased throughout the play by Sara Coates showing all the different aspects of her life from childhood to her last breath. Gunderson is as accurate as possible with Emilie’s life and her love affairs; sexuality runs as an undercurrent throughout the play, a study of physics and physiques. This is a way you can get a two-hour history lesson without even knowing it. Enjoyable and educational, you will not want to miss this piece of work.I must say that ArtsWest is one of my favorite theaters and I encourage you to check it out. Definitely the smallest play house I have been to, it's amazing what it can do for the performance. The actors are more in tune with their surroundings, making you feel part of a community. There are probably only a hundred seats to fill. Emilie is the perfect time for you to visit ArtsWest.Head over to ArtsWest, sit back in your seat and take a dive into the mind of Emilie. Let the Madame Du Chatelet tell you her story. Wherever your interests may lie, you will find this play enjoyable.Emilie: The Marquise Du Chatelet Defends Her Life TonightArtsWestThrough February 20thRecommended for ages 14+ due to adult themes

Name: Sarah O.Age: 17School: Bellevue College/Redmond High SchoolFavorite Teen Tix experience (so far): The Ballet, all of it One Teen Tix venue that you wish more people knew about: Balagan Theatre, it sound funkyBio: I'm a Running Start student who's graduating this year with my high school diploma and Business Transfer AA. I've been in numerous musical theatre shows at places such as SecondStory Rep, Studio East, and Village Theatre KIDSTAGE. I recently choreographed Redmond High School's production of The Wedding Singer.The Teen Tix Steering Committee is a group of young, committed arts leaders who help guide and shape the Teen Tix program. We'll be introducing you to one member of your Steering Committee every few days here on the blog. Interested in joining the Steering Committee? More info can be found here.

Name: Bea M.Age: 16School: Roosevelt High SchoolFavorite Teen Tix experience (so far): Speech & Debate [at Seattle Rep]One Teen Tix venue that you wish more people knew about: YATC [the Young Americans' Theatre Company]Which foreign language do you most want to learn? I want to learn one language by heartWhat is your perfect Saturday? Sleep in late, get up, go to dance class downtown, go to my favorite cafe with my best friend, then go to a show that eveningDo you have any New Year's resolutions? No, I don't have that much faith in myselfWhat is one thing you must do before you die? Walk 40 blocks in New York CityIn/OutCoffee or Tea - can't live without my morning cup o' joeEnglish or BioPoetry or ProseFacebook or Not Facebook - As much as I'd like to answer the other one...Car or BusEarly Bird or Night Owl - chronic night owlJeggings or Pajama JeansThe Teen Tix Steering Committee is a group of young, committed arts leaders who help guide and shape the Teen Tix program. We'll be introducing you to one member of your Steering Committee every few days here on the blog. Interested in joining the Steering Committee? More info can be found here.

Oh, don't worry. She specifically told me that she is representing everybody EXCEPT you.

this girl bugs me. i don't want her representing me on the committee.

Sunday night at On the Boards, every seat in the house was packed in anticipation of the grand finale of The A.W.A.R.D. Show, a competition for Pacific Northwest choreographers. Twelve choreographers had entered, and for the previous three nights audiences had crowned a winner from among each group of four. Now, with the dirty work of selecting the finalists done, it was our job to sit back and enjoy an evening of spectacular dance before crowning the winner. And it was indeed spectacular.

Review of A.W.A.R.D. Show, Friday, January 28th at On the Boards by Samantha V.tEEth The curtains part and all I see is a large white sheet stretched across the floor of the stage with big lump in the center. My first thought was “What the heck is going on!?”. It turned out that the lump was actually two nude dancers with a camera when a screen that was on the back wall of the stage showed what was going on underneath the sheet via a live video feed (don‘t worry, it’s art). I was impressed by this, but I couldn’t get a grasp on what this performance was about. As it went on the sheet disappeared and the dancers, Keely McIntyre and Noel Plemmons, became more aggressive in their movements. Then something in my head went click. They were a couple, likely married. And I knew that they were suppose to be fighting, but I was not getting a feeling of anger from them which I expecting at this point in the piece. I don’t think that the vocalists singing in the background were helping. It’s not that they weren’t good, they just didn’t add to the emotions that were trying being evoked in this performance at that time. tEEth was the winner on the 28th. I have no objections.　Josephine’s EchopraxiaThree words can sum up this work: deep throbbing pain. That was more than clear in the jerky, thrashing way the dancers moved. Their costumes were dark, though not in color. The lead dancer wore what looked like blood-soaked bandages with a bullet hole just where her heart should be. The music accompanying this hurtfest was live. A steel and electric guitar, and a small drum kit sit just behind the action. This dance came across strongly to me, and I will remember it for a long time.Quark Contemporary Dance TheatreI felt that this dance was very well done. It was German inspired contemporary, but kept to its roots with the men wearing possibly unwashed lederhosen. It was funny in its own way like when Little Bo Peep’s wannabe walks on stage to thirty seconds of laughing, or when two of the dancers begin to swivel their hips vigorously while showing a blank face to the audience. I had to keep telling myself to keep my composure. It was great!　Waxie MoonNow, this one I was not ready for. I did prepare myself for some possibly strange stuff, but I was not expecting three stripteases in a row. By the third time it had lost the effect especially when done to “Halo” by Beyoncé. Other than that, the performance was okay. This was a multi-media production which was just a bit more impressive than a slide projector and a bed sheet. In the video part of it, which was about sorrow, this awkward dog kept popping on and off screen, and no one knew why that dog was even there. I found it quite funny. I also thought that the costume choices were of impeccable style. In the end, all I wanted was there to be more dancing AND more clothing.tEEth won the second night of A.W.A.R.D. Show, and will move on to Sunday night's final. Stay tuned to the blog for daily A.W.A.R.D. Show recaps by our reviewers.The A.W.A.R.D. Show is now closed.Up next at On the Boards: Paul Budaitis' (IN)STABILITY, a theatre piece using "fervid, multilayer storytelling, quasi-standup comedy, and a highly physical aesthetic to create an intimate connection with the audience"February 3 - 7On the Boards