TeenTix Blog

Go and see this show. I have seen both H2 and H3 and the latter is a definite maturity of Beltrao's choreographic skills. Whereas H2 could rightly be described as painfully artistic, H3 offers much more of a theatrical experience which opens its doors to anyone willing to fork out the ticket fee. After seeing many works by contemporary hip hop dance makers, Beltrao is certainly up there as someone forging a unique movement vocabulary that, as a previous blogger explained, is honest. BBoy powermove central this isn't and if that's what you want out of shows with a hip hop influence then buy yourself a ticket to germany and watch Battle of the Year. In my opinion, this is work of substance that shows street style influenced dance in a truly artistic manner.t

This is the first harsh review I've read that has made me want to go see the show...

I've been thinking about posting something about Grupo de Rua ever since I saw the show on Friday night. Now that I've read Josh's review, I feel compelled to. I can safely say that H3 was one the best things I've ever seen - at OtB or anywhere else. I LOVED it. And I actually wouldn't describe myself as a huge appreciator of contemporary dance. In fact, I was kind of dreading it. But I was absolutely mesmerized from start to finish. I don't want to do a point-by-point rebuttal to Josh's review (this is, after all, your guys' forum, not mine). And he's right: it's not a perfect show. There were moments when the lack of narrative and the absence of music made it hard to find something to hold onto (note, though, that it's not silent throughout - and even in the silences, you're hearing the sounds of these powerful dancers - their sneakers hitting the ground, their bodies meeting each other. It's a soundtrack, for sure.) Still, it was full of skill and honesty, and that's the best thing I can say about any piece of art. The famous theatre director Peter Brook was once asked what he looks for in actors. He answered "Heart, and art." These boys have both, for miles. See it if you can. (And then come back here and tell us who you agree with!)- Holly A.

Review of H3 at On the Boards by Joshua G.If you find yourself at On the Boards seeing a show called H3 be warned, it is REALLY for people who like modern dance.The performance begins with absolute silence and there is a minimum amount of movement. And so the performance goes......The main issue throughout the performance was the Choreographer Bruno Beltrão’s insistence on using an “a sparse electronic soundtrack”.Oftentimes, the performers were “dancing” to absolutely no music. Unless, one considers being forced to consider low street noises and screeching shoes a masterful mix-tape of mood enriching ambiance.Things move very slowly in H3. I consider myself a respectful enjoyer of art in all its forms with dance being one of my favorites; I was looking forward to the show. But, if I am going to be led to believe that (according to the Seattle Times) H3 is “a new kind of a movement vocabulary in the making,” I do not think this new street dance vernacular wants to be taken seriously especially if one considers how valid I sometimes felt the cute nine year old's assessment of the performance really was. As he repeated to his mother, "Mommy, so can we go now?" I am doubtful that this is a new movement in the making.It would be too harsh a word to describe H3 as boring; I just wish the presentation was more elaborate and engaging. Much of the performance was performed to naturalistic or ambient noise with little movement onstage. When things do get moving, I found many of the common movements repetitive. Take for example, the crutch of dancers constantly running backwards; Having the effect of taking something I thought was genuinely interesting and new, then turning it into a constant reminder of how wise it would be to check my watch.That is not to say the performance did not show skill in its execution. There were moments of expert lighting and sections that were truly inventive. Such as using a single column of almost halogen-like lights to dramatically light up exactly half the stage, so dancers flipped and spun in and out of view between giant columns of light. Or the giant glow stick circle, all signs of H3’s fallen potential.H3 is a frustrating experience. I can say with confidence that it truly is unlike anything I have seen on stage. It is much more difficult however, to say I truly had an enjoyable experience.Joshua G.January 30th, 2010H3 by Bruno Beltrão | Grupo de Rua has one more performance, tonight, Sunday January 31st, at 8 PMMore info at ontheboards.org

Last chance to catch the Mapplethorpe Polaroids @ Henry Art Gallery"Is the work shocking? Yes – it’s shockingly small and shockingly beautiful." - Victoria Josslin ArtDish

"For those unfamiliar with Mapplethorpe, it's an entry to the work of an important contemporary artist, one who early on became preoccupied with the magic of Polaroid's instant photography, anticipating the interest today in instantaneous digital depictions." - Nancy Worssam Seattle Times"If you want a Robert Mapplethorpe to love, you need the early Polaroids." - Jen Graves The Stranger

The information you have posted here is really useful, thank you

Michael Nicolella @ Cornish College of the ArtsYou can't blame classical guitar. It has to work so hard to be taken seriously, what with a world full of wannabe guitar heroes flailing about in their garages to contend with. So most classical guitarists draw a thick line and stay firmly on the acoustic side of it, a line that says "we belong over here, with the cellos and harps," and leaves the Slashes to their electronic thrashing. But not Michael Nicolella. A bonafide virtuoso, Nicolella's repertoire includes Bach, Hendrix, and everything in between performed on acoustic and (gasp!) electric guitars. Frets magazine calls his most recent album, Shard, “an exciting textbook on how to honor the classical tradition and kick it in the a** at the same time.” Guitar geeks, meet your new hero. Saturday, January 30th, 8 pm, cornish.edu

Love Song @ ArtsWestLove Song, which has only been open for one day, already has a lot of good buzz going. A post-opening night commenter on the West Seattle blog raved "The performances of the four actors are better than any I have seen...[Love Song] is absolutely amazing!"From a review of the Melbourne production "Love Song is hardly profound, and it manipulates your emotions in much the same way as a good pop song. But there's nothing wrong with that, when it's as well achieved as it is here: it doesn't insult your intelligence, and can even touch the edge of something true."A funny, deftly written play that aims (in the playwright's words) for your "squashy middle" but still manages to make you feel smart? Yes, please.Recommended for people ages 15 and up.Love SongArtsWestThrough February 21st

This is a beautifully-made preview for Seattle Dance Project's Project 3 (opening this weekend at ACT). If you're intererested in how new dances get made, watch this.Project ThreeSeattle Dance Project @ ACT TheatreJanuary 29 - February 6more info

I'm really hoping the script becomes easily available to high schools and students who'd like to put it on with a younger cast. It would be fun to see it at local high schools!

Review of Speech & Debate at Seattle Repertory Theatre by Emma K.Some things are like aged cheese, or Lady GaGa: they get better with time. Speech & Debate, currently running at Seattle Repertory Theatre, is just such a phenomenon. The goal: to relate to teenagers. Method: everything young, i.e. carpe diem + ROFL - adult supervision x “like, whatever”. Playwright Steven Karam relies on the effortless wit, honest reaction, and habitual defensiveness found in real, live adolescents. However, real, live adolescents are really and truly seventeen, not just young at heart (sorry Frank Sinatra). Though not over the hill, director Andrea Allen’s cast is not exactly renting a limo for senior prom. For the first half of the play, they fall into the rut of trying too hard to achieve nuanced teenage-dom. Despite their charm and obvious enthusiasm, they compromise some of the script’s resonance by simply being a tad too old.

Justin Huertas, Trick Danneker, and Erin Stewart teen it up in Speech & Debate. Photo by Kathryn BarnardAs three high school students trying to out an inter-school sex scandal, Trick Danneker, Justin Huertas, and Erin Stewart are unapologetically candid and sweetly sincere. But they’re also all in their twenties. In a show that centers around the authenticity of young-adulthood, it’s difficult to overlook this fact. Their performances attempt to overcompensate their age by being eager and obvious in the play’s opening moments. Howie (Danneker) is Flamboyant; Solomon (Huertas), Driven ; Diwata (Stewart), Moody. Gradually, as the characters ease into their relationship with each other, the actors shift their focus from Teenage Angst to simply finding a rhythm with each other. The ensuing vulnerability is what truly compels.Karam unpretentiously captures the many facets of young adulthood, including the often overlooked funkiness as well as the brooding. (Abraham Lincoln + boy scouts + bodysuits x sequins = best). As a teacher and journalist, respectively, Amy Thone poses a relaxed juxtaposition to the little trio, and it is in her company that they build a rapport. As two young gay men, one more accepting than the other, Danneker and Huertas share some lovely moments of banter and argument. Meanwhile, Stewart goes for broke is her comic bits, but finds subtler strengths in her silences. As a piece of theatre Speech & Debate thrives, but does it meet its potential?Although this production has a young appeal, some of the innate resignation and longing of true adolescents can only be portrayed by those experiencing it. The actors are distanced from this ease because, no matter what your mom tells you, there is a significant difference between eighteen and twenty-five. Moments of Karam’s script are left hollow, or overstated, when they just need to be delivered by a young voice to find purpose. In these cases, a teenage cast would better serve the material. That said, it’s a significant step for a high-ranking theatre to produce work geared towards an under-represented demographic. I for one hope the movement will continue. Like, totes.Emma K.January 21st, 2010Speech & DebateSeattle Repertory TheatreThrough February 21st

On the fifteenth(ish) of every month, we publish a look ahead at the arts events that we're most psyched about for the upcoming month. Know of something coming up at one of our participating organizations that you think should be in the datebook? Let us know!FEBRUARY, 2010

visual art

Il Trovatore @ Seattle OperaWe were already going to recommend Verdi's spectacular Il Trovatore for it's action packed-ness and saturation with hit songs (you'll spend the whole night going "Ohhh. THAT'S where that song comes from.") But then we found this little gift from the internet:And now we love Trovatore even more just for introducing us to this opera-loving wunderkind who recreates his favorite arias in his bedroom with his cats.He says:"I love opera and hope you like it too.I don't think OPERA needs to be brought to people - PEOPLE should be brought to the opera!I enjoy alternative interpretations of opera for contemporary culture and entertainment.I would love to hear your ideas."Our idea is we love you.Il TrovatoreSeattle OperaThrough January 30thNOTE: The Opera tends to sell out. We strongly recommend calling ahead to check on Teen Tix availability. 206.389.7676

Review of Gogol Bordello: Non-Stop at Northwest Film Forum by Fanny L.Having recently discovered the music of Gogol Bordello, I jumped at the chance to screen Gogol Bordello: Non-Stop, a documentary chronicling the lives and times of the New York based gypsy punk band. With a label like that, it’s hard to remain indifferent and not become the slightest bit interested in what this group is all about.

Just by listening to their music, you know there is something special about the ensemble – the part musician, actor, dancer conglomeration that is Gogol Bordello stands out among the horde of often generic and uninspired musical groups today, which is perhaps exactly what they intended. While the film does not explicitly delve into the grand picture of Bordello’s purpose, you can get a glimpse of these underlying intentions through front man, group founder and “immigrant punk” Eugene Hütz.If there was a star in this show, Hütz would have to be it. The 37-year-old left Ukraine for the United States when he was just 17, arriving just after the U.S.S.R. had splintered apart. He brought with him his Roma heritage, musical talent and some trinkets to sell to American tourists; this he recalls somewhat fondly and bitterly, for Hütz does not seem to be one to dwell on the past. In fact, little is revealed of his youth, and what is shown is not meant to be sentimental or extract emotion from the audience. The purpose is to show the audience how Eugene Hütz, and consequently Gogol Bordello, came to be.The film is rather straightforward in its portrayal of Gogol Bordello, and this is what I feel makes Non-stop as a documentary so strong. Audience members are shown concert scenes, backstage footage, interviews with the members and fans; any emotion or sentiment invoked comes from the individuals themselves. The subject needs little dressing up or staging to captivate the audience. You cannot help but watch in amazement as the camera follows Bordello’s ascension to fame, beginning in a crowded, hectic, frenzied Bulgarian bar and ending on a concert stage with an audience in the thousands, with plenty of dancing and partying along the way.Yet while the band is often surrounded by this sort of lighthearted, carefree lifestyle of creating music and enjoying life, they offer a surprising number of valuable insights as well. In the last minutes of the film, Hütz reflects on what it means to “make it big.” He asks, “What is this, making it big?” for he had come to understand this as achieving what he already had – the opportunity to create music, represent himself and his people and give the gift of this knowledge and music to people.In case the above was too lengthy or incomprehensible, here are some reasons why you should go watch Gogol Bordello: Non-Stop:- It is a chance to listen to some of their music, or Hütz’s accent as he throws around the F-bomb like pieces of candy (both highly entertaining).- It will make you feel like dancing.- You get to witness some truly distinctive performances and musical talent.- You will laugh and have fun.All of this in 90 minutes or less! So head on over to the Northwest Film Forum on or before January 21st to catch this fine piece of documentary while it lasts and if you can’t make that, at least give their music a listen.- Fanny L.January 18th, 2010Gogol Bordello: Non-StopNorthwest Film ForumThrough January 21stSponsored by the Vera Project

Review of Electra at Seattle Shakespeare Company by Greer G.Before the ax is even brought out, Electra (Marya Sea Kaminski) has emasculated every man on stage. It would be erroneous to consider Electra as lacking a female empowerment agenda. The women of Greek tragedy cry for a heroine of their own, and Sophocles has bestowed courageous, fire-spitting Electra. For while the preceding triumphs of the Trojan War are distinctly masculine in nature, Electra is the story of “hero” Agamemnon’s daughter, left to grieve the remnants of domestic wreckage. For her father, upon returning victorious from Troy, is slain by wife Clytemnestra (Ellen Boyle) and her taken lover, Aegisthus (John Bogar). What results is a hurtling plunge into the bowels of female psychology.Marya Sea Kaminski as Electra and Ellen Boyle as Clytemnestra. Photo by John Ulman.While Electra mourns for her murdered father, the tension of the play derives from her frustration with the society in which she finds herself. This combination, while a debilitating one for Electra, proves a triumphant one for Kaminski. The beauty of Kaminski's portrayal hangs in that treacherous median of Electra. Kaminski swings (not without labored exertion) between the character's polar natures of devastated child and enraged woman. As a character, Electra has little emotional arch. She does not grow to rage or resentment-- she is smoldering as the play begins. When she is calmed at the blood-splattered conclusion of the play, it is not due to her maturing as a women, but because fury has been quenched by external events. Yet this in and of itself is the crux of Electra's dilemma: she is forever a victim of circumstance. Her grief derives from her doomed lineage; her rage stems from her inability to exact her own revenge. When she laments, “the world has turned bad and so have I” it is an attempt to justify her uncharacteristic wrath. Accordingly, Kaminski is at her most effective with her enactment of grief. Clutching with bruised fingers at her belly, she moans and rocks, as though to sweat out the fever of grief. Kaminski seems perpetually on the verge of regurgitation, as though her Electra could be physically purged of her inherited agony.If there be such a disease, it is an infectious one. One sees Electra’s digression from her true nature in her sister, Chrysothemis (Susannah Millonzi). It is said that children are often the most potent reflection of a dysfunctional household; the daughters of the House of Atreus exorcise their anguish with distinction. Susannah Millonzi’s portrayal of daughter Chrysothemis is marked by the character’s girlish delusion. Whereas Electra furiously pounds the floor with her fists, Chrysothemis is careful (and perhaps content) to tread as a servant in her own house.Director Sheila Daniels exhibits brilliant control of paradox with her casting of darling mums and step-dad, Ellen Boyle and John Bogar, respectively. While daughters Electra and Chrysothemis represent the crudity (and ugly reality) of mourning, Clytemnestra and Aegisthus dress and act as though disgruntled hosts at spoilt Noël Coward dinner party. Their soiree attire is grossly out of place with their heinous murder, furthering audience sympathy for Electra’s plight. When John Bogar’s Aegisthus skips into the last act of the play in a white linen suit, cheerfully nibbling a red apple, you wish the swine a crashing sword to the skull. Thankfully, he receives just that, courtesy of Electra’s brother Orestes (Darragh Kennan).In a tragedy wrought with carnage, it is a considerable relief that the Seattle Shakespeare Company’s production of Electra comes as a swift bullet to the brain. Aided in no small part by Frank McGuinness’ slick adaptation of the Sophocles' play, the dialogue has been stripped of all embellishment. The result is 90 minutes of family drama with little to no-reprieve. While there is no intermission, it seems somehow inappropriate that one would ponder purchasing chocolates while a woman laments depravity onstage. And when you return to your home after the performance, I sincerely hope you will find your family life a little less gruesome in comparison.- Greer G.January 10th, 2010ElectraSeattle Shakespeare CompanyThrough January 31st

Review of 3Seasons/Olivier Wevers' Whim W'him at On the Boards by Atanis K.Danger. Mystery. Unpredictability. These are the ideas at the heart of Olivier Wevers’ 3Seasons, a modern take on Vivaldi’s Four Seasons performed by Wevers’ own dance company, Whim W’Him. Wevers states that he was inspired by the changing weather. He found himself wondering, one year when it rained throughout the whole summer, “where did the summer go?” This idea developed into the innovation that sets 3Seasons apart from other contemporary ballets. Earlier on in the day of the performance, a season is randomly chosen. The recording of that season is dropped and replaced by Byron Au Yong’s modern take on that season, performed live by incredible musicians situated around the stage. The switch, which is not known until the day of the performance, creates a feeling of danger for the performers, who must dance their choreography to completely different music than they have practiced with. Photo by Marc VonborstelWevers hopes that this music will evoke feelings from the viewers as well, whether they love the change or they hate it and want to go back to Vivaldi. I personally fall under the category that loved it. In the performance I attended, the missing season was Vivaldi’s Summer, replaced by Byron’s chaotic modern sounds of oppressive heat. The music had a radically different feel to it than Vivaldi, and it really changed the way the section was performed, compared to the rest of the seasons. The dancers quite literally relied on the sounds of each other’s breathing more than they relied on the music. Visually, this created the kind of genuine closeness and chemistry seen at the very highest levels of dance. But while the altered section is where this was most easily visible, the dancing was superb throughout the entire performance, easily rivaling any of the more established dance companies in the area. Wevers’ choreography was outstanding. It was just the right amount of breathtaking lifts and humorous tidbits interspaced with thoughtful reflections on our society, which ranged from ballerinas stuffing their costumes with plastic bags to a man dancing a woman’s part and vice versa to literally discarding a ballerina in a trash can.Wevers has certainly gone above and beyond with his dance company’s first performance. His creative choreography and the talented people who dance it have me eagerly awaiting to see more of Whim W’Him.- Atanis K.January 16th, 20103Seasons is closed. Next up at On the Boards: Brazilian street dance with Grupo de Rua, January 28-30. More info at ontheboards.org

Review of Perô at Seattle Children's Theatre by Emma M.Perô is an enchanting boys vs. girls story imported straight from the Netherlands. The girls, Colombina and Sun, are sunny and cheerful, whereas the boys, Perô and Moon, are shy and moony. Perô is a floury baker and Colombina is the pretty girl next door. She’s a washerwoman who likes her whites sparkling. Trouble ensues when the painter Palentino comes to town and Colombina is dazzled by his bright colors. They run off together, and meanwhile poor Perô, who is in love with Colombina, closes his bakery “due to a broken heart”. But Colombina’s romance isn’t all that it’s cracked up to be. When her lover bullies her, she realizes her mistake and returns home to Perô.Perô comes to Seattle Children’s Theatre all the way from Speeltheater Holland in the Netherlands. The actors however are all local. The whole cast shines: Matt Wolfe as Perô, Jennifer Sue Johnson as Colombina, Corinna Lapid Munter as Sun, and Mark Rabe as Moon. The troupe sings, dances, puppeteers and captures the avant-garde feel of Perô so well.Directed and designed by Onny Huisink co-founder of Speeltheater Holland, Perô has a very playful feel. The sets and puppets are very imaginative, they fold out, light up, stretch out, and roll around. The two houses where Perô and Colombina live feel almost like doll houses, and are simple on the outside but are full of surprises.Younger kids will love the play’s sweetness, such as the little mice that live with Perô and Colombina. But as Moon says, “Sweet? Sweet? Where does that get me?” The older audience members will relate to the more complex emotions portrayed, such as heartbreak, infatuation, passion, loyalty, and love. When Colombina is pushed around by the painter Palentino, and has to cook him tons of pasta, the kids will laugh at Palentino gulping down pasta. But the adults can appreciate Colombina’s struggle to make the choice to leave Palentino and return to her home.Four actors and a lively smattering of puppets and musical instruments, Perô is a beautifully crafted European treat that everyone will love!- Emma M.January 16th, 2010PerôSeattle Children's TheatreThrough February 14th

EEEEEE!!!! It's finally here. Our first ever Crush-of-the-Month, wherein we profile a local artist whose talent, charm, and face make our hearts go pitter patter.This month's crush could not be more crush-worthy. His name is Justin Huertas, and he is currently starring as Solomon in Seattle Rep's Speech & Debate, opening January 15th. Justin is humbled and honored to be our first-ever Crush-of-the-Month. We love you, Justin! Photo by Tristan Morris.Sweet Justin took the time to sit down with our reporter, Isabella F, to answer a few questions. Take it away Isabella!Teen reporter Isabella F and Crush-of-the-Month Justin Huertas talk high school, cellos, and Build-A-Bear WorkshopAfter a few jokes and the introductions, Justin Huertas leans back on the chair and takes off his jacket to look more casual. He responds to each comment about his interview with a large grin, laughing about compliments that characterize him as a professional actor. Currently rehearsing the role of Solomon in Speech and Debate at Seattle Repertory Theater, he relates to his character as an average high school teenager.Justin tells Isabella what he was geekiest for in high schoolFor his costume, Huertas will sport a pair of khakis and white tennis shoes, something he would have worn when he attended Kamiak High in Mukilteo. He has been into performing since he was young, aspiring to be a cellist “just like Yo-Yo Ma.” Surprisingly, he discovered his love of the stage when he was cast in the musical at his high school senior year. Currently, he is making a living off of acting, but worked three jobs at the mall last summer to fill in the gap. Apparently, outside of acting, he is just his normal, sunshine self, working at the Vans store, and the Build A Bear workshop! Who would have known? Huertas even used to put the hearts into the bears, which would express his kind and adorable personality.To describe himself, he uses the word “scrumtulescent,” mimicking a Saturday Night Live routine where Will Ferrell came up with the word. To him, it means “nice, artistic, and expressive,” which goes along with my original impression of him. Illustrating his point, Justin makes a typical Will Ferrell face, and acts out the scene. Go figure. Continuing with his casual personality, he describes his favorite restaurants as being “very chill, so you can just relax, so that you don’t have drink tea with your pinky up,” demonstrating the gesture while laughing. Among the favorites are Purple and The Pink Door.ScrumptulescentPhoto by Jared Michael BrownIf he isn’t relaxing in casual restaurants, Huertas loves just walking around the streets of the city: “There are so many places to see and favorite places to go.” At times he enjoys writing plays and songs, but the two didn’t mix well for him when he tried to write a musical. As far as plans for the future, Huertas hopes to continue performing, whether it is acting or playing cello.See Justin in Speech & Debate at Seattle Repertory Theatre January 15th - February 21st. There are still a few tickets left for Extemporaneous Commentary, the Teen Tix art party at Speech & Debate on January 17th. For more info about that, go here.

Nice Monet!

They went, they saw, they won. Here's what the lucky winners of our first-ever Passport to the Arts contest had to say about their art-filled year:"Most major shows in Seattle have tickets out of my price range. Yet at least once a month I go see something, usually with a friend. How? Teen Tix! This summer I saw Othello at the Intiman after reading rave reviews for it in The New York Times a few months prior. My favorite show of the six on my passport was Emma at Book-It. I'd never been to that theater before and I'd just started reading the book. With barely more than five props, they immersed the audience in Regency England, doing Jane Austen justice. For $5 I get culture, a few hours with my friends and it's a parent-approved way to get out of homework."- MarieClaire S."This contest actually got me going with TeenTix- it was an awesome way to try new stuff and get myself out there- I saw films, dance, theatre, all sorts of different things. I think TeenTix is the best thing since sliced bread and one of the best ideas in Seattle. You should do it!"- Tucker C."I don't have a lot of money (I mean hey my mom still says I'm a kid in her eyes); but the fact that I am still able to have the luxury of sitting in the front row of a huge opera house able to see the sweat glisten off the actors face as they please the audience, makes me thankful to actually be a 'kid'. I love having this opportunity and I thank all those who make it possible."- Alice E. Passport to the Arts is a contest where Teen Tix members can win money (up to $250!) by seeing art. Collect stamps on your passport all year long: the more art you see, the more money you can win. Our next Passport to the Arts contest starts in February, 2010.