TeenTix Blog

A review of Samuel Jones Vita Accademica, and Brahms Violin Concerto No. 3at Seattle Symphonyby Tavis H.Now a days, with programs like Limewire and websites like PirateBay.net, there is seldom a piece of music that one wants to pay for. However, once in a while we truly find a fleeting moment of musical brilliance ensnared by staff and shared in timelessness; something so tremendous that by the end of it we feel part bewitched, part enlightened, and 100% moved. Very little pieces have such an effect on me; for example, Beethoven’s 7th, Phillip Glass’s 5th, and Carl Orff’s Carmina Burana, are some of those powerhouses; for me they can cut through all defenses and seize me at the purest level of my emotional core. These rare beauteous pieces of great power and emotion are comparable to a fine dinner; its contents are masterfully prepared and when experienced, all ranges of emotions are released. Is this the type of meal we run off on without paying? Are we talking about the Red Robin of music; some mediocre chow house made for the ever so beloved dine and dash? No! For this is a form of art that you do not merely pick up from the internet on a Wednesday night as the active afterthought of tangential procrastination! No, this is a spectacular creation that I am talking of, something that is so precious that one should feel cheap and immoral if they dared to scrounge and thieve without penitence or recourse. On Sunday I witnessed such a moment. Brahms will be Brahms; he’s great and will continue to be. But the wondrous beauty that I speak of resonated from the droll enchantment and captivating measures of Samuel Jones’s latest piece, Vita Academica, a Concerto for Trombone and Orchestra. Commissioned by Charles and Benita Staadecker, for their 25th anniversary, the piece is about Charles’ college days at Cornell. It tells the tale of his arrival, meeting his wife to be, falling in love, studying, and even a drunken football game. With the trombone playing as Charles, and other orchestra members portraying different people and emotions, the synchronization was precise and perfect in its ratio; like a fine watch, the instruments and movements intertwined perfectly to weave this beautiful tapestry of music. It may have started out as a portrait of a man, but it ultimately exceeded beyond its intentions and transformed into an extraordinary example, and staple of, the modern repertoire. With it’s melodious and heart melting moments to it’s glorious uplifting power, it is like Wagner had a brain child with Mozart; no, that’s nearly an insult; for what Samuel Jones has created is so beautifully original and refreshing to the modern scene that comparisons lack and juxtapositions die. He has defined, utilized, and controlled, a uniqueness and tonal individuality that has averted a world of modern music that is full of weak muses and failed inspirations. The other performance that was, in my eyes inferior to Jones but equally, worthy of fiscal respect was the Brahms. Vadim Repin shined; unequivocally magnificent. He brought a emotionally resonant flame to his performance that made the Violin Concerto No. 3 look like it was tailored by Brahms for Repin’s sleek and handsome Russian passion. He is truly a virtuoso when it comes to the mastery of the violin and made the instrument look easier that slicing through soft butter; smooth, elegant, with little resistance, and careful precision. Ultimately the totality of the orchestra and Repin perfectly captivated the haunting joy and grace of Brahms.Kahlil Gibran once stated that “beauty is a light in the heart.” When I reflect upon that Sunday afternoon, and think of that quote, I am stunned, for I know now that I have witnessed such a beauty. From Jones pouring his heart and joy into his concerto, to Repin whose “heart light” shined through his fingers, a fantastic masterpiece was born, and another perpetuated. Samuel Jones Vita Accademica, and Brahms Violin Concerto No. 3. played at Benaroya Hall as part of Seattle Symphony's season on April 5th, 2009For a list of upcoming Teen Tix eligible Symphony events, visit www.seattlecenter.com/teentixfor more info on Seattle Symphony, visit www.seattlesymphony.org

One Week Theatre Conservatoryfor ages 13-19Icicle Creek Music Center, Leavenworth, WAClasses available in:ActingPlaywritingShakespeareImprovandWorkshops with ICTFProfessional ActorsAugust 2-8Call 1-877-576-6010www.iciclecreekact.comScholarships available!

Pugest Sound Off (PSO) is recruiting PSO Digital Connectors. Join your peers for some fun while learning about leadership and technology; as well as making a difference in your community.PSO Digital Connectors is for High School Students who want to:Connect with PeersHave FunEngage with the CommunityLearn Technology skillsSupport a local social networking websiteGet your Summer 2009 Puget Sound Off Digital Connectors Application by visiting Metrocenter YMCA's website:www.metrocenterymca.orgClick onthe "What's New" tab and look for Puget Sound Off.What is Puget Sound Off?PSO is the newest, coolest, online space created for youth by youth. A site for you to SOUND OFF about issues that matter to you most, find resources, share events, and connect with peers.

Moviemaking in Action: Using Video to Tell Your StoriesMonday-Friday, Aug 24–28, 12–4pmInstructor: Amanda BeckerTuition: $250Max Attendance: 9Recommended for ages 14-17In the beginning there is a story. But what does it take to get from story to screen? This week long, intensive course is designed to help you build a story or experiment with themes, learn the basic techniques of digital filmmaking (including: video cameras, lighting, and sound) as well as discovering the magic behind persistence of vision. We'll work in small groups, developing ideas and learning the basic communication skills necessary to function as a filmmaking team. Your 2-3 minute group films will be edited using Final Cut Pro. The course will conclude with a screening of all finished projects in NWFF's cinema.Mixed Animation CampMonday–Friday, July 13–17, 12–4pmInstructor: Britta JohnsonTuition: $250Max Attendance: 10Recommended for ages 14-17Are you a first-time animator or a seasoned filmmaker looking to pick up some new tricks and skills? Come join us for a solid week of animation! Classic Disney films and TV shows like Gumby were all made before computers and demonstrated a variety of hands-on animation styles which are still used today in films like Coraline. Students will learn these traditional animation techniques by working with drawings, collage, clay, puppets or objects. Each student will create his or her own short film by going through the whole process: planning a project with scripts and storyboards, using movement to give characters expression, and finishing pieces with voiceovers and sound. Finished films will be compiled on a DVD for students to take home and share.Music Video Production!Monday–Wednesday, Aug 3, 4 & 5, 12–3pmInstructors: Clyde Petersen & Forrest BaumTuition: $150Max Attendance: 10 Recommended for ages 11-14Get ready to rock! In this 3-day camp, kids will work with a local band to create a live-action music video. Students will prepare for the filming by brainstorming ideas, creating storyboards, building props and sets, and creating costumes. On the third day, they will shoot a video with the band members. Instructors (and experienced music video-makers) Clyde Petersen and Forrest Baum will add some polish so that all the students will receive a DVD of the final video. Clay Animation NetworkFour Saturdays, July 11, 18, 25 & Aug 1, 10am–3pmInstructor: Lukas AllenbaughTuition: $250Max Attendance: 9Recommended for ages 11-14Clay is one of the most popular and expressive forms of stop-motion animation! In this four-weekend class, students will work under a camera to create clay-animation movies in the spirit of popular shows and films like Gumby, and James and the Giant Peach. Through animation, students learn basic physics principles (momentum, acceleration, friction, collision), math (measurement, fractions, timing, patterns, cycles) language arts (storyboarding, story structure), art (sculpture, composition, color theory) and music (composition, voice-overs). The course will conclude with a screening of all finished projects in NWFF's cinema. Also, finished works will be on view at www.cancancancan.com and Youtube, and each participant receives a DVD of their work at the end of the session.

Seattle Musical Theatre announces SummerStage 2009 for students 11-18.This intensive program (June 29--August 1) offers students a full immersion in musical theater. Mornings are devoted to classes in vocal work, movement, and acting, or optional technical theater classes. Afternoons are devoted to rehearsing a fully staged version of Guys and Dolls for performance on our Magnuson Park stage.More information is available at http://seattlemusicaltheatre.org/SummerStage/

A review of A Tale of Two Citiesat Seattle Children's TheatreBy Molly L.“It was the best of times, it was the worst of times,” wrote Charles Dickens in his book-turned-play A Tale of Two Cities.In fact, this story is not only based on the two cities of Paris and London, but it was also about two worlds, the world of the poor and the world of the rich. Unlike Miley Cyrus in Hannah Montana, the people of Paris during the French Revolution were unable to have “the best of both worlds.” The poor are stuck in their struggle to bring on the revolution and overthrow the rich, while the powerful people live a life without a conscience. These two groups of people lived in parallel universes, intertwined with events or meetings and spattered with blood on both sides. Dickens’ story is focused around a preciously imprisoned Frenchman, Dr. Manette and his daughter, Miss Lucie, who is wooed by both Charles Darnay and Sydney Carton, two ambitious men each with their own secrets. As these characters travel back and forth between London and Paris they meet others like Monsieur and Madame Defarge, examples of the poor people who suffer under the oppression of French rule and worked tirelessly towards a Revolution. It is a story of opposites, of love and revenge, justice and ambition, and above all, how far you would go to get what you want.The Seattle Children’s Theater does a wonderful job conveying the complex emotion and vivid differences between the characters, aided by artfully designed sets and costumes that bring the history characters into the world of today. The theater and stage come together to show this story of betrayal and promises, of friend against friend, and of a timeless story about coping with life and working for a common goal. Especially in this time of economic unrest, we are today faced once again with the question of how much loyalty and trust we give to one another.This emotionally beautiful show captivates you until the final, deafening sound of the guillotine blade crashing down in the end.A Tale of two Cities plays now through April 12, 2009at Seattle Children's Theatre, located in Seattle Centerfor tickets and information, visit www.sct.org or call 206.441.3322

Did you know that this region has a new and exciting online networking site for youth?Introducing Puget Sound Off!!Your one stop shopping site for social networking, calendar of events, music, videos, photos, blogs, reviews, and social activism.This new site is super cool, and will allow you to find out what is going on, post comments, links, take part in polls, learn about events happening in your world, and generally keep up with the youth buzz in the Puget Sound region.Log on today, and create a member profile. Its free. Then join the Teen Tix group to stay posted on special events and news from the Teen Tix homefront.You gotta check this out. I mean, like, now. Do it! Log in right this minute!!So long MySpace. This site is now where it's at!!Visit the link below and become one of the many youth catching the wave. . . . www.pugetsoundoff.org

Join us on Friday March 27th for a Teen Tix Special Event for Seattle Children's Theatre production of A Tale of Two Cities.Come celebrate this classic Charles Dickens story with an evening of food, theatre, and fighting! Come to the show early for a reception, and to engage with the show's fight choreographer Geoff Alm in a special stage combat workshop designed just for you.About the show:In 1778, France is on the brink of revolution. The people are desperate, ready to break and seek justice where they may. They strive to find a unifying identity, something that will gird them against the cruelty of the noble class until the moment of their uprising. Families become embroiled in battles for vengeance, and one man's act of self-sacrifice reminds us all what true nobility and true liberty really mean.A Tale of Two Cities is adapted by Dwayne Hartford and directed by Rita Giomi.About the Special Event:Festivities start at 6pm with refreshments Followed by an awesome stage fight choreography session at 6:15pm.Then see the show at 7pm.Admission is $5 with your Teen Tix pass. But please RSVP today to reserve your spot, as seating is limited.Email Jim at jimj@sct.org to get put on the list.

The Art of Leadership: Creative Leadership Weekends for Teens!March 28-29, 2009 AND May 2-3, 2009Youngstown Cultural Arts Center, West SeattleFor youth ages 14-18! There is LIMITED SPACE in this training, SO APPLY SOON. It is FREE!YOU WILL LEARN HOW TO:• Bring people together through creativity• Use the arts to develop your presentation skills• Make group events more fun and interactiveNo experience necessary.To apply, contact Power of Hope, 206-938-6090 or email rebecca@powerofhope.org or eli@powerofhope.org

A review of The Merchant of Veniceat Seattle Shakespeare Companyby Emma M.Revenge is what Shylock wants, and Antonio’s the target. Antonio may be pretty awful to Shylock but does he deserve to have a pound of flesh cut off him? The answer, says William Shakespeare, is mercy. Throughout Shakespeare’s play The Merchant of Venice the themes of revenge, power, justice, and mercy are played to their extremes. Meanwhile the other characters struggle with problems of their own. What would you do if a crazy Moroccan Prince was trying to win your hand in marriage by picking out which box had your picture in it? Hilarious and serious all at the same time, The Merchant of Venice, now playing at Seattle Shakespeare Company, is well directed by John Langs. Langs doesn’t try to make the play end nicely, it’s bittersweet and it’s just what it needs. The whole cast was great but one person must be mentioned. Charles Leggett as Shylock - he is brilliant. Leggett’s performance is a powerful and moving one. He plays a Shylock that you can relate to, and you feel his pain so vividly when his daughter leaves him. His body movements and downward gaze subtly portray Shylock’s insecurity. Also brilliant was Troy Fischnaller as Gratiano and the Prince of Morocco. How can one’s pants fall down and one not know it? Apparently it can happen and is extremely funny. And when the Prince tries to decipher the cryptic message on the chest and fails? Aw, poor Prince! Fischnaller is not one sided though. When Antonio is condemned, he is all fury and you really believe that he could, and would, hit Shylock if his friends didn’t hold him back.From Portia’s country villa, to a happening night club, to the stark court room the lighting is what transforms the sets and carries you through the story. Geoff Korf’s lighting is amazing. You have no trouble filling in all the gaps that the minimalist sets, designed by Jennifer Zeyl, leave out. It’s all so clean and crisp. Even the costumes, designed by Teen Tix’s very own Pete Rush, hit that Wall Street feel and aren’t over embellished, so everything fits together harmoniously. A beautiful mix of great directing, amazing acting, and a thought provoking story makes this production a stand out.The Merchant of Venice plays at Seattle Shakespeare Companylocated in the Center House Theatre at Seattle Centernow through April 5, 2009visit www.seattleshakespeare.org or call 206.733.8222 for tickets and info

by Jenny B., Teen ReviewerThe Tony Award winning show by Alan Bennett has finally come to Seattle! Christopher Zinovitch directed an expertly executed and thought provoking performance. This performance is filled with highly achieved actors that portray Bennett’s ideas brilliantly. It is filled with the significance of the randomness of events in history and how important it is who teaches them to you. When there is a chance to see a show of this caliber it should never be passed up. Very few shows will keep you laughing and engaging you throughout almost the entire show. The story follows a group of teenagers who are on the verge of going to university. They are taking their entrance exam that will determine if they will get in to one of the top universities in England, namely Oxford. But this exam will prove to be more eventful and symbolic than anyone could ever have expected. Mixed with risqué happenings and intrigue, this story is sure to keep your attention from the beginning to the end.The west end version of this show is highly regarded for its interesting and creative set changes. It is also acclaimed because of its use of bringing video into theatre. Though the beginning set is almost an exact replica of other productions of this show, almost all of the set changes were wisely removed. This seemed to perfectly fit the space and the overly extensive set changes would have detracted from the performance due to the space used to perform. The costumes were well accomplished and pulled you into England. They made the high school feeling really come to life. Every character was accented by the clothes they were adorning. The teacher that filled the boys with facts and knowledge named Dorothy Lintott was masterfully played by Jody McCoy. Her empowering and energetic performance left the audience whopping and cheering after her magnificently performed monologue. It is hard to pinpoint the greatest performances in this work because everyone worked so well together, the flow seamed unstoppable. Alex Garnett played a self confident almost snobby part that seemed to fit his character, though gave him soft enough edges for the audience to feel for the situation he gets himself into. Justin Huertas who played Posner filled the shoes to make sure he was the round character he was intended to be. Zinovitch really brought this performance together. Every aspect of the show seemed to complement each other. It was pieced together from other previous performances yet it still had a flavor of its own. The casting was outstanding; every character fit their role amazingly. The wonderful combination of a gallery and theatre puts you in the mood to see a show before you even take your seat. Overall this show is a must see. There are so many amazing shows in Seattle right now. This show should definitely be one of the top on your list. It’s good for discussion and a good laugh. It is a show you won’t soon forget. Mar 4 – 28

More info and show times: www.artswest.orgArtsWest’s Ticket Office: 206-938-0339ArtsWest is located at 4711 California Ave SW in West Seattle. It's served by buses 22, 37, 51, 53, 54, 55, 57, 128, and 560. tripplanner.metrokc.gov

by Paulina P.If you want to be surprised by The Seafarer do yourself a favor and don’t read the program, everything you could possibly want to know about the plot, inspiration, and just general background of it is in that little program, so truly, don’t. It oversimplifies and over accents key elements of the story detracting from the enjoyment of the performance. It makes the audience think a little too much about what it means and instead of letting them laugh. Conor McPherson’s work is pushed beyond its limits and made to feel more serious than it is performed.However, most people do not go and see plays for the program alone so let's talk about the performance shall we? It's Christmas in Ireland and something interesting is stirring about. Well more like a couple of hung-over middle-aged men are waking up after a very fun night. These are the three main cogs in this play wheel: Sharkey, the protagonist; Rich, ornery and Sharkey’s elder brother, and Ivan an old friend of the two. These three are at once conflict, character, and resolution. They create problems for each other but are also the only ones who can truly help each other out when worse comes to worse.They have known each other for the longest time and each have something deep within them that may or may not be sinister. However, at this moment Sharkey has agreed to give up drinking, hoping that if he can at least make it through Christmas he will be able to quit for good. Unfortunately, Sharkey’s ex has a new boyfriend who’s not only driving Sharkey’s car but has brought a mysterious guest to drink and play cards with the group. The rest is for you to find out.Even though I was not particularly impressed by the story itself this performance gives the audience a bit of heart. Each character in the group has some kind of obsession and attachment to alcohol but it doesn’t stop them from being who they are. It allows the story to bet at once humorous and serious because while one is laughing at the slapstick of the two older men, Rich and Ivan, one is meant to question their incessant need for their liquor. Their mannerisms are hilarious but their quest is not. That dualism pervades this performance and makes the audience think every time that happens.That strength in their performance is made very clear because of some very specific character choices. Throwing things across the room or attempting to carry too many beer cans across the room helps to show the world that they live in, one of reaction and of omnipresent alcohol. Though one may assume that their world is that way just because it's Ireland, it is made clear that it could be almost anywhere. Besides their accents and slang terms, the problems presented in McPherson’s play are those present it all kinds of societies and households.The Seafarer is playing now until March 28th, 2009 at the Seattle Repertory in the Bagley Wright theatre. It’s a little funny, a little serious, and a lot to take in from only five guys.More info and show times: www.seattlerep.orgSeattle Rep’s Ticket Office: 206-443-2222Ticket Office Hours: Daily, noon – performance time

Seattle Rep is located at 155 Mercer Street, on the North edge of Seattle Center. It is served by buses 1,2,3,4,13,15,16,18,45, 74 and 85. For bus times:tripplanner.metrokc.gov

A review of the Junot Diaz lectureat Seattle Arts and LecturesBy Tavis H.Oh Junot Diaz! How do I count the ways of your coolness? If I were to say that within a two hour period of time I didn’t develop a man crush on this wonderful poet of the vulgar I would be lying. All I can really say is “Vonnegut and Marquez, pack your bags; you guys are old news! The new face of literary enlightenment has come to town and with him have the expectations of this era’s literary excellence.”So who is this Junot Diaz, who is this man that I praise so highly? Junot Diaz is the Pulitzer prize winning author of the novel The Brief Wondrous Life of Oscar Wao, the tale of a Dominican family and how they cope with the curses of life, love, and the past. Diaz is also the author of Drown, a collection of ten short stories that powerfully portrays the lives and times of immigrants adapting to the culture of the US. I have only read Oscar Wao, but from reading it I can say that I look forward to reading Drown. Diaz as I mentioned earlier is truly a poet of the vulgar. He challenges the proper styles of writing to create a type of novel rich with modern day cultural references, magical realism, and powerful messages. To best describe his writing style I would say that it has the intense pace of thrill of a Michael Crichton book, yet has the charm and material of a Hemmingway novel.Seattle was fortunate enough to have this wonderful writer come through on tour and was very well received by Seattle Arts and Lectures and the sold out audience. Throughout the lecture Diaz let us peek inside his soul; he would read passages from his book and stories with a passionate narrative that was far more meaningful in emotion and narrative than just reading the text. However it would be very unfair to just call Junot Diaz a mere writer for he is also a terrific comedian. It is always wonderful to hear the social elite of Seattle giggle and shriek when a Latin man says “vulgar” words. This brings me to another point on the lecture…it wasn’t a lecture. It was more like Junot Diaz invited a bunch of people to a big room in his house for a party, and then proceeded to crack jokes and talk to people.Even though the setting of the lecture was casual, there was some very serious talk about his book and some of the very heavy messages in it. For example in Oscar Wao both Oscar and his mother (at different times in history) are beaten in the cane fields outside of Santo Domingo. He explained how the cane field was a metaphor for the history of Dominican Republic because the three pillars of Hispaniola’s history which are slavery, genocide, and rape, all happened in the cane fields. He also went on to explain how this creates a connection between Oscar and his mother and how the tyranny of violence may always suppress a person, but never a person’s love.Although the serious Junot was present, the lighter Junot was much more enjoyable as he openly joked about his writers block, his failed attempts at novels, his good times, rough times, and possible future projects. He talked about the possibility of Oscar Wao being turned into a movie, and hinted that Walter Salles (the director of Motorcycle Diaires) maybe attached to the project, and even made mention that his next project –in correlation to his love of the sci-fi and fantasy genres that were so expressed in Oscar Wao- might be a post apocalyptic sci-fi novel.After the lecture I was fortunate enough to meet this man. He was filled with so much grace and friendliness; he is the epitome of the mythical person whose humility is genuine and whose friendliness is comparable to that of his humble nature; he is not the man that rocks the turtlenecks, corduroys, and a pipe, who brushes you off as another sub-being, but he is the man who looks you in the eye with sincerity and makes you his friend with a smile.Too few are men like Junot Diaz. His oratory skills are casual yet punctual, relaxed but not sloppy. His writing is entertaining yet structural, deep but not pretentious. His personality is informal yet wise, receiving but not gushing. He is the man whose career I look forward to following, for not only do I believe he is one of the most powerful and original writers of our time, but I believe that his work just may change the face of the literary canon as we know it. Seattle Arts and Lectures presented Junot Diaz on February 24that Benaroya Hall.For more info on SAL and their upcoming events, visit www.lectures.org

A review of Betrayalat Seattle Repertory Theatreby Zoe B.The plot of Betrayal is not uncommon; a woman is having an affair with her husband’s best friend. What makes this rather mundane plot interesting is the structure. The tale begins two years after the affair has ended and winds backwards in time to its conception. The best parts of Betrayal, and probably the most horrendous part of having an affair, are the moments when one person knows much more than the other thinks they know. The husband asks questions he knows the answer to, just to watch his best friend lie. Or the wife sits in bed, saying little, with her book still open on her lap, as the husband unravels the details of her deception. Harold Pinter was a playwright known, in part, for his use of pauses to demonstrate the tense nature of situations where his words would only be cumbersome and would betray the true feeling of that moment. Betrayal is full of silence, full of tiny eruptions. Betrayal is a play that simmers; it never boils over. In part, this is because Harold Pinter was British and the characters in Betrayal are thoroughly British. Their emotions are quiet, pushed down. This could have been played, however, with similar intensity to the shrill, angry energy one would expect from an American play on adultery. But it wasn’t. There were moments, yes, where all the energy needed was there. In general though, the play felt flat. I blame the transitions. One of the challenges of Betrayal is that it travels, in about 75 minutes, through almost ten years. Which year it is becomes hugely important in understanding the affair. Has it started yet? Does the husband know? This problem was solved neatly by projecting the year above the stage. However, the set and costume changes one would expect in a theatre such as the Rep, required quite a bit of time. As the set changed, and as actors hastily pulled on different outfits and different wigs, a distorted home video played in the background. The video was of a man catching a little girl in his arms after throwing her up in the air. It referred to a repeated story told in the play, and while I’m sure it was supposed to communicate some deep feeling of conflict, it was just distracting, bordering on cheesy. In fact, the whole vibe sent off from these transitions set the play off kilter, made it seem silly when it was striving to be serious. It seemed to me as though the audience was laughing at moments that weren’t funny. My inept interpretation of British humor aside, Betrayal isn’t a comedy. A man afraid his best friend will never speak to him again? Not funny. Thinking for a moment that you have been raising a child who is not your own? Not funny. Betrayal is a classic and for five bucks, probably worth seeing just to grasp how to use such an unusual structure. However, if you are pressed for time this month I’d probably just skip it – there’s a lot of great shows coming up. Betrayal plays at Seattle Repertory Theatre now through March 28th.For tickets and info, visit www.seattlerep.org or call 206.433.2222

A Review of Pharaoh Serket and the Lost Stone of FireAt Seattle Children's Theatreby Sophia B.It's a basic tenant of theatre that appearances are deceiving. First impressions rarely last, at least in well-written plays. But in the case of Pharaoh Serket and the Lost Stone of Fire, the first few minutes set the tone to such an extent that one could gain an accurate impression before the actors even came onstage: dramatic, overused music boomed over a stunning set of stars and columns elegantly painted in an ancient Egyptian style.The play’s plot is fairly simple; a young Pharaoh and a bumbling scribe (the perfunctory comic relief) join a mysterious sorceress on a quest to find a magical stone. It proceeds at a brisk pace, occasionally convoluted but generally entertaining, with notes of humor that had some eyes rolling but earned many an appreciative chuckle. References to ancient Egypt’s culture and religion in the play makes up for a poor portrayal of its politics, though there’s probably no one in the intended audience who’s too hung up on the accuracy of either.Though some of the characters were one-note and overacted, others were complex and intriguing and…overacted. Every actor had unquestionable merit and brought their characters to life, whether playing a pampered and trembling Pharaoh more capable of preening than ruling, or the dangerous and fascinating Zalira, who towered over all the others in strength an confidence, in spite of being bound, beaten or threatened in more than half her scenes. There was just an excess of foot-stamping.Overall, whether simplistic or confusing, dramatic or melodramatic, Pharaoh Serket and the Lost Stone of Fire is an enjoyable watch. Its flaws are minor, and aside from some of the final scenes, hardly detract from the viewing experience. I would advise it for any child interested in a good adventure, if not to anyone hung up on subtlety or historic accuracy.Pharaoh Serket and the Lost Stone of Fire plays now through March 7that Seattle Children's Theatre, located in Seattle Centervisit www.sct.org or call 206.441.3322 for tickets and information

A review of Jane Eyreat Seattle Musical Theatreby Jenny B.The Seattle Musical Theatre presents a remake of the Broadway show Jane Eyre. This timeless story by Charlotte Brontë is seen as nothing short of classic. The musical is a more cheerful mix between Charles Dickens Hard Times and Victor Hugo’s Les Misérables. It has many deep meanings, yet can be seen by a younger audience, making it meaningful for the whole family. Everyone loves a love story, especially one filled with mystery and plot twists. There are many reasons why Charlotte Brontë’s book is timeless. The musical composed by Paul Goden starts out with a charming orphan girl named Jane Eyre who goes through having less than cheery relatives, and having a childhood friend die. Even though she grew up among strife, her friend taught her that “forgiveness” is the most powerful tool you could use. With this knowledge she grows strong and travels to become a governess. On her adventure she finds complicated love entangled in many secrets. Every song was beautifully accompanied by Paul Linnes and his five piece band. They really made the music come to life magnificently, whether it is sombre or upbeat. Another impressive aspect of the show was the amazing use of space accomplished by Carl Bronsdon. There were no major set changes, yet it was always clearly defined were each person was. Instead of hiding one bed onstage and having people shuffling around it, or having them pushed on stage, they were all expertly hidden. The cast was full of wonderful talent, though some needed to be slightly tweaked to perform at their fullest capacity. The leads Danielle Barnum as Jane Eyre and James Padilla as Edward Rochester were both extremely talented singers and had compelling stage chemistry. The only faults were that Danielle’s monologues seemed a tad rushed, and James seemed to lack a focal point, making it hard for the audience to connect. The audience was full of laughter whenever the housekeeper, played by Balayn Sharlples, surrendered her cheerful renditions that kept the performance upbeat. Her performance was the perfect contrast to the more sombre side of the musical. Another shining member of the cast was the competitive lover Ms. Ingram, played by Jenny Shotwell. Her zooming low and high notes rendered Ingram a perfect rendition of a painted peacock. The young orphan girls both seem to be budding stars. It was amazing to see such an astounding voice on such a young girl as Olivia Spokiny, whose character Helen dies. Though she did seem to be a bit lively for her death scene, the rest of the time her acting was well performed and accomplished. Also, young Keaton performs her role wonderfully drawing the audience into the story.The whole cast worked well as a team and played off each other marvellously. The interesting use of the whole cast was well accomplished by the ensemble. They were all accomplished in acting and in voice. Their timing never missed a beat. The singing and most of the performance was consistent and well performed. Though the transitions needed to be more built up or sharper in their execution. Every time there was a change of events it brought you out of the story. Instead of feeling “How could this happen”, it tended to turn into a “Wait, what just happened?” feel. Similarly, other parts of the performance seemed to be less true to the severe nature of the situation intended by the original author. Overall the theatre was lovely and made you feel very much at home. With a lot of community help in the lobby it had a very comfortable feel. The show is defiantly worth seeing because of its life lessons and the considerable talent in the cast. Though it needed some slight changes over all, Jane Eyre was well performed and made for a truly enjoyable night out. Jane Eyre plays at Seattle Musical Theatrelocated in Magnuson Park now through March 1st, 2009visit www.seattlemusicaltheatre.org or call (206) 363-2809 for showtimes, tickets and information.

A review of Ben Xa film playing at SIFF Cinemaby Zoe B.I’m not into video games, the only one I’ve ever enjoyed was Zelda: Twilight Princess, and I only liked it because it was very pretty. So you can imagine how my enthusiasm over Ben X declined as the opening credits began with a World of Warcraft game being played in the background. Ben is a teenager who plays an online video game to escape from the hell that is his day to day life at school. There are two bullies who torture him without mercy, a cruelty that becomes even more heinous as it becomes obvious that Ben isn’t just awkward, he has Asperger's Syndrome. Now, one of the reasons that I can’t stand video games is that they allow a person to escape, to pretend, when they should be learning how to relate to people. However, with Ben the situation is totally flipped. His only friend is a girl named Scarlite, the healer to his warrior character online. Ben is capable of relating to Scarlite, even though he hasn’t met her (and perhaps because he hasn’t), and she provides more human contact for Ben than desire to escape the constant presence of his well-meaning mother. The movie has a dark tone, owing to the interviews with Ben’s parents and teachers. The first is with his beaten-down mother who states, “Someone has to die first. Then everyone wakes up.” The interviews hint at the disaster to come without revealing what actually happens. They are hauntingly reminiscent of the interviews given after Columbine and Virginia Tech, so of course the possibility of a massacre lurks. What actually happens is much less predictable, though arguably much less realistic. Ben meets up with Scarlite, who inspires him to change his life, to take revenge. Despite the potentially diabolic plans this friendship may inspire, and the unreal ease with which they interact given Ben’s condition, it is completely charming.Ben X, playing at SIFF Cinema February 27th at 7:30 PM, kept me interested, especially the director’s use of Ben as an unreliable narrator – we are never quite sure what is real and what Ben is imagining. The audience is kept guessing the whole way through, a rarity in the cookie-cutter movies we are typically exposed to. Ben X plays at SIFF Cinema, locatd in McCaw Hall at Seattle CenterFebruary 27th thru March 5thvisit www.siff.net or call 206.633.7151 for tickets and information

A review of Moby Dick, or the WhaleBy Book-It Repertory Theatre, at the Center House TheatreBy Chelle K.Herman Melville has been thrust upon all of us during our high school years; Moby Dick is one of the mandatory reads. However, it is one of the few obligatory novels that doesn’t make me want to obliterate myself. In this sense, it was a treat to be able to experience a translation of the intense sea adventurers through stage performance by Book-It Repertory at the Center House Theatre, directed by David Quicksall. The illustriousness of the book drew me to the play, and my curiosity heightened pre-show as to how the characters would be cast. Could I proudly look upon the stage and call that actor Ishmael? Would Queequeg feed all my literary notions of a loving cannibal? Would the cast embody everything I had known and come to enjoy through Melville’s text?They certainly did. Nevertheless, this fact almost seemed a little disappointing to me. A book so studied throughout American culture, and beaten into the brains of student youths nationwide, led me to feel that a direct translation was almost more of the same. Little creativity was involved in constructing the play, and the fact that is was everything I expected, made the play less than brilliant. Moreover, David Hogan, playing Ishmael, brought almost a contrived depth to the character. His enthusiasm on stage and inability to pull off the mystique of his character seemed to parallel with quite an amateur performance.Simply put, the book is a very familiar one to most literary buffs. In this sense, seeing as the book is so familiar, it would have been nice to bring a fresh perspective, or an interpretation of Moby Dick, or the Whale to stage. That being said, if the play were based on quality in accuracy of literal depiction, it would earn an A.Moby Dick, or the Whale plays at Book-It Repertorylocated at the Center House Theatre in Seattle Centernow through March 8, 2009visit www.book-it.org or call 206.216.0833 for tickets and information

A Review of Ballastat Northwest Film ForumBy Joshua G.Watching Ballast is an interesting experience. Although I am very skeptical about how much enjoyment one can gain from viewing the movie, it is nonetheless absorbing. Ballast premiered at the 2008 Sundance Film Festival. It will be shown next at the Northwest Film Forum. The movie is an independent production in its execution and presentation, and it is director Lance Hammer’s debut feature. At times, the movie is surprising in its effectiveness primarily due to the cinematography. The strongest feature of this movie is without a doubt the cinematography. All the images are captured using a hand-held camera. The composition in many of the shots is outstanding. There are several truly memorable images. The movie addresses a poor man's suicide and its impact on the lives of three individuals. The three individuals are his son, his ex-companion, and his twin brother. Unfortunately, the story is very fragmented and for the better half of the movie, the characters are not clearly rendered. The movie is filled with obvious and at other times subtle symbols, for example, the opening shot in which a flock of birds fly away. This was a confusing image for me as I was not able to connect the symbolic meaning of this shot with the storyline. This image seemed to distract me from being able to uncover the plot. It was not until much later in the film that I was able to decipher the meaning of this image. I was able to make the connection between the three main characters who all in their own distinct way wanted to fly away from their lives. The pacing of the film is slow. The scenes are very disjointed with each one feeling like a vignette of a larger story. One of my major problems with the film was how slowly the story transpired. It felt like it took a very long time to discern what the story was about, and it took a long time to figure out the significance of why the scenes were presented in the way that they are. I knew the immediate motivations for what the characters were doing, but I did not have enough background information. Because of the slow and plodding pace of the movie, events seem to drift by without having a true relevance to the storyline. The images and representation of the characters are presented in such a way that I did not form a relationship with the characters. Since I did not have an emotional connection with the characters, the story felt disjointed and unimportant. Although I wanted to know what happened, when things finally came to resolution, I did not feel that they were that significant nor did I have an emotional reaction to them. Looking back, I feel bad for the characters and many of the events that happened to them were challenging to watch. I continued to watch the movie without any emotional connection or even a heightened sense of consciousness. In retrospect, I believe there was a significant advancement in artistic value for this independent film. I am very interested to see what this director will do next and how his career will evolve as his first directorial debut was strong. I wish that the movie commanded more of an emotional connection with the audience. The movie was not boring or predictable. While viewing the film, I did not feel like the images that were presented were the most significant way of telling the story. Independent films do have a place, for example The Wrestler or The Visitor. Both those films were able to tell a story in a way that was meaningful for the audience. Sadly, Ballast failed to capture the importance of helping the audience care about the characters or the story. Ballast plays at Northwest Film Forum in Capitol HillFebruary 20th thru the 26th, 2009for tickets and info, visit: www.nwfilmforum.org or call (206) 829-7863

Pete, do you know if singers/vocalists are included?~Emma