TeenTix Blog

Spring Break Rock Band Teen Artist WorkshopFor students in 7th through 10th gradeIf rock is your passion, then spend your spring break as part of akiller rock band! In this Teen Artist Workshop, you will rehearsecover songs, work with your peers to create original works, and learnwhat it takes to be a part of a successful band. Your instructor willhelp you expand your musical repertoire, strengthen your skills onyour instrument and encourage you try out new instruments. Theworkshop concludes with a live rock concert in JBL Theater.At least 6 months experience on your instrument is recommended forthis workshop.Dates: March 30 – April 3, 2009Time: 11:00 am – 3:00 pmVenue: EMP|SFMCost: $200 for members; $215 for non-members (see below forscholarship information)Instructor: Jason ParkerJason Parker has taught music in various capacities, including privatelessons, workshops, master classes, and for Arts Corps. Parker is aworking musician and plays trumpet, flugelhorn, guitar and bass inseveral local bands. He currently leads the Jason Parker Quartet, oneof Seattle's busiest jazz bands, and occasionally sits in with CrookedFingers and DeVotchKa, among others. Learn more about Jason Parker atjasonparkermusic.com.How to Register: Visit empsfm.org/camps to download a registrationpacket.Early Registration Discount: Register for Rock Band Teen ArtistWorkshop by February 20 and receive a $15 discount.Scholarships: Reduced tuition rates are available for low-incomefamilies. Please see details on reduced tuition guidelines in theregistration packet or contact EMP|SFM at 206.770.2760.Questions? Contact EMP|SFM education at 206.770.2760 orcamps@empsfm.org.

Thank you so much! I'm glad you think my review is worth reading!~ Emma

The Art of Leadership: Creative Leadership Weekends for TeensMarch 28-29, 2009 and May 2-3, 2009These weekends are FREE for all youth!For youth ages 14-18! There is LIMITED SPACE in this training, SO APPLY SOON.To apply, please contact the Power of Hope at eli@powerofhope.org or 206.938.6090A two-part creative facilitation training for young people ages 14-18, who are interested in leading groups and organizing events using the arts. The first training develops basic skills to use art to facilitate groups and provides participants with “tool-box” of easy-to-lead art activities. The second training will focus on specific leadership techniques like active listing, presentation skills, and group facilitation and will explore how to use these skills to move a group towards its highest potential. The second training builds on the first training, and it is highly recommended that participants come to both!The Power of Hope is a non-profit, non-religious organization working to unleash the positive potential of youth through art-centered multicultural and intergenerational learning programs that value self-awareness, leadership, community, and social change.Brought to you by: The Power of Hope www.powerofhope.org, youth of Youngstown Programming Committee www.youngstownarts.org, Washington Service Corps and the Seattle Office of Arts and Cultural Affairs

Great review,worth to read...ThanksRegards

A review of Gee's Bendat Taproot Theatre, in Greenwoodby Emma M.Thirty miles southwest of Selma, on the banks of the Alabama River, Gee’s Bend, also known as Boykin, is a rural African American community that is home to some of the most talented quilters in the country. Recently discovered for their amazing and beautiful quilts, the stories of the women who made them are just as powerful. Taproot Theatre’s production of Gee’s Bend marks the play’s regional premiere and is the first show of Taproot’s 2009 season.Gee’s Bend follows the life of Sadie Pettway and her family as they struggle through the great depression, then into the 1960’s and the civil rights movement with an appearance by Martin Luther King Jr., and finally to the year 2000 when the Gee’s Bend quilters came into national fame.The whole cast was packed full of amazing performances, however Tracy Michelle Hughes as Nella stood out. A great singer and comic actress, Hughes gave an outstanding performance throughout the play, but particularly as the older version of Nella. The doddering old lady with a stray hair roller in her hair waiting for the ferry that Hughes was able to capture was just incredible!A huge element to this wonderful production was it’s music. Gospel music ties the whole play together. The powerful words and melodies that inspire the characters penetrate and infuse the audience with a feeling of hope and courage. A powerful and moving story of love and change, for not only African Americans but for women as well, this play reminds us that if we stand by what we love and what we believe we can’t ever go wrong.Gee's bend plays at Taproot Theatre now through February 28, 2009visit www.taproottheatre.org or call 206.781.9707 for tickets and information.

Vera and KEXP have teamed up again for a 5-week program to teach you all the ins and outs of podcasting about local music and the all-ages movement nationwide. You'll team up with other awesome people, and KEXP's DJs to create three podcasts which will be featured alongside KEXP's super successful podcasts, and of course on Vera's webpage too. Check out the last session of podcasts here: Vera and KEXP Podcast!The whole 5-week program costs $50 and spots are very limited. To sign up, fill out an application and send it to podcasting@theveraproject.org. Scholarships are available, so please don't hesitate to ask. Applications can be found at theveraproject.orgWHAT: KEXP and Vera's Podcasting Workshop SeriesWHEN: Tuesday's from 4:30-7:30 PM, starting March 1st going through March 31stWHERE: The Vera Project, at the corner of Warren and Republican at the Seattle Center & at KEXP

A Review of Jewelsat Pacific Northwest Balletby Mykhanh P.I don’t consider myself to be an expert on ballet, but there is something about it that inspires a sense of wonder. Maybe it’s the way the ballerinas float and twirl across the stage, their fluid movements creating graceful pictures that little girls dream of being a part of. It is this spirit that the legendary choreographer George Balanchine, who is like the Steven Sondheim of ballet, has captured in Jewels, the first full-length, plotless ballet. Its three acts are named different jewels and emulate a certain style and mood. And while the fact that there is no story to go along with the dance may put off some people, it forces you to focus solely on the ballerinas and their dancing, becoming a pure embodiment of what the music is portraying.The first and longest act, Emeralds, is supposed to signify Paris and the French Romantic-era ballerinas with its grand, sweeping score by Gabriel Fauré and the ballerinas’ long, calf-length skirts. There are a lot more attitudes (posing) and lifts than there are leaps or spins, and your eye is often drawn to the ballerinas’ elaborate arm gestures. It really emphasized to me that a dancer dances with their whole body at all times, not just with a couple of limbs, and something as small as a twitch of a finger matters. However, this was my least favorite, probably because it was the longest and because it just didn’t have the same sense of excitement as the other two; there was a quieter energy about it, and while it was still elegant and pretty, it didn’t appeal to me as much.The next act, Rubies stood for America, and in true American spirit, Balanchine choreographed moves that I’m sure had never been seen or done on pointe. With a jazzy, piano driven score by Igor Stravinsky, the dancers kept everyone on the edge of their seats from the very first hip thrust done in line formation; it was America at its loudest, showiest, and most fun. The costumes had short, flapper-like fringes that swayed as the ballerinas sassily did high kicks, flexed their feet and bent their knees as they jogged around the stage. It was very Broadway style dancing, and if Chicago was ever turned into a ballet, this would be it – even jazz hands wouldn’t seem out of place. It’s not very surprising that Balanchine had in fact choreographed for Broadway. The unexpectedly bold and tongue-in-cheek movements kept the audience constantly amused and giggling, and I’m sure it was a favorite for many judging by the applause at the end.For his last piece, Balanchine returned to a more classical style of ballet to pay tribute to his hometown of St. Petersburg and its famous Imperial Ballet. It was my personal favorite, set to the music of Peter Ilyich Tchaikovsky, and the main duet with the principle couple made me think of Cinderella and Prince Charming dancing at the Ball. The full ballet corps came onstage to dance with the couple and was so strong and clean, they really showed why PNB is a premier ballet company. It was what you would think of when you heard the word ballet, and you could feel the joy that the ballerinas were dancing with. It was a great experience, and I know the audience agreed.Jewels, by Pacific Northwest Ballet, plays at McCaw Hall at Seattle Centernow through February 7th, 2009visit www.pnb.org or call 206.441.3574 for tickets and information

Longhouse Media’s SuperFly Filmmaking Experience in partnership with The SeattleInternational Film Festival present:4th Annual FutureWave Film Festivala program of new works by the filmmakers of tomorrow, promoting cross-cultural experiences and collaborative filmmaking!Join experienced youth filmmakers and actors (13-19 yrs.*) from across the nation to:• Develop valuable leadership and organizing skills• Share ideas with others from around the country• Create four short collaborative films in 36 hours• View student work from the US, Canada, South America and Europe.What is Fly Filmmaking? An extremely artistic, creative, and stimulating form of filmmaking in which filmmakers and actors are able to showcase their skills, collaborate with other artists, and premiere their work at the Seattle International Film Festival (SIFF)! Based on the incredibly short duration of time allotted to the filmmakers and actors, this process can be referred to as “on the fly,” hence the name: Fly Filmmaking.If chosen to participate you will work with 50 other youth filmmakers and actors to plan, shoot, and edit a short film. These films will screen at FutureWave, SIFF’s premier youth film festival.When: June 4th thru June 6th, SIFF Premiere on Saturday June 6th at 4:00 p.m.Where: At a Pacific Northwest Tribe with final screening in Seattle, WA, Capital Hill.To apply, you need to fill out an application.contact as_nativelens@mac.com for application and information.

A Review of Amarcorda film by Frederico Felliniwhich played recently at SIFF Cinemaby Joshua G.Sometimes in order for people to advance their futures, one must examine one's past. This process is shown exquisitely in the film Amarcord by Federico Fellini. The film was made in 1974 and is wildly regarded as one of the classics of the foreign film category at the Oscars. The film is a meditation on Fellini's childhood, spanning a number of episodic segments stretching from spring to spring. However, the film can never be considered Fellini's memoir on celluloid, as the film playfully contradicts itself, and occasionally stretches into fantasy. The main character in the film is a young boy trapped in a dysfunctional family. The boy deals with issues such as life, death, and his own sexual awakening. When one thinks about a film compassing these bold topics, one imagines a film that can be depressing. The film is anything but depressing. The film has frequent moments of horribly immature humor from fart jokes and other incidents of bodily humor. All the characters seem to come off as individuals who might reside in the circus, including the priest whose first act of business at the young boy's confessional is to ask the boy to confess the last time he pleasured himself. Fellini shot the film silent with the voices dubbed in at a later time. At points in the film, it is apparent that the words coming out of the actor's mouths are not what is being said on the screen. But, Fellini does not concern himself with perfection in his dubbing. He is more concerned with perfectly capturing the visual aspect of the story he is trying to portray. This is particularly poignant in some of the films striking images of beauty. At times, the images seem out of place amongst all the immaturity, were it not for Fellini's unique way of representing chaos. In most films chaos represents the apex of the story. But, in Amarcord, the moments of peace and tranquility appear to be the center of the piece. For example there is a moment where a peacock seemingly flies out of nowhere and lands in the snow. Of all the images in the film, this is the scene that I remember the most. Because amongst the perfectly orchestrated chaos where there are multitudes of people on the screen, everything seems disheveled. At the same time, one can tell that the director has control of each element. When the peacock appears, these are the moments that seem special because one believes anything can happen. This film is not for everyone. It is filled with mania and off the wall humor. The film is very experimental in nature. It is the furthest thing away from typical that I have seen in recent memory. This might be a turn-off for some individuals, and to a small degree, myself included. But, for others, this would be the precise reason to enjoy the movie. If I were to select one thing that I did not like about the movie, it would be that the plot is barely present. After the film ended, I left my seat thinking, “OK.....what is next?”However, upon further reflection, memories are much the same way. They do not necessarily follow a well orchestrated script. Individuals do not remember the precise sequence of events in our lives. But there are times that one remembers with vivid recollection each detail of a life event. For me, this is how the film came across, which I am sure was the director's intention. The film ends with a funeral and a wedding which represents both the sorrow and joy in the passing of time. Reaching the end of my teenage years, feeling the weight of the passing of time, I often wonder what I am going to remember from these days of my life. It is questions like these that are the most frustrating as they have no easy answers. Watching Amarcord, I realized that through Fellini's last attempt to deal with and reach back into his past, I received one of the closest answers I am ever going to stumble upon to answer the question of what I might remember from my youth.Amarcord experienced a short run at SIFF Cinema begin on January 2nd through the 8th but the film is semi-widely available for rental or purchase, at least as far as foreign films from the 70's go.

A review of the play WELLat ArtsWest By Alethea H, age 17As people in a very impressionable society, do we go out of our way to accept people and their differences? Well by Lisa Kron does not shy away from asking tough questions like this one and many more. Set in a mid-western town dealing with issues of breaking down racial barriers and a family dealing with their depleted health, this play explores family and social dynamics by enveloping the viewer in a classic mother-daughter relationship. Kate Witt as Lisa Kron and Therese Diekhans as Lisa’s mother, Ann Kron, give superb performances as they truly take on their character’s viewpoint of the world and how life works. The playwright addresses the issues of health and racial integration through reenactments of Lisa’s childhood and young adult life. The play commences with the understanding that Lisa is writing a play right in front of the audience. The stage is set with Ann reclining in a chair in the family’s living room. As the play begins, the audience learns of Ann’s serious hypochondriac issues with allergies. Ann has struggled throughout her life with being well enough to function on a day to day basis. One later learns, that Ann did manage to fight off her deteriorating health long enough to accomplish something that made a difference in the world. She had a major role in organizing the ‘association’ in her neighborhood which is an activist group to further amalgamate different ethnicities within her community. Ann is whole-heartedly devoted to honoring other people’s differences. She is so passionate about diversity that she decided to raise her children in a racially mixed neighborhood. Lisa and her brother were not only the only Caucasian people in their school, but they also were the only Jewish people. Lisa is taught to have a unique and individual personality through her mother’s work. The play is also about Lisa’s own run in with allergies. At one point in Lisa’s college career, Lisa enters an allergy clinic. There the audience meets some interesting characters played by Terra Joy Jones, Frank Lawler, April Wolfe, and Bob Williams. In the allergy clinic, the actors have allergies to practically everything. The audience watches with amusement as the people on stage have odd reactions to different foods or inhalants. Near the end of the play, the crowd realizes that Lisa succeeds in getting over her allergies while Ann can’t seem to shake it off. This is a serious stumbling block for Lisa and is eventually addressed at the end of the play.Well is an astoundingly well-written play that makes fun of situations in everyday life. In many ways, people from every age group and every walk of life can identify with something or someone from Well. Not only is it relatable to its viewers, but it also captures people’s attention. To understand this play one has to be on their toes at all times because the plot changes quickly and surprises are around every corner. One thing that playwright Lisa Kron did to even further captivate audiences is to write the play with audience and cast member interaction. Personally, it is very entertaining to see the actors get on the same level as the crowd. The bluk of the play consists of a conversation between Lisa and the audience. For example, Lisa will complain about her mother to the audience while her mother tells Lisa to be polite and offer the entire crowd something to drink. From this connection that the actors make with the audience, one can better understand Lisa’s thought processes and experiences. The play feels as though the audience members are guests at someone’s house. Well is an exquisite and unique play in that it challenges the normal boundaries of playwriting.The theme of this play is also one that leaves an impression on people and it is one that they can take to heart. In the end, acceptance of people for who they are and acceptance of life’s tough situations is the bow on the package that tied this piece of drama into living, breathing excellence. Throughout the play, we see Ann’s role in breaking down racial prejudices and her goal to see the good side of every person. The audience also sees Lisa’s struggle to wrestle the hardships throughout her life. When Lisa reveals intimate details of her life and has a heartfelt conversation with her mom she learns an important lesson that can change lives. That lesson is of love and to accept each and every situation in our lives no matter how big or small. Simply put, Well is an unbelievably funny play with a touching message.But the play does have one downfall. Without understanding the fact that this play is a play within a play, one will be confused for around a fourth of the performance. Now don’t hold that against them because once one understands this, this element of the play actually enhances the quality of the viewer’s experience. It adds an interesting perspective that no play dares to go. It gives an individual more respect towards the actors and the playwright. It also allows an individual to connect with the actors as actors AND characters instead of just their characters. It also gives the actors a chance to tackle more than one role which shows off their skills.Overall, Well is a smash-hit with the audience. It is an interestingly crafted script and well worth anyone’s time. It broadens its doors to difficult questions in life and has everyone laughing from the time the play starts to the very end. It explores relationships between family and friends and teaches one the value of diversity. This play has many layers for a viewer to peel back, so get up and go see if you can discover what happens when diversity is challenged in Well. Well plays at ArtsWest in West Seattle, now through February 15thVisit www.artwest.org or call 206.938.0963for information and ticketsphoto credit: Therese Diekhans as Ann and Kate Witt as Lisa in WELLat ArtsWest. Photo by Matthew Durham.

Join ACT Theatre’s 2009 Street Team and get free tickets to every show of the regular season, plus bonus benefits, like signed posters and exclusive invitations. As a part of the Street Team, you can be an Ambassador for ACT, spreading the word in Seattle about what’s hot at our downtown theatre. This low-commitment gig is the perfect way to build your resume, check out the city, and become an insider at one of Seattle’s biggest and best performing arts centers! Plus, it’s a great volunteer opportunity, for those looking to meet volunteer requirements. For more info about joining ACT’s Street Team, contact Ben Rapson, at (206) 292-7660 x1326, or ben.rapson@acttheatre.org. Spots on the team are limited, so drop us a line today.

SAM Teen Workshop InSide Song with Guillermo E. Brown January 31, 2009 Noon–2 pm Third Floor Galleries at Seattle Art MuseumCan what you see become sound? Join Guillermo E. Brown, a Brooklyn-based musician known for bending beats in fascinating ways, to perform a live musical improv session. Experiment with how your response to the SAM installation Black Art can become beat boxing, singing, finger snapping. The result will become a human orchestra remixed live.visit www.seattleartmuseum.org for registration and more information on the FREE workshop. In partnership with the Central District Forum for Arts & Ideas. For more information about Guillermo E Brown’s upcoming performances, please visit www.cdforum.org.

A review of Tomas and the Library Ladyat Seattle Children's Theatreby Chelle K.Tomas and the Library Lady was not a performance typical of children’s theatre. It involved emotion, although somewhat dulled to fit the audience’s comprehension, and a strong plot that proved to be the backbone of the whole performance. The reality of the play was undoubtedly pulled from Pat Mora’s fictional storybook, Tomas and the Library Lady. The book, however, contained truths about Tomas Rivera, the leading character, and provided a reality to the morals being taught onstage.Tomas, residing in Iowa as a migrant worker with his family, has found that he will be attending school. With this knowledge, he gains numerous fears about his lack of education and inability to read. With these fears, he finds anxiety building up, and has nowhere to safely store and express his overflowing emotions. Ironically, a safe haven presents itself in the form of a library. In this library, Tomas finds companionship, along with education, in the kind librarian. She teaches him topics that would please children, such as dinosaurs, through literary greats. In these disguise lessons, Tomas eventually learns to read and of the powers held within the pages. Later in life, we find that Tomas has become Head Chancellor of the University of California.This play not only provided humor and visual excitement for young children, but provided a deeper message for an older audience. Tomas’ relationship with the librarian proves that humans are possible of great amounts of compassion, and it gives you a sense of fulfillment to help someone else, rather than yourself. Tomas and the Library Lady, presented at the Seattle Children’s Theatre, has claimed its spot as one of the great children performances, providing dual entertainment for young and old.Tomas and the Library Lady plays now through March 1, 2009at Seattle Children's Theatre, located in Seattle Centervisit www.sct.org or call 206.441.3322 for info and tickets

Come enjoy this special program for FREE: JOHANNES MOSER: ELECTRIC CELLO Oksana Ezhokina, pianoBENJAMIN BRITTEN Sonata for Cello and Piano in C major, Op. 65 Selections for solo Electric Cello JOHANNES BRAHMS Cello Sonata No. 1 in E minor, Op. 38 Sunday, February 1 at 2:05pm If you would like to attend this free event you need to RSVP by emailing: education@seattlesymphony.org with Teen Tix in the Subject line. You can then pick up your tickets at a table in the recital hall lobby -- look for the Teen Tix line. www.seattlesymphony.orgThe Seattle Symphony is located at Benaroya Hall at 3rd & University in downtown Seattle. It is served by a whole bunch of buses. For bus routes and schedules, visit tripplanner.metrokc.gov.

Seattle Art Museum is looking for Teenagers!WANTED: 13 – 19 year oldsWHO ARE: Leaders. Highly-Opinionated. Creative. Visionary. Loud. Committed. Fun- Loving. Exciting. Thoughtful. Change-makers.JOIN TAG—Teen Advisory Group: Take-over the Seattle Art Museum (SAM). TAG meets twice a week on Thursdays and Saturday afternoons from late January to September 2009. Application deadline extended to January 26, 2009.Work with artists: sculptors, painters, writers, dancers, poets, musicians, DJsOrganize events: plan ARTattack: Teen Night Out, including performances, art actitivities, special receptions, film screenings, gallery talksCreate: audio projects, videos, posters, zines, stickers, buttons and more…Receive: community-service learning credit and Museum certificateInterested? Want an application or more information?email: nateh@seattleartmuseum.org with the subject Line: TAG Applicationoremail: teentix@seattle.gov

Maureen Whiting Company’s Free Workshop Showing is January 16 & 17 at 7pm.A True Triple Threat; ACT’s Central Heating Lab Can Act, Sing and DANCE!Maureen Whiting Company’s Myth of Me and You heralds a new era of contemporary dance presentations at ACT. Created during a year-long residency supported and presented by ACT’s Central Heating Lab, this visceral new piece is the latest in a series of intensely visual contemporary dance works. Myth of Me and You is being created in-the-round specifically for ACT’s stunning Allen Theatre. Over the last year the community has both glimpsed and informed this powerful new work through a series of interactive work-in-progress showings that have become a signature of Maureen Whiting Company. The next opportunity to participate in the creation of this new work takes place January 16 and 17, 2009 at 7 pm in a workshop showing in the Allen Theatre. Admission is FREE and this showing includes set and costume design elements. It will be the last work-in-progress showing before the world premiere run at ACT March 13-15, 2009 at 8pm (Tickets $25 at www.acttheatre.org).Through a subterranean lair created by long-time collaborator and award-winning designer Etta Lilienthal, Myth of Me and You immerses the audience in a universe rich in symbolic meaning and surrealistic imagery. Affixed with antlers, coated in honey and caught in the wild geometry of Whiting’s choreography, the four dancers of Myth of Me and You use darkly playful movement to ask the viewer what role we play in creating—and acting out—our own personal mythologies. Featured dancers include: Ezra Dickinson, Marissa Niederhauser, Cassie Wulff and Belle Wolf. Myth of Me and You is set to an original music score by internationally acclaimed Seattle luminary Eyvind Kang, with additional music by Dave Abramson and Evan Schiller. The piece features costume design by Seattle’s helga hizer with Lucy Brennan, and light design by Chris Reay.

A Review of Servant of Two MastersAt Seattle Shakespeare Companyby Jennifer B.With actors triumphantly marching down the aisles, audience members having their names being bellowed to all their fellow escapists, it is not the first thing that you would expect. Normally when you go to a show you anticipate going to sit down quietly and drink your warm refreshment, but instead you are jostled awake. The audience is immediately immersed in the play before they even take their seats. It is a full audience, actor, and technician warm up. This is an interactive opening of the Seattle Shakespeare Company’s production of The Merchant of Venice… no… no wait, it is the opening of The Servant of Two Masters. This explosive opening of a cast getting confused on what show that they will be performing sets the audience up for an explosion of several different kinds of comedy. This is a comedy that has been rewritten by Carlo Goldoni which came from Shakespeare’s repertoire.How could a company make such a switch up of what show they were doing? I don’t think that the answer will ever be known. Though, one thing is for sure, it does set up a show for a lot of laughs. This is a tale that is filled with several love stories, each with its own twists and turns that keep you guessing - especially when the story is filled with awkward occurrences such as a woman playing a man who dresses up as a woman. Even still, nothing is as interesting as the servant who is caught up in it all by greedily deciding that he can handle having two masters - not even greed, revenge, and even a slight case of murder.The technical aspects of the performance were brilliant, from mocking of some clichés to helping the actors perform some of these clichés. One of the first things you see on the stage is a bright yellow ladder with red and green paint splatters -killing the classic Our Town black ladder, and making it draw your immediate attention instead of having it blend into the background. Every character’s costume fit perfectly for “before the show” and after it started. Deane Middleton made each of the character’s costumes both match the character, and at the same time, mismatch the rest of the cast. All of the costumes were of different time periods though they were still stock costumes. Plus, the costume malfunctions added to the comedy. Another aspect was the music, which was brilliantly timed and performed by Robertson Witmer.Overall, it was like riding a roller coaster, though the main downside was that the “downs” seemed to stay a bit too long. The majority of the performance was fast-paced and hilarious though the second half of the Act I hit a huge slump. Some of the jokes were a little tired after the 20th time, such as a sword being excessively swooshed around, or an exaggerated dance move that was done once again. Was not the rule for theatre that of only using something three times? Through the second half of the performance, most of the jokes did not carry over, rejuvenating the performance. The acting throughout the cast was well accomplished especially in the case of the servants. Both Chris Ensweiler and Kerry Ryan shined in their comedic roles. The cast always worked well in ensemble scenes.There were a few problems with inconsistency. In the beginning of the show it was very clear that this was a performance that they had never performed before, though by the end it seemed like it had been run through quite a few times. Some characters overdid that it was the first time they were performing and others underdid it. The second half of the first act would have been better off with some more comical variation and less slapstick; there were yawns heard throughout the audience. Though Dan McCleary did stay to the authors intentions, he needed to have the best interests of the audience in mind as well.This is a wonderful venue in which to see a show, especially when actors are running up and down the aisles next to you. The show is literally at your feet. The staff is extremely friendly, and the foyer has a cheerful atmosphere. Over 75% of the show was a great success, fast-paced and side-splittingly funny. If they just tightened up the slow and eliminated the repetitious spots, the show would be amazing. But overall, I would recommend this show.The Servant of Two Masters plays now through February 1st, 2009at Seattle Shakespeare Company, located in the Center House Theatre at Seattle Centervisit www.seattleshakespeare.org for showtimes and info

Hey there Teen Tixers:You are all invited and encouraged to attend a special meeting tomorrow, Thursday January 15th from 4 to 5:30 pm.The Bill and Melinda Gates Foundation are creating a new Education Center. If you've driven down Seattle's 5th Avenue lately, you've probably seen the shell of the Gates Foundation's future visitor center just across the street from Seattle Center's Memorial Stadium. Part of the foundation's new campus, it is scheduled for completion in 2011. Open to the general public, the center's goals are to bring awareness to the inequities that exist in our world today, to inspire people to get involved, and to give them the tools and support needed to make this happen. We believe this center presents an amazing opportunity to raise awareness, and to impact individual and organizational involvement in these issues -- locally, nationally and globally.They'd like to hear from teens about what you'd like to see this center become.Please come to this Focus Group Meeting and offer your opinion. It will be fun and easy. All you need to do is show up.I'd love to offer the Gates folks a nice collection of smart and engaged young minds, so please do come, and bring along a friend or two. The more the merrier.Below is location info. Looking forward to seeing you all there!!!Gates Foundation Education Center Focus GroupThursday January 154 to 5:30pmRoom 311, located in the Center House at Seattle CenterThat room is located on the 3rd floor mezzanine level above the food court. More specifically, if you are at the food court level, head up the blue staircase and immediately turn left. Room 311 is right above Quincy's Burgers. Look for signs pointing you there.

The Pearl Fishers @ Seattle OperaSEATTLE CENTER

Sail away to the island of Sri Lanka for a sweet and sonorous romance from the great Georges Bizet (Carmen). A beautiful priestess with a mysterious past is pursued by a pair of strapping fishermen who happen to be the best of friends. This tuneful treat is a simple love story decorated with delicious melodies, vivid nocturnes, rhythmic dances, and a plethora of lusty choruses. Jan 10 – 24

A Review of Azur and Asmar, at SIFF Cinemaby Delaney M.I watched the SIFF film Azur and Asmar, which was produced in 2006 in Belgium. Azur and Asmar was written and directed by Michael Ocelot. It stars Cyril Mourali and Karim M’Riba as Azur and Asmar, Hiam Abbass as Jénane, and Patrick Timsit as Crapoux.Azur and Asmar is an animated film that tells the story of two boys, the blond hair, blue-eyed Azur, and the brown hair, brown-eyed Asmar, who were raised together by Asmar’s mom (Jénane). As both boys grow up, their paths get forced apart. Azur is sent to school in the city while Asmar and his mom get thrown out of Azur’s father’s house. The story then starts again about ten years in the future when Azur washes ashore in Asmar and Jénane’s homeland. After a long struggle, Azur finds Asmar and Jénane only to discover that they are now influential and powerful. Azur and Asmar each set off on a quest to free the Djinn fairy, a mythical character from their bedtime stories so long ago, but will they unite together or continue to hold grudges against each other for the wrongs that Azur’s father did when they were children?Azur and Asmar addresses the difference in culture between different peoples and how they can cause unrest and inequality. It also does an excellent job in emphasizing how what is beautiful to one person can be ugly to another, and that instead of fighting about it we should accept it and move on.The acting talent was quite strong in the film. The relatively unknown actors Cyril Mourali and Karim M’Riba do an excellent job voicing their characters with lots of spirit and without going overboard and making the movie seem childish. The more well-known Hiam Abbass and Patrick Timsit give Azur and Asmar another dimension while also acting as the parental figures in the movie.Azur and Asmar is a very intriguing film that would have different meaning for all of the age groups that see it. To young children it would simply be the story of the boys on a quest to save a fairy. For adults it is a movie with racial undertones that examines the inequalities in our society today, and for teens the movie is a little bit of both. I would recommend this film for people of all ages, as it is truly unique and very entertaining.Azur and Asmar plays at SIFF Cinema, located in McCaw Hall at Seattle CenterJanuary 9th thru 15thvisit www.siff.net for more information and showtimes