TeenTix Blog

This is a very good in depth review.

agreed.

An interview with the Chorus members Jon Hill, Guy Adkins, and Ben Gonio, of The Cure at Troy, by Ruby A., age 18Jon, Guy, and Ben have one very important thing in common: their first names are made of three letters, and that is an amazing feat in and of itself. But more importantly, depending on who you talk to, they also star as Chorus members in the play The Cure at Troy. The following is an interview with the three-lettered phenoms and all the magic, at Troy.RA: So I was able to see the play a couple of weeks ago and I found it was very different from what I was expecting. What originally drew you to work on this show?JH: It wasn’t so much the play so much for me as it was the director. I’ve worked with her once before but she is known to be excellent and finds what’s important about a play and that speaks to all of us.RA: And have you worked with her [Tina Landau] before?JH: Yeah, once before in Atlanta, but this guy [Guy Adkins] has worked with her a lot.RA: So you’re familiar with The Viewpoints she uses? I’m not quite sure what to call them, other than yoga. But you all created that?GA: Oh the movement?RA: YeahGA: Yeah, pretty much with Tina’s guidance we do this sort of Viewpoint technique of hers that she developed… and it’s like a movement vocabulary. And the three of us worked extensively with her on that and once we sort of had the vocabulary down she would just sort of send us off into a room and we’d make stuff up, movement-wise, based on gesture work, based on you know what we thought maybe Greek warriors posed like, or what--she said make up a couple of pieces of movement that you think have to do with this play.Ben Gonio, Guy Adkins and Jon Hill are the Chorus in The Cure at Troy at Seattle Rep, seen here looking very serious. Photo by Chris Bennion.RA: So to me this movement looks like yoga, how do you see it working with The Cure at Troy and what do you hope it says to the audience?GA: The movement?RA: Yeah, the movement.GA: Well I don’t know what I hope it says to the audience, but I know what it means to me.BG: The hope, well, a lot of this is really is really, well in simplest terms, trying to find a symbolic way of expressing the poetry.GA: And to use the chorus you know… they sort of provide an accessibility to the language, I think, for the audience through song and movement and that was always sort of the Greek chorus’ job and so that's Tina’s idea of how we use movement and music.BG: We’re like the portal or the guide, we’re like the middle-way…so here is the audience and here is the chorus and this is the action. So we set this thing up and we narrate what’s happening and then we become part of the play and then pull out of it. So that it’s a way of getting the audience involved in the story.RA: I noticed that Philoctetes did quite a bit of spitting on stage, and I know that’s probably pretty widespread in the theatre world but how do you get used to that?BG: Did he?RA: Yeah! Like that for me would be hard to work with. Like if you were working a regular office job and your co-workers kept spitting on you, that’s tough.BG: I think he, Boris, and that you know, these guys would agree with me, he is really just in touch with the vowels and that’s a lot of it, you know. Just really trying to get the words out, physicalizing those words, and it’s the nature of the role too. You know, I think, here is this guy who is practically part of the earth… and well what do you guys think?JH: Yeah I can’t help it sometimes…you have to get the words all the way to the back of the house to make it clear and not just make it sound like vowels.RA: Was there ever a time, like when you first started acting, when you were like, “Oh man I just spit!”?GA: I wasn’t aware of it, I mean I’m not aware of when I’m doing as much as I am when I’m in the audience. I remember my favorite actor that I used to see a lot-especially doing Shakespeare-and he was a serious spitter. I remember thinking, “Now that’s excessive”. But when you’re doing language plays you’re aware of words, like poetry, like Shakespeare, or this-- it’s really hard to make it accessible for the audienceJH: it’s not as prevalent in smaller houses or more naturalistic contemporary plays. I remember the first time, when I was in college, the first play I saw had a spitter, and I hadn’t seen much professional theatre and I remember wanting to be like that guy. And I was like someday, I’m gonna be a spitter.RA: The set is made up with real mud and rocks; did you ever find yourself nervous as the other actors tossed the rocks around the stage?GA: Well the rocks are all tied or bolted down except for a couple that Boris plays with and one that Seth picks up. I’m more concerned about stumbling on rocks or falling through the crevices or falling off the back of the set. Those are the only things that concern me.RA: Yeah because in the beginning you guys just have flashlights.GA: Yeah I mean, I think it’s pretty treacherous but I’m--we’re getting sort used to it, where the rocks are and the set itself. For me, you know how there are those two stairs in front of the black part?RA: MhmmGA: In between that is this drop to the floor and that, that freaks me out.BG: One of our cast members was walking out and almost fell. So it’s a tricky set.RA: In the beginning of the play you guys are sitting on stools. Is that something you do for every show? What is it you are doing there? Are you reading something from the script?GA: Yeah, there is stuff in the books.JH: We can’t tell, it’s out secret.GA: We shouldn’t tell you what we’re reading. But Tina, our director, puts some things in there, and they’re hidden…and sometimes I’ll find something that I didn’t know was there.BG: And some of it is very moving, some poetry and such.RA: Are there any jokes in there?JH: No, but there are some mysteries that are kind of like jokes.RA: What drew you to becoming an actor, specifically in theatre?JH: I wrote a play that my elementary school produced…and I don’t know--watching the actors inspired me…and there is just something about live theatre where anything can happen kind of, and people getting together to believe in something and it’s just really really great. That’s why I got into it.RA: You must have to do a lot of traveling, is that hard on your social lives?JH: I am living in New York right now, I, right now where I’m at in my life…I love going to a new city and learning about people…it’s like an adventure. Right now, I just love it.RA: Were you all theatre geeks in high school?JH: Yeah I was an every kind of geek.GA: I was too. Music...I was always involved in music but I never thought I could do it professionally until I was in high school and I had a teacher tell me that I should and that really opened my eyes.Jon, Guy, and Ben, again, here looking slightly less serious.JH: Same thing happened, where I had an instructor who believed in me. Tell your teachers that!RA: And lastly, could you each give me a reason why people should go and see The Cure at Troy?BG: There are some cool people in it.GA: Some bald sexy men, taking their shirts off. I think it’s innovative and I think it’s unlike anything you’re ever seen before and it’s not safe—I don’t mean unsafe, I just don’t think its safe theatre.RA: It’s dangerous!GA: I mean it could be a danger to my life.RA: Yeah watch out for those rocks.JH: I think it deals with one of the most important things in our society, which is compassion.Ruby A.April 18th, 2008The Cure at TroySeattle Repertory TheatreThrough May 3rdhttp://www.seattlerep.org/Seattle Rep’s Ticket Office: 206-443-2222Ticket Office Hours: Daily, noon – performance timeSeattle 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:

yay!!, im sad i missed the last class :-( so it is critical (haha CRITICal) that a reuniun must take place.

Congratulations to the first ever graduating class of the Young Critics Workshop! Here, for your enjoyment, are a few choice selections of the young critics' work:"So I didn't enjoy my lobster as much as I thought I would. So what? At least I got to have one for free. At least I got to try this delicacy. At least I got to feel like a manly man, yanking its shell apart with my bare hands and staring down at…its excretory tract filled with a large vile-looking green gob of lobster waste. Yum!" - Review of a clam bake by Ian S."In a summary the play sounds like a classic episode of 7th Heaven but these guidelines are quickly forgotten in the place of the freshest comedy since Tina Fey’s 30 Rock. Kevin manages to make it all work using dachshunds, cocktail wieners, and hairy legs and leaving out sexual entendres and dirty words." - Review of How? How? Why? Why? Why? at Seattle Rep by Ruby A."The illustrations are wonderful, the information is breathtaking, and the price…well that’s the best part! It’s free at any Washington State Department of Licensing Center. So don’t just take one. Take ten of them! In fact, impress your friends by getting one for each of them too!" - Review of The Washington State Driver's Guide by Manal H.YCW 07-08: Ian S, Leah M, Manal H, Elsa W, Professor Kiley, Paulina P, Ruby A, Kirsten O, Josie O and (down front) Queen of Teen Tix Holly A. Missing from this picture (but not from our hearts): Bianca G, Terry G, and Ashraf H."The dining room was the only place that was perfectly clean. It was clean because we weren’t allowed to go in there, and we weren’t allowed to go in there because it was clean." - Review of Thanksgiving dinner by Bianca G."Instead of giving you some bland facts about Duchamp and his mediocre work of art, PDL not only puts you inside the painting, spinning like the spirals that give it its name, but they add their own humor to it too, exaggerating the dizzy noises and screams to a point that in which it all seems silly, which is exactly what they wanted. PDL not only makes works like “Spirals” memorable to those who would never have taken a second look at it, but also delivers an important message to the high and mighty cultural aristocrats of the city: relax, its just art." - Review of PDL's Unauthorized Tour of Seattle Art Museum by Ashraf H.The Young Critics Workshop is an elite writing seminar for 11th and 12th graders who are interested in critical journalism. Applications for next year's YCW will be available in July, 2008.

Review of The Cure at Troy by Emma K., age 16Believe the hype. Here are three reasons why The Cure at Troy, currently playing at Seattle Rep, is worth a trip to the theatre:1. It’s relevantThe Cure at Troy was written by Seamus Heaney as a response to the turmoil going on in Northern Ireland during the 1980s and ‘90s. Based on the play Philoctetes by ancient Greek playwright Sophocles, the adaptation retains some classical elements while integrating new styles into the ancient story. The chorus provides a narrative and commentary in mostly poetic verse as the main characters perform in contemporary language; this juxtaposition makes for occasional and welcome comedy (ex. “We’re Greeks with a job to do.”) In addition to being surprisingly funny in moments, the script is also powerful in its theme of conflicting morals – does one do what he is told by his leaders or does he follow his own personal truth? You don’t have to know or understand ancient Greek history to appreciate this premise which is undeniably relevant in today’s world.The cast of The Cure at Troy at Seattle Rep. Photo by Chris Bennion.2. It’s a combination of commanding art forms, not just a playThe story is simple: Odysseus, a Greek general, learns that he needs the bow of Hercules (a god) in order to win the war against Troy. The problem? He has left the bow is possession of Philoctetes, a wounded soldier he abandoned on a barren island with a mortal wound ten years ago. He now needs to retrieve the weapon and sends Neoptolemus, the young son of Achilles, to win Philoctetes’ trust and steal the bow. Movement is incorporated into the story as well as vibrant music by Josh Schmidt. Although some of the dance like motions are out of place, these elements invigorate the production and provide an ‘other-worldly’ quality at times. Lighting by Scott Zielinski also infuses the show with energy and transcendence. Sometimes these efforts are over the top – the Technicolor light show at the climax, the clichéd tune played at the end – but overall this imaginative take on the story protects it from becoming a stuffy remnant of a history book and keeps in fresh and intriguing. The tale is presented as an artistic creation that aims to prove the timelessness of ancient themes.3. The performancesThe cast is committed to their performances, delivering them with drive and assuredness. As Philoctetes, the abandoned archer who now wallows in his own physical and emotional agony, Boris McGiver is determined. He brings a strong sense of urgency to his role and believably transitions from his character’s moments of untainted wisdom to those of his immense anger and pain. Seth Numrich plays the young Neoptolemus with a sincerity, ambition and fitting confusion. As his morals conflict within himself he shows a tender quality of authentic earnestness. The character of Odysseus, played by Hans Altwies with condescension and intent, is not presented as a hero. Rather, he is a man who has given up everything in his ambition. Guy Adkins, Ben Gonio, and Jon Hill are the chorus; their singing is glorious and they deliver most of the movement pieces with precision and fervor.This show is not without its hitches, but the ultimate messages of love and moral purity make it haunting in its significance and clarity.Emma K.April 9th, 2008The Cure at TroySeattle Repertory TheatreThrough May 3rdwww.seattlerep.orgSeattle Rep’s Ticket Office: 206-443-2222Ticket Office Hours: Daily, noon – performance timeSeattle 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.govDid you see this show? Leave a comment and tell everybody what you thought!

Review of The Dead Guy by Jenny B., age 19

“Look at everyone in this country. They’re all desperate to feel something – really feel something. We see torture and murder – it’s kind of upsetting. We’re flat-lining,” Gina (played by Erica Bergman) proclaims persuasively in ArtsWest’s production of The Dead Guy. This is an astonishing story, in which playwright Erick Coble teaches us about life. The message is brought to life by director Rob West’s integration of theatre and television and Will Abrahamse’s set design, which captures even the most absent minded attendee’s attention. With almost everything being recorded, it begs an interesting question of the audience, which feeds into the message of the show: do you watch the screens or the actors?Ray Tagavilla and Erica Bergman in The Dead Guy at ArtsWest. Photo by Matthew Durham.This astonishing story teaches us about the pointlessness of reality television. It shows us how some people live through their televisions instead of experiencing things for themselves. The Dead Guy does this by taking reality TV to the extreme by putting a man’s life in the hands of the audience. The main character Eldon (played by Ray Tagavilla) has a week to live. In that week, through realizations from how he has treated others to how it is important to appreciate the small things in life, he teaches us about love and living life to the fullest. By the end of the performance that I saw, the actors were energetic and convincing, but the beginning the show, for lack of a better word, was void of life. The lines were well delivered, but the conviction behind them was not. The lines delivered by Eldon were funny, but the absence of comedic timing didn’t lead the audience to laughter. About a fourth of the way into the show, though, the energy picked up and then everything started to click. Then, the audience followed and was moved to more than just laughter, but to deep feelings for the plight of this character. Maybe with proper warm-ups this would not happen in the future. The play is surrounded by a charming atmosphere, from the integrated art that lines the walls (a Deborah Paine curated exhibit called Yer Killin’ Me) to the friendly box office crew and concession stand workers, who are helpful and understanding. This show is definitely worth attending just to experience the playwright’s message. This well-written piece that is great for everyone to reflect on their own situations and life. It gives us perspective on how we spend our time and what we value in life. Jenny B.April 5th, 2008The Dead GuyArtsWestThrough April 26thArtsWest’s Ticket Office: 206-938-0339www.artswest.orgArtsWest 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. Bus times: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

I enjoyed reading your review very much..You mentioned the parts of the ballet that you liked best, but you didn't mention who danced them.

Review of A Midsummer Night's Dream by Jennifer K., age 17For those infatuated with ballet, Pacific Northwest Ballet has long held our affection. Arguably the Northwest’s most prestigious ballet company, PNB’s performances are always professional and enchanting. However, there is a large portion of Seattle-ites who, sadly, do not hold this enamored view of ballet. Instead, they think of it as dull, stuffy performances by women in tulle and men in tights that should have ended in the 18th Century. Whether you belong to the first group or the second, PNB’s production of A Midsummer Night’s Dream is an ideal show for you.Pacific Northwest Ballet principal dancers Louise Nadeau and Olivier Wevers in A Midsummer Night's Dream at PNB. Photo by Angela Sterling.A Midsummer Night’s Dream is definitely not a long, dry classical ballet. It is actually a fairly short ballet consisting of two acts. The first act contains the twisting Shakespearean storyline. Oberon and Titania, the king and queen of the fairies, are feuding in the enchanted forest. Two human couples—Hermia and Lysander, and Helena and Demetrius—are also in these woods. Hermia and Lysander are happily in love, but Helena and Demetrius are not so lucky. Helena loves Demetrius, but he scorns her. Puck, a mischievous fairy, has found a flower that causes people to fall in love with the first person they see. He sets out to use it to end Oberon and Titania’s quarrel and to remedy Helena’s unloved plight. He succeeds in doing this, but only after causing some humorous mix-ups between the lovers. These include forcing Titania to fall in love with Bottom, a workman with the head of a donkey. In the second act, all the couples are happily reunited and they celebrate with a series of grand wedding dances.A Midsummer Night’s Dream will not disappoint those who adore going to ballets. The legendary George Balanchine did the choreography, and it is stunning. Of the dances, my personal favorites were Oberon’s impressive solos and the breathtaking Pas de Deux (duet) in Act II. The sets are large and creative, and include a starlit sky and a sizeable spider’s web. The dancing in Act I features quite a bit of miming and acting to tell the story, but Act II gives the typical “ballet” experience, with more classical choreographyIf it is your first time attending a ballet, do not despair. A Midsummer Night’s Dream is still an excellent performance for you. The storyline is clear and entertaining, and there is plenty of humor woven throughout. Puck and Bottom’s solos are especially enjoyable. The ballet does an excellent job of combining the charming events of the famous Shakespearean comedy with the impressive choreography of George Balanchine. No dull pastel tutus adorn the dancers of this show. Instead, sparkling costumes in clear jewel tones swirl across the stage.Please remember that this is a ballet, so it will be a bit “cheesy.” A Midsummer Night’s Dream is a fairytale and should be treated as such. The dancers don’t speak, so they must communicate solely with their bodies. Thus, their acting is overemphasized. The idea of dancing out a story is a bit comical in itself. This is all part of the charm of a ballet. No matter how implausible, though, everyone enjoys a happy ending.After each show, there is a question-and-answer time with PNB artistic director Peter Boal and one of the lead dancers. Opening night, Carrie Imler, who played Titania, attended. She said that one of the reasons she loves performing is that it allows her to take an audience into an imaginary world where they can forget about their worries for a few hours and simply enjoy the story. Even if ballets are not normally in your comfort-zone, I encourage you to see this show. It provides a painless introduction to this important category of the arts. It may even transform you into an avid lover of dance. Enjoy the haphazard story, soak up the lighthearted dancing, forget your troubles for a night, and go home happy.Jennifer K.April 3rd, 2008A Midsummer Night's DreamApril 3 – 13http://www.pnb.org/PNB’s Ticket Office: 206-441-2424Ticket Office Hours: Weekdays 10 a.m. – show time, weekends 90 minutes before show timePacific Northwest Ballet is located in McCaw Hall, 321 Mercer Street, on the north edge of Seattle Center. It is served by buses 1,2,3,4,13,14,15,16,18,45,74 and 82. For bus schedules: tripplanner.metrokc.gov.Did you see this show? Leave a comment and tell everybody what you thought!

Review of The Diary of Anne Frank by Emma K., age 16I first read The Diary of Anne Frank when I was eleven and since then it has had a profound affect on me; I am pleased to say that no film or stage version has moved me as much as the production currently playing at Intiman Theatre.The cast is a group of seasoned actors. The adaptation by Frances Goodrich and Albert Hackett – though not entirely historically accurate – succeeds in giving a humanized look into the lives of eight Jews, who did everything they could during the horrific years of World War II to preserve their hope and, ultimately, their lives. As I was leaving the theatre, I heard the woman behind me saying, “It’s so sad. We all know how it is going to end, but it’s still so sad.” We do know how the story ends, with the discovery and death of all the people in hiding, save Otto Frank; yet, I could feel the audience around me hoping it would end some other way as they began to know these courageous people being portrayed on stage.Lucy DeVito (in foreground) with the company of Anne Frank at INTIMAN Theatre. Photo by Chris Bennion.As Anne Frank, Lucy DeVito is initially impish, appropriately childlike, and the epitome of a young girl going through the trials of growing up. As the play progresses, so does her Anne, becoming a hopeful – but not naive – young woman. DeVito clearly has a gift for comedy, but she proves herself as a strong dramatic actress as well. Her Anne is entertaining, innocent, and humbling, all at once.Matthew Boston plays Mr. Frank, the only occupant of the secret annex to survive the genocide, and the person who oversaw the publication of Anne’s diary. He evokes sympathy throughout, but is strongest during his silent moments – his expressions and physical tension are exceedingly powerful. Equally affecting is Amy Thone as Mrs. Frank. She is a worn, silent sufferer in this role – compassionate and strong, even through her exhaustion. As Margot Frank, Lindsay Evans does not have a large part, but delivers it with fitting grace and reservation, echoing the performance given my Ms. Thone.The audience feels for Connor Toms as Peter Van Daan, the boy who becomes a friend and confidant to Anne. He perfectly captures the frustration and confusion a young boy growing up under such conditions must have experienced. He is sensitive and touching.As Mr. and Mrs. Van Daan, Michael Winters and Shellie Shulkin provide comic relief but also have some of the most vulnerable moments of all the characters. They are human, and these actors showcase their fear and anxiety. Alban Dennis plays Mr. Dussel, the dentist who hides with the Franks and Van Daans. His is the only character that pronounces resignation to his plight – he is aware and paranoid, so very awakened to the suffering outside. Dennis has a wonderful physical presence; even when he is silent his character’s anxiety and stress is evident.Carol Roscoe, as Miep, and Jim Gall, as Mr Kraler, play the people who looked after the eight souls in hiding. They perform their roles with compassion and subtle apprehension; however, their characters do not have many chances to appear – this is a story about the people in hiding.The set design, by Nayna Ramey, is impressive, creating an apartment of many levels which is based on the factual secret annex. Sound, by Chris R. Walker, is also to be noted – along with the lighting by Marcus Dilliard, it helps to make the production realistic. Costumes, by Frances Kenny, are practical and appropriate to the time period down to the underclothes. The play is admirably directed by Sari Ketter.This is a humbling production, one that reminds me how powerful the theatre can be. The chemistry between the cast and audience was so strong, the story touching everyone’s heart. Anne Frank was a special girl, not for the way she died but because of the way she lived. This production reminds us of that by making her experience real – alive, humorous, pitiable. I hope that everyone will see this play and be inspired to take action against the genocide and oppression still going on in the world. Intiman should be tremendously proud of this presentation.Emma K.April 5th, 2008The Diary of Anne FrankMarch 21 – May 17http://www.intiman.org/INTIMAN’s ticket office: 206.269.1900INTIMAN Theatre is located at 201 Mercer Street on the Seattle Center campus. It is served by buses 1,2,3,4,13,15,16,18,45, 74 and 85 and others. For bus times: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

Review of How? How? Why? Why? Why? by Ian S., age 17First I just hear Kevin Kling's words. Or, more accurately, a jumble of words. I'm somewhat distracted, and this seems a bit boring, so I'm not hearing exactly what he's saying. My eyes keep darting around the stage taking in the scene before me, but my thoughts are just somewhere else entirely. And then I notice something: Kling hasn't moved his right arm the whole time he's been standing up talking. His left is atrophied, and it has been since he was born, I can tell by just looking at it. And I understand that. But why hasn't he moved his right arm?And then it occurs to me: he's going to tell us about why he hasn't moved his right arm. And there's got to be an interesting story behind it. And I start listening to every word he says. And I'm hooked.Kevin Kling and Simone Perrin in How? How? Why? Why? Why? at Seattle Rep. Photo by Chris Bennion.Kling makes near perfect use of the stream-of-consciousness style to tell his story. Though the delivery sometimes feels slightly forced, what he's saying is so compelling that it hardly matters. The story flows freely, going off on tangents wherever Kling feels it's necessary. He's got a lot of stories to tell, and they all seem to point towards the eventual climax: his motorcycle crash. If the motorcycle crash is the climax, then his recovery is the falling action. The rest of the play deals with his childhood and his personality. With the help of an accordion-playing woman (Simone Perrin), Kling presents a mosaic, giving us hilarious caricatures of friends and family from his life before the crash. But most of the story is all his."…and this little kid in the elevator at the hospital says to me, 'I bumped my head on a post and I had to get eight stitches back here.' And I say back, 'Oh yeah, well I had to get stitches from up here down to here and all the way around here and back up here.' And the kid says, 'Well yeah, but mine hurt.' And I said 'ok.' Who am I to deny another man's pain?"Ian S.March 18th, 2008How? How? Why? Why? Why?Seattle Repertory TheatreThrough April 19thMore info and show times: http://www.seattlerep.org/Seattle Rep’s Ticket Office: 206-443-2222Ticket Office Hours: Daily, noon – performance timeSeattle 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.govDid you see this show? Leave a comment and tell everybody what you thought!

I sa this movie March '07 at the Cleveland International Film Festival. Like you say in your review I often associate documentaries with a good nap, but not this. I cried during this film. The curator of the Louvre at the time sits on a set of stairs in the louvre watching a statue carried out and says 'i won't live to see it's return' and then the voice over lets us know he never did. After seeing it I wanted to learn more...it was so powerful.Not the best comment but my mind is currently a jumble.

Review of The Miser by Paulina P., age 17There is just something about an up-to-date translation that warms the heart and brings a kind of fellowship between the audience and the characters, especially when those characters accuse the audience of stealing their money. David Chambers' new translation of Moliere’s The Miser keeps enough of the 17th century to keep the character in context but an equal part of the Seattleite to keep local audiences entertained.Brian Claudio Smith, Todd Jefferson Moore and Jennifer Sue Johnson in The Miser. Photo by John Ulman.The Miser directed by Robert Currier at the Seattle Shakespeare Company uses these local jokes to accent a story that already has a wealth of hilarity. The slapstick comedy with the movements of the characters and the sound design are just supplemented by the witty remarks and the stereotypical moves of the characters.The story’s central character, Harpagon, played crooked and crazily by Todd Jefferson Moore, is an aged man who always has enough fight for his money. That race for more cash leads him to try and marry is only daughter, Elise, to an older rich man and persuades him into marrying the woman his son, Cleante, is in love with. These quadrangles of love and money cause lots of fist fights and jokes between the family members who drag their lovers into the fray.These lovers swim or swoosh across the stage towards one another and agree to abandon their father and his promise of inheritance if they could only have their love. These highly stylized movements are done on a very decadent set for Seattle Shakespeare Company. It has doors that open and close and intricate perspective design and even candles. It helps to bring in the eccentric world of modern Moliere and create an equally funny backdrop. The style of the costumes also help to show the depth of the stereotypical characters. The brother, Cleante, is fantastically overdressed for the time and makes faces that parallel his almost clownish garb.Seattle Shakespeare Company has made every inch of this production a wild entertaining ride and is a nice intro to the kind of satirical comedies that befit Moliere. One should see it if only for the dancing.Paulina P.March 14th, 2008The MiserSeattle Shakespeare CompanyMarch 13 – April 6More info and show times: http://www.seattleshakespeare.org/Seattle Shakespeare Company’s ticket office: 206-733-8222Ticket office hours: Tues – Fri: 1 – 6 p.m. and one hour before curtain Mon, Sat & Sun: One hour before curtain.

Seattle Shakespeare Company is located in the Center House Theatre at Seattle Center. It is served by buses 3,4,5,8,16,19,24,74 and 82. For bus times: triplanner.metrokc.govDid you see this show? Leave a comment and tell everyone what you thought!

Review of Director's Choice by Renee A., age 16Two hours of watching ballerinas twirl around a stage was not exactly my idea of a great Thursday night. After doing ballet for ten years I wasn’t used to being the one in the audience, and I didn’t think that I would like it. So as my friend and I headed to McCaw Hall to watch Pacific Northwest Ballet’s latest performance called Director’s Choice, my expectations were not so high. But I would like to take this moment to admit that I was completely proven wrong. Apparently I am a fan of being in the audience, as the show completely exceeded my expectations.Pacific Northwest Ballet company dancers in the PNB premiere of William Forsythe's One Flat Thing, reproduced. Photo by Angela SterlingDirector’s Choice is a showcase for contemporary works specifically chosen by PNB Artistic Director Peter Boal. This year’s performances are called Sense of Doubt (choreographed by Paul Gibson), Fur Alina (choreographed by Edwaard Liang), Vespers (choreographed by Ulysses Dove), and One Flat Thing, reproduced (choreographed by William Forsythe). Sense of Doubt is the first performance and it is a great way to open the show. This dance features a solo, duet, trio, and quartet that take turns displaying beautiful choreography on the stage that suggest a sense of anxiety and intrigue. The soloist was my favorite part of the dance. Her name is Noelani Pantastico and she is a joy to watch.Fur Alina, my favorite display of the night, shows the struggle between two lovers. The music is barely there which makes the emotions flowing from the two dancers all the more real. Batkhurel Bold and Miranda Weese definitely deserved the rounds and rounds of applause they received at the finish of their piece.Vespers is the most upbeat dance in the show, literally, as the music consists of erratic drumbeats. The choreography consists of six female dancers, all wearing some variation of a black dress, performing around wooden chairs. This piece was inspired by the choreographer’s grandmother and the other women that she worshipped with. My favorite part of this dance was that once again I was able to witness Noelani Pantastico dance.The last piece of the show is One Flat Thing, reproduced and is by far the most impressive dance of the night. The choreography involves fourteen dancers moving swiftly and erratically around twenty metal tables. Every dancer wears a different color so the dance is filled with a medley of colors. The dramatic movement of the dancers is almost confusing-I didn’t know where to look-but I enjoyed every moment of it.I would encourage all people to go see this show. Besides the high performance quality, the venue is great and the staff is eager to help make your evening the best it can possibly be. Even if you don’t think you like ballet, try something new and give this show a chance because I am quite sure you will not regret it!Renee A.March 13th, 2008Director's ChoicePacific Northwest BalletMarch 13 – 22More info and show times: http://www.pnb.org/PNB’s Ticket Office: 206-441-2424Ticket Office Hours: Weekdays 10 a.m. – show time, weekends 90 minutes before show timePacific Northwest Ballet is located at McCaw Hall, 321 Mercer Street, on the north edge of Seattle Center. It is served by buses 1,2,3,4,13,14,15,16,18,45,74 and 82. For bus schedules: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everyone what you thought!

Ah, I wish I'd been there! The one meeting I miss and of course it's the most exciting one...I liked The Breach, though, haha.Love you guys!Terry

A review of a class about reviewing, by Bianca G.Finally, our Young Critics Workshop met the fine humans behind the bylines of The Stranger. And it was as glorious as we had dreamed! Seriously. They entered like an army of hipsters armed with their thick, horn-rimmed glasses and were as weird as expected, but in all the good ways. Allow me to quickly spew all the compliments I have bottled up. They are scholarly, yet too cool for school; they are opinionated socialites; they are handsome, witty, and charming. They are not arrogant about their coolness, as their slogan "Seattle’s Only Newspaper" would suggest. In fact, they laugh a lot.Stranger day at Teen Tix's Young Critics WorkshopThe five kind souls that volunteered their time for the good of young critics were (in alphabetical order): Paul Constant, Charles Mudede, Matthew Richter, David Schmader, and Miz Lindy West. And of course, our faithful teacher Brendan Kiley. The Stranger seems to be mostly guys, which is weird because our young critics circle has only two . The Stranger panel talked about how they drift between work and play like it ain’t no thing, because their job is so enjoyable that work and play become one and clocking hours is trivial. Then they shared their stories of how they all "stumbled" or "fell into" The Stranger, meanwhile we were thinking with purpose how we must work there. It’s like they didn’t realize that this is an era of people who admire The Stranger and want to be part of it, beginning with The Stranger’s 19 year-old public intern who has written about being star struck by Dan Savage. We have been reading their work since middle school, since I had to sneak The Stranger around because my mother thought it was inappropriate.The Stranger's Brendan Kiley, Matthew Richter, Charles Mudede, Paul Constant and Lindy West at Teen Tix's Young Critic's WorkshopDavid Schmader met with a group of three of us to read our reviews of the horrible play The Breach (Holly is the world's most optimistic person, and even she said "I didn’t love it.") He said pleasant things, (considering his usual reporting on infant deaths, pitbull attacks, etc) complimenting our verb use and making reasonable suggestions. But it wouldn’t have mattered if he had told us our work smelled as bad as The Breach, because he, THE DAVID SCHMADER, was there in real life! Reading our writing! He even LOL’d a few times!YCW students with The Stranger's Brendan Kiley, Charles Mudede, David Schmader and Matthew RichterLindy West also shared stories from her days at Garfield, then Charles Mudede spoke very precisely about his epiphanies from reading Marx or something. And Mr. Schmader assured us that writing "gets easier." I was in such a good mood afterwards, my parents noticed. It was the absolute best session of YCW we’d ever experienced, and ever will experience until the day Dan Savage comes.Young Critics Workshop students basking in the scholarly glow of the guest Strangers.The Young Critics Workshop is Teen Tix's seminar for 11th & 12th graders who are interested in critical journalism. For the past four months, the eleven writers who were invited to participate in this year's workshop have been working under the guidance of Stranger Performance Editor Brendan Kiley on improving their critical writing skills. Applications for the 2008-2009 Young Critics Workshop will be available in July.

Review of Stars by Kirsten O., age 17The world of ballet is a strange one, and it didn’t take long for me to realize that I was probably in a bit over my head after watching the first few minutes of Stars of Today Meet Stars of Tomorrow. The performance itself sounds incredibly promising: it boasts several world renowned dancers from prestigious dance companies such as Kiev Ballet (Ukraine National Theatre Opera and Ballet), the Bolshoi Ballet (Moscow), the English National Ballet (London), and Alberta Ballet (Canada). However, as the first piece, “Pas de Quarte”, played out in front of me, I realized what I had gotten myself into; four female dancers in frilly white dresses frolicked, pranced, and daintily twirled around the stage. With smiles plastered on their faces and wreaths of obnoxious white flowers adorning their hair, the whole thing was a little too sugary and maybe a bit ridiculous for me. It seemed stiff and rigid, and while the dancers were all amazingly talented, executing every twirl, jump, and step to a tee, it was not the most exciting thing to watch.As the production continued, I quickly grew tired of men and women prancing about in what looked like glorified lingerie, and while I kept trying to tell myself that I should respect and enjoy the art form as it played out in front of me, I just couldn’t help but escape the thought that this whole thing was a bit silly. And then, all the sudden, salvation! As the fourth piece, titled “Cachaca” began, the energy and liveliness emanating from the stage made me wanted to stand up, clap along with the beat of the music, and maybe even start dancing myself! The five female dancers wore sassy knee length floral print dresses, and bounded around the stage, still incorporating many impressive leaps, jumps and twirls. The dancing was much less rigid, and while it still maintained the daintiness that characterizes ballet, it had a certain edge and energy. This was actually fun to watch!Photo by Rex TranterYet another highlight was a piece called “Qualia”, and it was perhaps the most impressive bit in the entire production. The two dancers, Sarah Lamb and Edward Watson, wore no frills or gaudy sparkles, and instead were stripped down in plain white shorts and t-shirts. For even a novice ballet goer like myself, I knew that this was a serious showcase of talent: both dancers expertly executed their complex moves without hesitation, and the strength exhibited by both dancers was absolutely remarkable. Both dancers were constantly flowing and moving with each other in a series of intricate twirls and twists, and both gracefully contorted themselves in ways I had never thought possible. The passion and emotion the performers seemed to have for each other translated into their dancing, and I was left speechless after their stunning performance. Even if I didn’t understand ballet, I could still respect it, and this piece forced me to see what a beautiful and complicated art form ballet truly was.In the end, Stars is not for everyone. It is a treat for anyone who is dance enthusiast or a lover of ballet, but otherwise, it is lost on the casual viewer. But even then, there are pieces that don’t require you to be an expert on ballet to marvel at the skill and energy that the dancers showcase on stage. However, if you fall into this category, you’d be much better off seeing a movie or a play, and leave Stars for those who truly enjoy this complex and difficult art form.Kirsten O.March 8th, 2008Did you see this show? Leave a comment and tell everyone what you thought!

Hey! I wrote a review for this for The Portland Mercury. It will be out tomorrow. Whee!

Review of The Hundred Dresses by Jennifer K., age 17No matter how old people become, they always love to act like children. There is something therapeutic in letting the worries of the teen and adult world drift away and simply having fun. Childhood has an age-old reputation as a time of innocence and happiness. However, this view is not entirely accurate. Children have fun, but they also make wrong decisions, learn difficult lessons, and go through pain just like adults. The Hundred Dresses, based on the book by Eleanor Estes, tells both of these sides of childhood. Maddie and Peggy are best friends living during the great depression. They are puzzled by an immigrant girl named Wanda. Peggy teases Wanda, and Maddie, though never joining in, does nothing to stop her. The consequences of the girls’ actions are more serious than they expected, and they must learn from their mistakes and try to do better next time.Sarah Harlett, Emily Cedergreen, Troy Fischnaller, Tim Gouran and Betsey Schwartz in The Hundred Dresses at SCT. Photo by Chris Bennion.Allison Narver directed this superb play. Betsy Schwartz plays Maddie and Sarah Harlett plays Peggy. Sharia Pierce plays Wanda. Seattle Children’s Theater does an excellent job of making this story come to life. The sets and costumes are simple and realistic, and the lighting effects are quite well done. To add to the mood, 1930s radio clips play during set changes. At various times throughout the play, the audience gets glimpses of what is happening in Maddie’s imagination with mini dream-sequences. These are portrayed as old-fashioned radio shows, and help to lighten up the play’s serious mood.Yes, the play is serious. Its message of tolerance is a heavy one, both for the characters and the audience. They learn that in life, it is not easy to realize you were wrong, but it is vital. Though the moral is grave, it is woven so skillfully through the children’s crisp autumn schooldays that the audience accepts it as simply another part of life. Rather than showing an ideal but unrealistic chain of events, The Hundred Dresses portrays the err-and-repent way that life usually happens. Thus, the audience can empathize with the characters rather than feel preached at.The characters truly make the play remarkable. The cast members do an incredible job of acting like children; they make it look effortless. Each of them has their own unique personality, so the audience can always identify with someone. They are familiar characters—the leader, the pleasing friend, the silly one—and the audience members feel as though they have met them all before, or even as if they are one of them. Everyone has been in Maddie’s situation. Everyone has faced peer pressure. These characters tell us that we, like them, can make the right choice next time.The Hundred Dresses is a children’s story. It is simple, clear, and comforting. The moral is an old one. Do not hurt other people’s feelings. Put yourself in their shoes. Find out the whole story before you judge. But, it is not merely a children’s story. Like a proverb that has lasted a thousand years, its message has new meaning every time you hear it. It is entertaining, colorful, and fun, but it is also wise and poignant. No matter what age you are, you can learn from The Hundred Dresses.Jennifer K.March 2nd, 2008The Hundred DressesSeattle Children's TheatreThrough April 6thMore info and show times: http://www.sct.org/SCT's Ticket Office: 206-441-3322Ticket Office Hours: Friday 9 a.m. - show time, Saturday 10 a.m. - show time, Sunday noon - show timeSeattle Children's Theatre is located at the West entrance to Seattle Center, just north of Pacific Science Center and West of the Space Needle. It is served by buses 1, 13, 15, 18, 19, 24 and 33. For bus times: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

Review of Girls Rock! by Ashraf H., age 17As I, a seventeen year-old dude, sat down to watch Girls Rock!, a documentary about an ultra-cool Rock n’ Roll camp for girls, I came to ask myself why I had taken on such a screening. The answer I came up with consisted of two parts: (a) because members from two of my favorite local bands (Carrie Brownstein from Sleater-Kinney and Beth Ditto from The Gossip) appeared in it, and (b) that I wanted to see for myself if this is just another girls-are-from-Venus-boys-are-from-Mars film that blamed men for all of the problems that women face today. As I soon found out, it’s nothing of the sort; it’s an eye-opener to both men and women alike to what girls today have to go through everyday, and a camp made especially for them to express themselves and learn various life lessons via rock n’ roll.As mentioned earlier, Girls Rock! is a documentary following the experiences of four girls at The Rock n’ Roll Camp for Girls located in Portland, Oregon where about a hundred girls from across the nation, both amateurs and experienced in their weapon of choice, form bands and join for a week of workshops, practices, and classes all leading up to a final performance with fellow camp-formed bandmates in front of more than 700 people.The girls: Laura, a fifteen year-old Korean adoptee and metal-head who, despite her outgoing personality, has extremely low self-esteem; Palace, an eight year-old princess with an attitude; Misty, a seventeen year-old former drug abuser, street rat, and gang member, looking for a change; and Amelia, another eight year-old, whose favorite bands include Sonic Youth and whose dog, Pippi, is her greatest muse.This documentary is one of the better ones I’ve seen in my short lifetime. It’s made in a way that the both the super young and super old could both enjoy at the same time. With informative, fascinating, and sometimes shocking facts and statistics strategically placed throughout the film, getting bored is not an option. There were parts in which I literally LOLed and there were parts in which I, a male teenager, actually got goosebumps. I recommend this film to anyone and everyone, guys and girls, with even the slightest bit of interest in music and how it changes lives of those around it. And don’t be intimidated by the fact that it’s a documentary; the fact of the matter is, documentaries are just like other movies, but about real people and real events, which make them all the more appealing. Do yourself a favor and check it out, you might not get another chance.Girls Rock! SIFF Cinema March 7th - 20thMore info and showtimes: http://www.seattlefilm.org/SIFF Cinema Ticket Office: 206-324-9996Ticket office opens 1 hour before show time.SIFF Cinema is located at the Nesholm Family Lecture Hall at McCaw Hall, 321 Mercer Street, on the north edge of Seattle Center. It is served by buses 1,2,3,4,13,14,15,16,18,45,74 and 82. For bus schedules: tripplanner.metrokc.govDid you see this film? Leave a comment and tell everybody what you thought!