TeenTix Blog

Hey TeenTix-ers: Scholarships are now available for Singing the Gospel, a masterclass from our friends at The 5th Avenue Theatre!

This energetic and uplifting vocal master class will explore the history and influence of gospel music in musical theater. In this two-part course, students will work with Seattle-based singer and actress, Shaunyce Omar, to examine how gospel music has influenced both musical theater and pop music; learn the power of ensemble singing; and discover how to adapt their own personal style to gospel singing. Join in for this fun and engaging class and get singing!

We are beyond EXCITED to share the nominees of the 2019 TEENY AWARDS!

TEEN CHOICE AWARDSTeens in each of the following groups has the ability to nominate their favorite event from the year TEENTIX MEMBERSHIP PICK (based on teen nominations in the Teeny Award Survey)PRESS CORPS PICKNEW GUARD PICK

Heard about the TeenTix Press Corps? This radical program allows teens to learn, practice, and publish arts criticism. For more information or to get involved, click here! We wanted the insider scoop, so we enlisted the help of an active TeenTix Press Corps writer and arts-goer - Sumeya Block!

Sumeya is a rising sophomore at the Downtown School, just blocks from TeenTix headquarters! She got a TeenTix Pass at the age of 13 when The 5th Avenue Theatre put on a production of The Hunchback of Notre Dame. She desperately wanted to attend the performance but tickets were way out of her price range. Luckily, she discovered TeenTix just in time and got herself a ticket for just $5 - she hasn’t looked back since! When TeenTix showed up at her school, she was introduced to the Press Corps and was excited to learn that writing about the arts was even a possibility! Sumeya applied to be a writer in the TeenTix Newsroom and soon after took an Intensive Workshop where she honed her arts journalism skills. “I didn’t realize my love of writing and my love of art could come together; I never thought I could potentially use that as a job”.

WARNING: SPOILERS AHEAD

Although I had been warned by the sign at the front door—CAUTION: LOUD GUNSHOTS—I still started, pretzeled my arms into my chest, when the trigger was finally pulled. I sat, head buzzing, as the murderer monologued for the final two minutes of the play. The lights went down amidst audience mumblings, then I stood clapping with the room while the actors bowed. My chest was tight with anxiety all through the talkback, the drive home, my pre-bed face wash; even now, I can easily picture the muzzle flash. If art’s job is to affect individuals, then Pass Over deserves a raise.

We made it! It’s an odd feeling, watching the first era of our Teen Editorial Staff—the group that we all helped to create—come to a close. Just a little under a year ago, we were five strangers, only connected by our shared passion for art. Now, we’ve grown into a sort of family, and we can’t imagine the Teen Editorial Staff being any different. However, as a different group of teen editors will be the reality next year, now comes the time to move on, let go, and get ready to enter a new era. It truly has been our pleasure editing reviews for the TeenTix blog. We’d like to take a moment to thank some very important people who’ve really made the Teen Editorial Staff the success it is. Firstly, we’d like to thank our incredible Newsroom of teen writers, who write the lovely reviews we have had the pleasure of editing. We’d also like to thank the TeenTix Arts Partners, who provide us with the means and support we need to go out and experience their incredible art. We’d like to give the biggest thanks to Mariko, our mentor and guru who’s guided us through the world of arts criticism and given countless hours to help make the Teen Editorial Staff a reality. And finally, we’d like to thank YOU for supporting TeenTix and the Teen Editorial Staff through your patronage. This has been the 2018-19 Teen Editorial Staff, signing off!

- Anya, Hannah, Huma, Josh, and Lily

The movement of the human body accompanied by a simple monotone score, props that seem familiar, and a new musical score can tell a beautiful story with great emotion and power.

After almost two years of brainstorming and eight intense weeks of choreographing and rehearsing, This is Not The Little Prince is now being performed at the Cornish Playhouse. This one hour contemporary dance piece is full of heart, creativity, emotion, and flexibility. Choreographed and staged by Olivier Wevers, this show conveys a well-known story in a new light, with the story of the author. Using the language of dance, everyone can interpret the narrative, no matter what language they speak.Whim W'Him in This is Not the Little Prince. Photo by Stefano Altamura.

“Click, click, click, click. Beautiful!” said the young woman instructing me on selfie stick use towards the end of my walk through the Museum of Pop Culture (MoPOP)’s A Queen Within: Adorned Archetypes. The video, entitled Selfie Stick Aerobics (constructed by Arvida Byström and Maja Malou Lyse) was of two young women in pink tracksuits, posing with a selfie stick as feminine items, such as menstrual cups, belly button rings, and thongs, floated past. As they showed me different photo angles, they continued to enforce body positivity, insisting that this was not a competition. Instead of mocking selfies, which are often viewed as vain and superficial, the artists embraced them enthusiastically, as a way to affirm how beautiful they and the people around them were. The artists found an interesting way to reclaim culture frequently made fun of, all while promoting self-love.

MoPOP strives to use creative expression as a force for change by featuring exhibits that both educate the public on the history behind some of our favorite culture points, often giving new artists a platform. At this particular exhibit, a group of fashion designers diverse in popularity and establishment came together to discuss the meaning of femininity and the label’s borders. The presentation was split up into different feminine archetypes: “Mother Earth,” “Sage,” “Magician,” “Enchantress,” “Explorer,” “Heroine,” and “Thespian Queen,” each accompanied by a paragraph on the wall and archetypal symbols. Instead of a traditional mannequin presentation, there was a mixture of videography, photography, and clothing. Among the fascinating displays were pieces from an Alexander McQueen collection: Natural Dis-Tinction, Un-Natural Selection. His work was an interesting juxtaposition between natural-seeming fabrics and patterns and more modern silhouettes. For example, one outfit was composed of a dress made of light, cream silk patterned with meadow flowers under a simple leather bodice; however, the shoulders were broadened, the upper sleeves were voluminous, and the hips were exaggerated to the extreme. The purpose of this was to find a balance between modern and natural, providing familiarity with a sense of wildness underneath, which was an enthralling contrast. Another dress, similar in shape, had rough rainbow fabric that the light danced upon and, yet, a severe collar and neckline. It was interesting how the two ideas of natural and unnatural blended well together instead of clashing A Queen Within, Installation view by Iris van Herpen. Photo Josh Brasted.

The boy with the warm brown eyes walked away down the sidewalk, turning back to wave before rounding the corner.

Think about that sentence. Visualize it. What did you picture? A busy city street or a suburban neighborhood? A teenager or a young child?

Whitney Mongé, an Alternative Soul artist originally from Spokane, got her start in the Seattle music scene in 2007. As a street musician, (busking in Pike Place Market), Mongé was enlightened as an artist. It was this time in Pike Place that spurred her into taking up music as her profession.

“I’m reclaiming the hell out of this space!” Rell Be Free’s shout echoed throughout the theater of the Vera Project, accented with dim blue and purple lights. A teenager with homegrown Seattle beginnings as a musician, Rell Be Free was one of the night’s featured musicians. These artists, youth who speak truth to power, prepared to make themselves heard through rap and spoken word performances at the Northwest Folklife Festival.

Through Creative Justice, youth are encouraged to share their stories using art as an alternative to completing traditional probation. Co-director Nikkita Oliver describes the program as offering opportunities to “liberate ourselves in a creative space.”

The 2019 Northwest Folklife Festival featured a new exhibit that put youth arts at the forefront. Fitting with Folklife's 2019 cultural focus of "Youth Rising," the A/NT gallery at Seattle Center featured the showcase of The Hydrant Lounge, a collective of youth arts leaders who came together to promote their work and form lasting partnerships within the art world. With an entrance facing the International Fountain, the central location of The Hydrant Lounge greatly facilitated the Lounge's popularity.

The Hydrant, the organization behind the Folklife display, is a youth-created and youth-led artistic "think tank" that seeks to promote emerging figures in the Seattle arts community. Urging young art creators of all kinds to "tap the Hydrant," the organization gives priority to young creators who, without a platform, may feel isolated in artistic fields that are often dominated by the older generations.

CUDDLE stars Hope Shanthi as Dina Razzano, an up-and-coming cuddle therapist as she tries to pave the way for a new bold method of therapy. Created by Adeline Colangelo and directed by John Helde, the series follows Dina as she tries to establish her new business while simultaneously discovering herself. Along the way, Dina finds herself facing many who oppose her non-traditional methods including her own brother, Joe Razzano portrayed by Devin Badoo. Each episode chronicles a new experience for Dina and her business, ranging from encountering anxiety ridden clients afraid of intimacy to hunting for an establishment willing to host a cuddle workshop. The series takes an old classic cliche and puts a fun new spin on it through the introduction of cuddle therapy.

Race, masculinity, and American identity have all played a key role in making baseball the national pastime. Richard Greenberg, the playwright behind the Tony-award winning Take Me Out (now playing at 12th Avenue Arts through Strawberry Theatre Workshop), understands baseball’s all-encompassing scope, and attempts to use it as means for a spectacle of societal discourse. His results are mixed, but when performed by a capable cast, certain moments hold all the power baseball possesses.

The concept is compelling enough to make one wish it had been handled differently. There's no doubt that the highly-decorated Greenberg is a talented playwright. Whether he’s the one to pen a play of this subject matter is another question. Darren Lemming (Lamar Legend), a mixed-race pro baseball player seemingly based off Derek Jeter comes out abruptly as gay, unbeknownst to the weight of his action. Lemming must then adapt to his demoted status, going from untouchable golden boy to the patronized poster child for a community he doesn’t identify with. When screw-loose Shane Mungitt (Craig Peterson)—a red-state rogue with a habit for saying bigoted slurs—joins Lemming’s team, tensions give way to a cultural battleground. The plot has all has the makings for a fascinating dissection of baseball in all its glory and carnage, a symbol of Americana that has both unified and divided the country. With the historical context of baseball’s long-winded journey to racial integration, there is certainly potential for a truly explosive work. Unfortunately, Take Me Out doesn’t quite live up to that potential until the second act.Take Me Out at Strawberry Theatre Workshop. Photo by John Ulman.

“About to Happen” at the University of Washington’s Henry Art Gallery marks the first time Cecilia Vicuña’s collection of sculptures, drawings, films, and other art pieces are exhibited alone in the United States. Vicuña is a Chilean-born artist whose career spans over fifty years, and her unique body of work has only gained relevance as time passes and climate change (often alluded to in her art) worsens. This exhibit combines a wide variety of media, largely composed of repurposed materials, in a unique and visually compelling compilation that invites thoughtful consideration from viewers.

Upon entering the gallery, visitors are greeted by dozens upon dozens of tiny sculptures dotting the walls and a raised platform on the floor. These are “precarios” (“uncertainties” in Spanish), or, as Vicuña sometimes refers to them, “basuritas” (“little garbages”). These tiny masterpieces, pinned to the wall like insect specimens, are entirely made of objects Vicuña collected from the shores of northern Chile, where she grew up. The oldest “precarios” are from 1966, and she has continued to create them in the decades since. Just as other pieces in the room float from the ceiling, the “precarios” seem to swim in the vast white expanses of the walls upon which they are mounted. They range in complexity, from singular pieces of wood to intricate assemblies of thread, netting, and other flotsam. Vicuña’s clever hand has taken seaside trash and created beautiful works of art that are captivating in their detail."About to Happen" by Cecilia Vicuña at Henry Art Gallery. Photo by Alex Marks.

Join Seattle Men's Chorus for a summer matinee full of song and activism with this special offer!

TeenTix members can RSVP right now to claim up to 4 FREE tickets for themselves and other folks of any age using this form. Then, attend the show on June 22nd at 2 PM to get your retro tunes on!

It’s June, and as the weather gets warmer and we finally get a break from Seattle rain, most TeenTixers are looking forward to one thing: liberation—from school, homework, teachers, and the dreaded SBA. So, the Teen Editorial Staff has curated June’s shows around the theme of liberation. We’ve picked art events that demonstrate the complex positivity of this theme in celebration of summer. For visual art lovers, MoPOP’s A Queen Within liberates femininity from traditionally associated beauty standards through fashion. If you’re in the mood to see a live show, ACT Theatre’s Pass Over and Whim W’Him’s This is Not the Little Prince reinvent classic pieces of literature, and Strawberry Theatre Workshop’s Take Me Out takes a swing at raising awareness of the constraints homophobia places on a community through baseball. In addition, CUDDLE: The Series at Seattle International Film Festival and later at Northwest Film Forum explores how something as simple as a hug can be liberating. This month’s lineup is incredibly diverse, so, as summer approaches, get out there and see some art!

Photo credit: Ethan Robertson from Unsplash

Music, with all its genres, styles, and variations, often portrays a common understanding among listeners; so when paired with celestial visuals such as lasers, it becomes clear how one song can contain infinite meanings. Laser SZA, an ongoing laser light show at Seattle’s very own Laser Dome, offers the opportunity to discover these personal interpretations through a visual aid.

Set to Grammy-nominated artist SZA’s groundbreaking album Ctrl, this hour long show aims to redefine how one listens to, perceives, and internalizes music.

Clara, (Liana Liberato), and April, (Hannah Marks), aren’t supposed to be friends. After all, Clara’s new casual boyfriend is also April’s serious ex—their relationship lasted two years, an eternity in the grand scheme of high school relationships. Nonetheless, the two girls meet at a house party in the summer after their senior year: Clara is charming strangers, while April is drowning her heartbreak in tequila. The social order demands that they hate each other, and April is prepared to comply—as she tells Clara, “I want a reason to give you a black eye.” Clara is also uncomfortable, having not known that she was dating April’s ex until a week before their coincidental encounter. Despite their circumstances, the two become fast friends united by their shared sense of humor and desire for adventure. Banana Split, directed by Benjamin Kasulke, chronicles this budding friendship. Although the film’s focus—a friend group’s romantic entanglements—may not be strikingly original, its witty script, nuanced depiction of female friendship, and naturalistic performances, particularly from Marks, make it as fun as the last few weeks of summer vacation.

In an early scene, Clara and April bond over Nick’s (Clara’s current boyfriend, portrayed by Suite Life of Zack and Cody’s Dylan Sprouse) stranger quirks—like his tendency to put his lovers’ noses in his mouth—before deciding that if they’re going to be friends, it has to be on their terms, not his. So they set out ground rules: no talking about Nick, and no telling him about their friendship. Of course, the viewers can predict that these rules will be trampled on by the time the film’s done, but that knowledge of the inevitable confrontation with Nick adds tension to an otherwise lowkey dramedy. Furthermore, their secrecy is threatened by Ben (Luke Spencer Roberts), April and Nick’s dorky, blabbermouth, mutual friend.

George Frideric Handel was born the same year as Bach: 1685. He was a German composer, though he travelled around all of Europe, and is most notorious for the oft-overused Hallelujah Chorus from The Messiah (see the opening of Face Off). While Handel’s innovations in composition were important, they are drastically overshadowed by the revolutionary achievements of Bach. Handel’s contribution to music came in a much more subtle, but equally radical fashion: he made music a business.

Handel found great success in Italian opera; in 1705 he debuted the instant hit Almira and his influence only grew. The problem with Italian opera, however, was that it was both expensive and exclusive. The costumes are elaborate and few opera-goers in his adopted homeland of England spoke Italian. To solve these problems, Handel renovated and popularized the Oratorio, essentially an unstaged opera. Instead of blocking, singers simply stand up when it is their cue. Featuring mostly liturgical plots, Oratorios became vastly popular because of their relatively low cost to perform and the fact that they are sung in English.

“Southern trees bear a strange fruit/Blood on the leaves and blood at the root.”

Originally a poem describing lynching in the American South, “Strange Fruit” was written by Abel Meeropol in 1939 and famously performed by singers Billie Holiday and Nina Simone. Strange Fruit, part of the Spectrum Dance Theater’s “Wokeness Festival,” drew its inspiration from this haunting song. This festival was to celebrate, as Donald Byrd, the Strange Fruit choreographer and Spectrum’s Artistic Director, calls it, “the notion of complete awareness.” In his Q&A after the show a few weeks ago, he described lynching, calling it “a method to keep black folks in their place and to assert white supremacy in the south.” Over 4,000 lynchings occurred over a 100 year period in America, so Strange Fruit was an important piece to create and distribute because so many Americans are still unaware of the history that forms our present day systemic inequities. The non-black U.S. population may be somewhat aware of this violence, but they cannot fully absorb the effect that it has had on black bodies, both past and present.