Seattle Blog by TeenTix Newsroom

“The moment you think you understand a great work of art, it's dead for you.” - Oscar Wilde

I enter On The Boards with a friend. After spending a year awaiting the final installment of A Thousand Ways, a series of controlled encounters between strangers, I am thrilled to see what theatremakers Michael Silverstone and Abigail Browde of 600 HIGHWAYMEN have created.

Cannibalism, capitalism, and class struggle come together in Stephen Sondheim’s darkly humorous satire, Sweeney Todd: The Demon Barber of Fleet Street, beautifully adapted by director Tim Burton for the screen. Songs are cut down and some slashed altogether, shaving an hour off of the stage show’s runtime. The pacing keeps things engaging, and, unless you’re a diehard fan of the original Broadway production, it’s hard to tell anything’s missing. The film manages to do what many other stage-to-screen adaptations miss the mark on—making a movie that stands on its own.

After spending fifteen years in prison for a crime he didn’t commit, mild-mannered barber Benjamin Barker (Johnny Depp) returns home with a thousand-yard stare, a newfound cynicism, and a new name—Sweeney Todd. His last shred of hope is shattered when he discovers his wife Lucy (Laura Michelle Kelly) is dead and his teenage daughter Johanna (Jayne Wisener) is in the custody of the corrupt Judge Turpin (Alan Rickman) who had him sent away. Promising revenge on the aristocrats that ruined their lives, Sweeney and down-on-her-luck baker Mrs. Lovett (Helena Bonham Carter) hatch a delectable plan. But as they build a business off consuming the rich, they too are consumed—Sweeney by violence and Mrs. Lovett by greed—becoming the very things they swore to destroy. After all, you are what you eat. Johnny Depp in Sweeney Todd: The Demon Barber of Fleet Street (2007) directed by Tim Burton.

Michael Schur in Conversation at Seattle Arts & Lectures explores the intersection of comedy, philosophy, regret, and hope. Although it is not a narrative experience, Schur’s humorous anecdotes and philosophical ramblings are as cohesive and entertaining as most stand-up comedy sets.

Schur is one of the brilliant minds behind many popular modern sitcoms, including The Office (U.S.), Parks and Recreation, and The Good Place. He also served as president of the Harvard Lampoon and led Weekend Update at Saturday Night Live. George Meyer, a former writer of The Simpsons, joins Schur to facilitate the dialogue. If you were wondering, yes, this is what non-denominational comedy heaven looks like. Michael Shur in Michael Shur in Conversation. Photo by Libby Lewis Photography.

The Mystery of Irma Vep, written by Charles Ludlam and performed by Intiman Theatre, centers on the Mandacrest estate in some nondescript Victorian setting, haunted by the recently-passed ghost of resident Lord Edgar’s former mistress as he attempts to move on with his second wife Lady Enid. There are mummies, werewolves, mistaken identities, and plenty of campy comedy to go around as only two actors perform a series of quick costume changes to portray the colorful cast of characters.

From a technical standpoint, the performers—Jesse Calixto and Helen Roundhill—pulled off the production near-flawlessly. The only unintentional slips I could discern were a few misalignments with sound effects and a brief hesitation in dialogue, both of which I qualify as the lowest form of nitpicking possible for a performance of any kind. In every other sense the night ran flawlessly as far as I could tell, the advertised 35 quick costume changes working seamlessly as characters deftly left and entered stages with mere seconds (and often, off-stage line deliveries) to do brisk wardrobe switch-ups. I expected to keenly notice the fact that only two characters could share the stage at once, but I scarcely considered that fact, a testament to the playwriting and both actors’ nearly flawless deliveries. Helen Roundhill in The Mystery of Irma Vep presented by Intiman Theatre. Photo by Joe Moore.

As the Seattle rains begin to let up–how much ever Seattle rains are capable of letting up– flowers are blooming and Spring is in the air, and so are a blossoming reprieve of arts events! The vibrant and vivid colors of March are glistening in all of our curated events this month, as you get to reimagine pop culture and history through an evolving, artistic lens.

If you’re a fan of fairy tales, come see how Seattle Children’s Theatre puts a new spin on a classic Grimm story with Red Riding Hood. In this adaptation of the iconic red-caped heroine’s tale, a mysterious delivery driver questions the integrity of world-renowned actor Wolfgang, sparking a wild adventure. In Teenage Dick at Seattle Repertory Theatre, another classic, Shakespeare’s Richard II, is reimagined as a twisted, modern high school revenge tale.

Journalism has a natural affinity to the arts. Plays and movies require less expertise to analyze without being questioned by experts—that is, you don’t need a degree in film studies to write a good article on The Empire Strikes Back. Hyper-specialized tech fields like espionage and intelligence politics are the very opposite. Where art is public, intelligence is private, and many people have little to no understanding about how critical agencies like the CIA or FBI work.

Here is where people like Amy Zegart come in. Her book Spies, Lies, and Algorithms covers intelligence agencies and their related fields in a human, comprehensible light, and in Town Hall’s The History and Future of Espionage in the U.S., she talks with KUOW executive producer and Town Hall regular Ross Reynolds about why that coverage is so important.

In the two-person domestic drama Monsters of the American Cinema, ArtsWest invites audiences to confront the most difficult of demons: those in our own homes. Monsters follows the story of Remy Washington, a Black man who takes care of his dead husband’s straight, white teenage son, Pup. They bond through a shared love of classic monster movies, but tensions arise when Remy learns that Pup bullies a gay teen at his school, and frequently uses the n-word around his friends. Has Remy raised a monster? Meanwhile, Pup’s childhood nightmares of ghosts and monsters return with increased severity.

The 2021-2022 season When We Wake was curated by a cohort of ArtsWest leaders and Associate Artists over the course of eight months, focusing on themes of community, collective healing, and the power of storytelling. Unlike the first show of the season, We’ve Battled Monsters Before, which primarily explored cultural heritage through the lens of joy, Monsters of the American Cinema leaves audiences intentionally uncomfortable, contributing a more disturbing perspective to the discussion of identity prompted by the former.

The wonderful thing about pessimism is that even if something bad happens, at least you can say, “I was right!”. In 2021, many foolish optimists thought the pandemic was nearly over. Consequently, our shared desperation as we celebrated the first pandemic-aversary, shaped much of the art that was created, leading to some of the most vulnerable, unique stand-up specials of all time.

“What? Stand-up comedy? That’s not art,” says a beret-clad man after buying a canvas some paint fell on for 72 million dollars. I hate to break it to you, buddy, but one of the fundamentals of art is that we don’t get to decide what it is or isn’t. Like all other art, stand-up communicates fresh perspectives through abstract presentation, finding entertainment value in its thoughtfulness. With streaming services such as Netflix on the rise, the medium is currently more accessible than ever. However, since it was not initially intended to be experienced digitally, artists have new constraints and creative opportunities.

Hotter Than Egypt, written by Yussef El Guindi and directed by John Langs, is a captivating play that you will be increasingly drawn into as the story unfolds. I was lucky enough to witness the world premiere at A Contemporary Theater (ACT), eleven years after El Guindi began Hotter Than Egypt during the Egyptian Revolution. The play follows two separate couples with seemingly little in common, as their lives become more and more intertwined. The plot plays on common tropes such as American ignorance to other cultures, and middle aged couples who have lost the spark in their relationship. The play has an intimate feeling throughout, taking unexpected and original turns while expressing enlightening commentary on broken marriages and power dynamics. This play declared it’s excellence to me through well developed characters, fabulous set design, riveting and topical social commentary.

The play follows Jean (Jen Taylor) and Paul (Paul Morgan Stetler), a white American couple from Wisconsin, on their travels in Cairo. They leave their college age children behind to embark on a trip to celebrate their 24th wedding anniversary. It is revealed later that their trip was planned to coincide with Paul’s work trip. While in Cairo, long-buried troubles within their marriage begin to surface as they interact with recently engaged Egyptian tour guides, Maha (Naseem Etemad) and Sief (Wasim No’mani). They soon find that working through their issues will not be easy, as the couples’ lives become increasingly complicated. Ahmad Kamal’s role as a boat driver, museum guard and door person really bring the setting to life. His range pulls the story together and allows for the play to feel more dimensional adding in plots that would otherwise be difficult to explore with only the two couples.

The stage opens to a quaint, wooden room. There is nothing but a small bookshelf and desk to the right, and to the left, a bare bench and coat hanger. An American flag stands basked in the bright glow of a spotlight. Littered about the theatre, there are signs that read: “We demand equal rights now!”, “Jim Crow must go!”, “We demand voting rights now!”, and “In freedom we are born, in freedom we must live!”.

Fannie: The Music and Life of Fannie Lou Hamer begins with Fannie Lou Hamer—usually played by E. Faye Butler, but for that afternoon’s show by Shaunyce Omar—walking onto the stage to speak at a podium. Hamer’s voice is loud and captivating as she begins her retelling of attempting and failing to vote when suddenly, the podium is pulled away. President Lyndon B. Johnson has ordered a spontaneous conference at the White House solely to take away the focus from Hamer’s testimony. This scene, simple as it may be, makes you angry on Hamer’s behalf and is our first taste of the heart-wrenching injustices that will take place later on.

Following a post-lockdown debut of Babette’s Feast, Taproot Theatre has hit the ground running in 2022 with an excellent rendition of the otherwise mediocre farce See How They Run. The show’s premise relies on the classic comedic trope of mistaken identities, and the resulting tomfoolery isn’t any more inventive. However, playwright Philip King’s intricate plotting and Taproot’s excellent cast make for a night of entertaining shenanigans, albeit nothing more.

The play follows Penelope, a vicar’s wife, as she attempts to have a night on the town with an old friend of hers, Corporal Clive Winton, while her husband is away. However, her foolproof plan is interrupted when a Russian spy is discovered to be on the loose.Nathan Brockett, Miranda Antoinette, and Nathan Tenenbaum in See How They Run at Taproot Theatre. Photo by Robert Wade.

Musical theatre is a beloved art form. However, fans of the genre will be the first to admit that there are a lot of unrealistic parts to musical theater: breaking into song every few seconds, random dance breaks, that one character who only talks in minute-long monologues. Unfortunately, one all-too-real problem is how inaccessible it is. Musical theater is supposed to be fantastical and fun. Even when it discusses hard topics, there are songs and elaborate dance numbers to add levity. It’s a way to escape from the real world for a while, to a place where everything is a little brighter. It’s not fair that only some people get to experience this form of escapism.

As a lower-middle class individual who loves musical theater and has grown up bouncing between Chicago and Seattle, two big theater industries, catching shows has been near impossible. Tickets are expensive and getting them for a family of four is a financial nightmare. My family tried to get tickets to Hamilton for two years before we were able to find upper balcony, back row seats that we still had to dip into our savings for. Theatre is elitist. It shouldn’t be.

Maybe the month of February, which is filled with celebrations of love, community, and sparkling pink confetti, will provide a sweet reprieve from these past bitter months. We at TeenTix certainly know that enjoying accessible art of all forms is a great way to feel the mood. The month offers a diverse selection of art events, from lectures to operas to plays—you have the freedom to choose!

Kicking the month off, the Newsroom will cover SAL’s (Seattle Arts & Lectures) exploration of complex ethical questions in conversation with Michael Schur. Schur is renowned for his work creating or writing for the shows The Office, Parks and Recreation, and The Good Place. If you’re not the biggest TV show buff, Seattle Town Hall will be hosting a discussion with leading intelligence expert Amy B. Zegart on The History and Future of Espionage in the U.S. Zegart clarifies harmful cognitive biases that the media has instilled in us about espionage, and even reveals information about the current endeavors of U.S. intelligence agencies.

“Banned! Witch Hunt,” is the first of a series of film talks at SIFF focussing on banned films and censorship throughout history. This informative two-hour workshop was communicated via a thought-provoking presentation on films banned by the U.S. government under 1920s obscenity laws. Due to COVID-19 precautions, this production was offered in a hybrid model where audience members had the option to participate in-person or view the production online through Zoom.

I engaged through Zoom, and the workshop started promptly. The presentation was effectively presented through a shared screen and the audio was extremely clear. The session was largely divided into three parts: an educational lesson on silent films, an exploration of two silent films, and a Q&A.

In the late 19th and early 20th centuries, many architects were guided by the maxim that “form follows function.” In the early 21st century, based on the success of shows such as Modern Family and Parks and Recreation, many television writers are guided by the maxim that “mockumentaries make money.” While story structure differs from architecture, the symbiotic relationship between the format and content of Bo Burnham’s 2013 sitcom Zach Stone is Gonna Be Famous makes for a triumph in bingeable situational comedy despite the show’s occasional lazy humor.

Zach Stone is a mockumentary series that captures the life of a high school graduate played by Burnham who chooses to use his college fund to hire a film crew to document his life rather than pursuing higher education. Each episode features a zany get-famous-quick scheme that inevitably goes awry, forcing Zach’s friends and family to save him. After one season, MTV canceled the show.

2022 will be another year of firsts—some good, some bad, but hopefully enough to get us on the right track. It can be difficult to face yet another wave of uncertainty, but if nothing else, we here at TeenTix know that the art world will continue to flourish. Be it film, theater, music, or whatever else gets your creativity flowing, join us as we start the new year off with pieces from across the state.

Feeling like heading back to the stage this January? If you’re looking for something to make you laugh, come and watch See How They Run at Taproot Theatre Company, a lighthearted comedy about how one woman’s night out on the town can turn to mayhem. Or if you have an animal companion at home and want to see a creative take on their shades of morality, take a look at Animal Saints & Animal Sinners 3 at 18th & Union. For those who like a touch more realism, ACT presents Hotter Than Egypt, a dramedy (drama-comedy) that follows two American tourists and their two Egyptian tour guides. And for anyone interested in historical activism, Seattle Rep’s one-woman musical Fannie: The Music and Life of Fannie Lou Hamer is sure to be a hit.

The Teen Editorial Staff teamed up once more to bring to light some different perspectives about the recently released Arcane: League of Legends (2021). Read on to see how anyone can gather enjoyment from this new Netflix series, whether or not you're an avid video game enthusiast. DISHA

Having no interest or experience in video games except for the pesky midnight screaming of my brother in the neighboring room, I was pleasantly surprised by Arcane: League of Legends. The unique animation style with its fresh coloring gives life to the characters; the 2D textures utilized to create the backgrounds of certain scenes contrast brightly with the fleshed-out 3D characters, fabricating a somber mood. The brunt of the storytelling is conveyed through an ethereal narration that harkens to a gruesome yet hopeful past (courtesy of Hailee Steinfeld) and lends to the meaningful themes in Arcane’s narrative. The plot hoists itself on the legs of stories and tropes already told—innocence inevitably corrupted by society’s ruthlessness, lost sisters, warring siblings, a battle for the ages—it’s a tale as old as time, pioneered by predecessors such as Avatar: The Last Airbender and The Dragon Prince. However, the show’s worldbuilding and portrayal of war and society is so bracingly revolting, that it highlights a welcome, adult perspective in animation—mostly afforded by its unapologetic swearing and sexual plotlines.

For the premiere of We’ve Battled Monsters Before, ArtsWest transformed itself into a creative fantasyland reminiscent of the chocolate room in Willy Wonka and the Chocolate Factory. However, musical instruments are scattered across the stage rather than oversized candy and while there is no chocolate fountain in sight, a tree composed of fabric and paper towers over the audience. Despite the set’s inherent minimalism, the space bursts with color and creativity, as does the show. Photo by John McLellan

Justin Huertas, the creator of Monsters, was TeenTix’s first-ever Crush of the Month, and for good reason. The talented writer, composer, and performer explores his intersectional identities through musical allegories that entertain and inspire empathy among Seattle audiences. However, this was not always the case—according to a January 2010 interview with TeenTix, Huertas “enjoy[ed] writing plays and songs, but the two didn’t mix well for him when he tried to write a musical.” Based on Monsters, I can assure you that is no longer the case. Photo by John McLellan

Vincent van Gogh’s oil paintings are well known and honored by almost everyone who knows anything about art. It’s well known that his struggles with mental illness impacted his art. In a rented warehouse on Occidental Street, Van Gogh: An Immersive Experience displays art in a way that makes it accessible to a modern audience using digital enhancements to warp his work into a dynamic performance that captivates viewers.

Near the entry, a summary of Van Gogh’s life hangs next to a sculpture of his head. The figure holds a projection of Starry Night that looks as if it’s growing onto the figure. Having a three dimensional Van Gogh head as the canvas for a two dimensional oil painting beautifully displayed the depth behind Starry Night and showed how Van Gogh saw the stars. Though creative and captivating, the display raises the question: Does this display change his intent behind his original creation? Is this an expression of Van Gogh or the current creators of the exhibit? Photo by Dan Swartz for Exhibition Hub & Fever

The winter season brings to mind precious, wonderful memories, and the prospect of making even more. Alternatively, it harkens the mundanity of semi-theatrically unboxing presents for an hour of your day before returning to doing whatever work you had set aside for Winter Break.

However, there is humor to be had in the outlandishly horrible, the “[winter-adjacent holiday] gone wrong” that you’ll always remember either as a sore patch, a laughing point to bring up in holiday-related small talk, or a blank hole in the timeline. This notion of being able to look back and laugh is the basis of Jet City Improv’s Uncle Mike Ruins Christmas, a performance in which actors take audience members’ fondest holiday memories and—through the medium of the titular uncle, played by Mike Murphy—decimate them in ways both insane and inane. I found this concept ripe with comedic potential, and having enjoyed what little experience I had with improv shows, I signed up to check out their performance at West of Lenin.