TeenTix Blog by TeenTix Press Corps Workshop

After many years, we finally have another remake adaptation, but is this remake really worth the hype? Louisa May Alcott’s Little Women, a classic tale about the sisterly bond and womanhood in the 1800s, covers aspects of navigating romantic relationships and careers throughout this harrowing time period. Throughout the years, there have been many adaptations of the story of the March sisters, and Greta Gerwig now adds to that stockpile following Gillian Armstrong’s widely received 1994 version. Gerwig’s Little Women is anything but little, giving it its own unique but strange voice in the myriad of these adaptations. It crumbles boundaries set up in the previous one, but also introduces a rather deeper and equal connection with the sisters, although it relies on an audience with previous exposure to Little Women.

One of the many differences in Gerwig’s rendition, is how the plot is expressed; in this case, through a non-linear timeline. Both the book and many previous adaptations have relied on a linear timeline to grow our relationships with the characters, as they themselves grow up. Though it surprised me, the non-linear timeline does not take away from this; in fact, it adds to it. When we see all of the characters grown up, the flashbacks of childhood make it seem like we are traveling back with them. As we know bits and pieces of the present, our minds have to work to connect the dots, making it feel like we are the ones involved in the relationships, as well. When this happens, however, it can also disrupt the emotion of certain scenes. During some scenes that are meant to be sorrowful, for example, a memory might pop up, adding to a more cheerful mood, disrupting the already established tone. This is fine, but the effect may be jarring, and sometimes takes away the emotional climate of certain scenes. Emma Watson, Saoirse Ronan, Florence Pugh, and Eliza Scanlen in Little Women (2019).

We met Sam, Adem, and Faith along with Kyle Hartmann, around a large table on a cloudy day in April. Sam, Adem, and Faith are all students at Franklin High School in South Seattle, and members of STARFISH PROJECT and Kyle, is the STARFISH PROJECT program manager. The focus of our meeting: to learn and gain insight and information about STARFISH PROJECT.

STARFISH PROJECT, which started in 2017 in a woodshop at Franklin High School, works to provide professional access to education and career opportunities in theatre craft. The program takes place anywhere between six and nine weeks, three days a week, for three hours. Each iteration works to put on a show. The program usually starts with the school’s existing theatre program (if there is one), and works with actors from the drama club as well as students interested in carpentry, set design, lighting design, stage managing and more. Although STARFISH PROJECT works with three high schools: Chief Sealth, Franklin High School, and Rainier Beach High School, the program is not limited to students at those schools. Any 14-18 year olds (and older) in the Seattle area are welcome to join the program, although it is geared toward high school aged kids, and they hope to expand.

The world of theatre is slowly getting more diverse. Actors of color are finding more jobs, female directors are gradually gaining recognition, and most shows are providing more representation as a whole. But the backstage world is still ruled by straight white men. Technical theatre is an extremely important aspect of stagecraft that is often overlooked. People prefer the flashy and glamorous onstage action to the quiet and stealthy work backstage. Because of that, technical theatre training is almost nonexistent. The STARFISH PROJECT is looking to rectify that.

Through a partnership with Sawhorse Revolution, the Intiman Theatre launched the STARFISH PROJECT in 2017. The project’s goal is to provide accessible training in all aspects of technical theatre to teens in the Seattle area, especially in high schools that have underfunded or nonexistent arts programs. Already, it has had a powerful impact on students’ lives.

Something is a little off here in the Feathers and Teeth produced by Washington Ensemble Theatre. "It’s Such a Pretty World Today" by Nancy Sinatra accompanying the typical American household set certainly sets the initial mood. This 80 minute play is a unique comical horror show, illustrating grief stricken Chris (Rachel Guyer-Mafune) after losing her mom and now dealing with over enthusiastic perky step mother Carol (Samie Spring Detzer). With Chris’ anger against the world thoroughly expressed through her love of rock music and her multiple attempts of stabbing people (and the successful attempt at a strange animal in the pot that the play revolves around), Carol’s bipolar moods and manipulation over her husband Arthur (Brandon J. Simmons), and Arthur’s introduction is with him having blood on his hands and maybe just killing an animal (on accident, though), this play keeps the audience guessing on who exactly is the psychopath. Rachel Guyer-Mafune as Chris in WET's Feathers and Teeth. Photo credit: Chris Bennion

The artistic touches were great. I will not give any vital spoilers away. In one striking scene, Carol smokes at the table in the dark with the red light highlighting her, and below her in the crawl space (that is viewable to the audience) someone is maliciously being attacked in all red light. It was a great contrast, unique use of multiple levels of staging, and a scene that was ultimately wonderfully twisted. Feathers and Teeth certainly could have been scarier, though. It consisted of a few jump scares with the animal jumping in the pot or with the lighting design by Ryan Dunn, but it could have had more of a variety of scares.

Feathers and Teeth is a short play with a small cast delving into ideas of grief, madness, and manipulation. A delusional daughter, a manipulative stepmother, and an oblivious father take the stage around a mysterious death and supernatural beasties—but what does it mean?

Created by Charise Castro Smith and directed by Bobbin Ramsey, the play centers around thirteen year old Chris, her father Arthur, and her stepmother Carol. Chris is convinced that Carol, her deceased mother’s hospice nurse, is a demon, while Arthur sees no substance in his daughter’s accusations. The wonderfully designed set by Pete Rush and the lighting design by Ryan Dunn pull the piece together, but the overall meaning of the play is ambiguous at best.

A sinister secret within a traditional family dynamic, or is it all just a paranoia-filled quest for vengeance? Feathers and Teeth, by Charise Castro Smith and directed by Bobbin Ramsey, was a 70’s-esque thriller that embodied the eerie vibes in Hamlet, Hereditary, Pet Cemetery and It Follows that both theater and horror fanatics will love.

Feathers and Teeth, a suspenseful story involving a nuclear family in the 70s, leads the audience down a twisted backstory. Events and secrets are revealed, accusations introduced and action taken by the teen protagonist Christine, who is played by Rachel Guyer-Mafune who has a grudge for her becoming spunky step-mom Carol, played by Samie Spring Detzer.

Out of the smoky darkness, Kyle Abraham emerges, opening the magnificent four piece Abraham in Motion (A.I.M.) with one explosive solo, "INDY." Four stand-alone pieces that touch on police brutality, love, human connection, powerlessness, and pain, and everything begins with one gloriously powerful solo. An entire piece performed by one man.

Abraham enters through a veil of smoke, walking into an ethereal ray of light. His arms shake, pelting the light with a barrage of questions. It does not answer. Then, slowly, things calm.

“Shut your eyes….”, played repeatedly and the beep, beep, beep, of the sound effects rippled through the theater as the audience watched the fluid dancers take up the stage. Kyle Abraham and his company Abraham In Motion (A.I.M.) presented four pieces on stage at the Moore Theatre this March. They were all beautiful pieces, but there was one piece in particular that stood out along with a specific part of another.

In Abraham’s fourth piece, “Drive”, the music seemed to get louder and louder as fog filtered onto the stage. The dimmed lights were on the dancers as they pulsated in synch, the rhythm of the music pounding along. The feeling of desperation, and the intense need to convey something filled the air as the dynamic dancers unhesitatingly continued to flow and sway. They were swift and unstoppable in their need to get the audience to understand. An ominous feeling filled the theater, yet eyes remain locked on stage. This feeling was amplified after the previous message commemorating any black man who reached age twenty-one from the piece “Meditation: A Silent Prayer.” As the lights dimmed further and the curtains went down, the audience stood for an ovation.

"The biggest question is, why would I come to Seattle after that?"

Phillip Chavira used to be a Broadway producer. His job was to raise money to invest in shows, and if they made a profit he got paid—which was rare, but glamorous when it happened. In 2016, he was nominated for a Tony Award for co-producing ECLIPSED, a play about the Second Liberian Civil War with an all women of color cast, director, and playwright. He worked with Stephen C. Byrd and Alia Jones-Harvey, the only current African-American producers on Broadway. But in 2017, he moved across the country to work with a theater company struggling to get out from under its 2.7 million dollar debt.

On Wednesday, April 10th, I had the opportunity to interview Phillip Chavira, alongside two other members of the TeenTix Press Corps Intensive. Chavira is the Executive Director of the Intiman Theatre and, prior to coming to Seattle, was nominated for a Tony Award for his work as co-producer on the groundbreaking Broadway play Eclipsed. Eclipsed’s cast, director and playwright were all women of color.

Beezus Murphy: Yeah, I read that you were nominated for a Tony.

Police sirens wail as officers dressed in riot gear rush in, followed by parents who cry for their children. To an unknowing spectator, this could be the beginning of a crime thriller. But this is no murder mystery, it is a four hundred year-old tragedy.

ACT Theater’s Romeo + Juliet, directed by John Langs, brings a Shakespearean classic into the modern world to address the violence and anger that today’s youth face. The production, part of the season’s goal of bringing new life to older works, also added a new dimension to the story with the casting of Deaf actors in the roles of Romeo and Friar Lawrence. But while this production incorporates stunning performances by both Deaf and hearing performers, the romance becomes questionable when brought into today’s societal norms.

ACT’s production of Romeo + Juliet, directed by John Langs, added new aspects to the play like American Sign Language that intrigued and mesmerized the audience. Everyone knows the story of Romeo and Juliet, the love, the laughter and the pain. But this production added a new form of communication, American Sign Language. Although the play Romeo and Juliet has been done time and time again, this production was able to make it new with the sets, actors, and directing they used. The new communication used in the play added parts to the story not used in the original play, allowing a deeper look at the characters’ lives not seen before.

They used a small stage, with the seats surrounding it like a colosseum. Throughout the three hour long play, the actors interacted with the audience. In one scene, Mercutio jokingly asked a little girl to dance, and Benvolio complimenting a woman’s pants in an attempted joke at Romeo. The props, including a table and three small chain link fences, were used and moved by the actors for each scene. With these, they were able to create a surprising variety of different scenery. From the intimacy of Juliet’s balcony, to the streets of Verona where Tybalt and Mercutio are slain, to a scene reminiscent of the rumble scene in West Side Story, the chain link fences and lighting resembling the same dark alley, gang violence notions.

ACT Theatre’s Romeo + Juliet touched the heart and tickled the soul. The actors continuously took the audience from laughing to holding their breath in suspense. I was constantly on the edge of my seat, waiting for what came next. In a play as familiar as Romeo + Juliet, there were vulnerable moments and heart-wrenching scenes that came as a surprise.

Chain link fence, tarp, and concrete surrounded the audience and stage. The set reminded me of the immigrant detention center in Tacoma, where I have witnessed children travel hundreds of miles to spend a few minutes with an exiled parent. Like immigrants in the detention center, Romeo and Juliet had a hard choice to make. They could leave their homes and families for a better life together. A life without fighting and death. Leaving means losing the life they have known. If they stay, their true love could be killed in the cross-fire, but they would have their family and parents around them.

PNB Artistic Director Peter Boal has exalted the path of ordinary life, and sometimes that of thousands of dancers, selecting three different productions that are both well linked and assorted, giving the public a real and proper representation of the stages in which the individual audience member can be encountered.

The number three is one of the recurrences that the audience can see in the production: three different acts, three different stories by three different choreographers. Matthew Neenan's "Bacchus" opens the show, continuing with "The Trees The Trees" by Robyn Mineko Williams, and the curtain falls on the latest movements Justin Peck's "In the Countenance of Kings." The minimalism of the neoclassical ballet is a perfect conductive line for the different technical aspects. The lights and the dancers communicate the stories and emotions instead of extravagant or pompous costumes, cumbersome set design, or too-perfect lines in the movements. All this makes us as audience members focus more on the feeling of self-recognition as if to say ''This is me! ''Pacific Northwest Ballet soloist Margaret Mullin in Matthew Neenan’s Bacchus. PNB is performing Bacchus as part of DIRECTOR’S CHOICE, March 15 – 24, 2019. Photo © Angela Sterling.

On March 15th, Pacific Northwest Ballet presented Director’s Choice, a collection of three pieces ("Bacchus," "The Trees The Trees," and "In The Countenance of Kings," respectively), two of which ("Bacchus" and "The Trees The Trees") were world premieres.

The first piece of the evening was "Bacchus," set to music composed by Oliver Davis, and choreographed by Matthew Neenan. As a whole, "Bacchus" was quite enjoyable, from the costumes, to the score, to the dancers’ movements themselves. The stage was clean, and the only backdrop provided was the mezzanine. All of the dancers were draped in deep, rich purple hues, which evoked the color and smoothness of wine (costumes designed by Mark Zappone). The movement of the dancers was almost birdlike in the beginning vignette of the piece, with dancers pairing off to intertwine themselves with one another in a courtship dance. James Moore, whose costume was a slightly brighter purple than the others, and which had a cape-like attachment- remained onstage during the entire piece, and his character’s movements seemed to influence the others. During the second vignette, when Moore danced alone, his movements were large, sweeping, and reminded me of a storm or a tempest. A third intriguing choice was when, during the third vignette, the music stopped altogether, allowing the heavy breathing and squeaking of shoes to be heard as the dancers moved around the stage.

The Theater & Dance Press Corps Intensive was a four-week arts-going and criticism practice workshop that ran March-April, 2019. Throughout the four weeks, a group of ten teens learned how to approach theater and dance criticism and practiced these skills by reviewing two plays and two dance performances at different TeenTix Arts Partners. The group met each week to discuss the art they saw and various issues within the field of arts criticism.

The group was mentored by two professional critics, Becs Richards and Melody Datz Hansen, who helped each teen hone their arts writing skills. Stay tuned on the blog for reviews of each event!

Jason Johnson, is local a punk musician, in three bands: Dogbreth, Itemfinder and The Exquisites. Their music makes you feel as if you’re at a rock concert. It's very real with live instruments; you can really feel the melody. It’s violently emotive. Each song has its own story, whether it’s about love or just wanting to hang out with friends and watch anime.

When did you start playing music? And why?

Recently, we were able to sit down with Jason Clackley of the Vera Project, an all ages music venue that showcases up and coming artists. He is also a part of two bands, The Exquisites and Dreamdecay. He talked with us about The Vera Project, his experiences, and about the path of new and emerging artists.

Where are you from and how long have you been making music?

The Vera Project has become a household name in Seattle since their founding in 2001. They hold shows for all ages with a strong value on no drugs or alcohol within the building, while creating a fun space for teens and adults alike. Many have seen shows, performances, and concerts at The Vera Project, but not many know of the significance it has on the local Seattle artists it partners with. From holding programs, to booking new artists their first shows, it is clear The Vera Project cares about its Seattle musicians and the music community it cultivates. One of these up and coming musicians is the young, dedicated, and inspired Hunter Grier. A fresh high school graduate, Grier, 19, has already released over twelve collections of songs and tells us he has more in the works.

Grier is a DIY artist. When I asked him what that means, he told me “DIY [do it yourself] culture is what the name implies. It’s doing it by yourself, being able to like take projects into your own hands.”

The Vera Project is an organization steeped in independent spirit. With roots in the D.I.Y. movement, the entire space hums with a deep reverence for creativity and individuality, and possesses a kind of unapologetic grittiness that’s rare in most mainstream venues. It feels like the grown-up evolution of a punk house—a place carved out by artists with the needs of artists in mind. One artist at the forefront of this carving is Jason Clackley, programs director for The Vera Project and long-time fixture in the Seattle music scene. Sitting before a backdrop of locally-illustrated zine covers, show flyers, and band posters, Clackley speaks animatedly about his youth, his experience with the local arts culture, and his evolution as an artist. His simply-stated personal history feels like a perfect extension of The Vera Project mission.

“I bought a guitar, and I started making music. I took a few lessons and started playing shows, and then I started doing my own shows, and I moved on from there.”