TeenTix Blog by TeenTix

Cold Weather @ NW Film ForumAfter becoming an indie sensation with his films Quiet City and Dance Party USA, Aaron Katz returns to the screen with the maturity of a veteran filmmaker whose arsenal of cinematic tools seems to know no bounds. Cold Weather, his newest work (set in his native Portland), is simultaneously a story of siblings Doug and Gail and a mystery in the great tradition of crime and detective fiction. Katz’s coy and funny thriller keeps audiences guessing, while sharpening his singular cinematic style. Cinescope hailed it as "the greatest American film of the year."Watch the trailer:Cold WeatherNorthwest Film ForumMarch 11 - 17Daily showings at 7:00 PM and 9:15 PM

olivia - this is a very well written review. it is also a true review - not a mere recap - it tells the reader why you like it and makes him (her?) want to attend. will attend with a yard head.

Review of The Mysterious Content of Softness at Bellevue Arts Museum by Olivia O.Ever since I was eight and my grandma taught me how to cast on with some fluffy purple yarn, I’ve been hooked on knitting. Since then, my free time is usually spent churning out hats, scarves, sweaters, and the occasional pair of pants (not kidding). Although I have an obsession with all things yarn, I knew almost nothing about “fiber art,” the medium showcased in The Mysterious Content of Softness at Bellevue Arts Museum.Lacey Jane Roberts. We Couldn’t Get In. We Couldn’t Get Out. 2006 - 2007. Hand-woven wire, crank-knit yarn, steel poles, assorted hardware. Courtesy of the artistThe exhibit showcases 11 artists at various stages in their careers who use crocheting, knitting, embroidering, and other fiber arts to create metaphors for the fluidity of life and what it means to be human. Despite the traditional techniques used to form them, these aren’t your grandma’s sweaters– everything from knitted fences to embroidered plastic bags to crocheted urinals are on display. The pieces are funny, thought-provoking, whimsical, and baffling – sometimes all at the same time.Miller & Shellabarger. Untitled (Crochet, Basel, Switzerland). 2008. Archival pigment print, edition of 5, 1 AP. Courtesy of the artists and Western Exhibitions, Chicago, IllinoisMany of the artists use their artwork to address gender issues. One of my favorite pieces, a photo of artists Miller & Shellabarger knitting a bright pink tube while sitting on a fishing boat, takes on two very different images of tough-looking guys and a feminine activity and creates a humorous and interesting combination. Lacey Jane Roberts’ self-described chain-link “fence in drag” creates a bright pink barrier that deliberately interrupts the flow of the exhibit. I loved these pieces; they boldly challenge stereotypes and expectations and give the viewer something to think about.Nathan Vincent. Locker Room. 2010. Crocheted yarn, foam, wire and polyester stuffing. Courtesy of the artist. Yarn donated by Lion Brand YarnOther highlights for me in the exhibit include Nathan Vincent’s Locker Room, complete with life-size replicas of lockers, urinals, and showerheads all made out of yarn, and Angela Ellsworth’s Seer Bonnets: A Continuing Offense, a collection of nine bonnets formed by beautiful pearl-tip corsage pins with the pointed ends sticking out menacingly on the inside.If you want to see all the creative ways that needles and thread can be put to use, check out The Mysterious Content of Softness. Whether you’re a yarnhead or not, you’ll find a fascinating exhibit that will wow you with the ingenuity and imagination of these incredible fiber artists.The Mysterious Content of SoftnessBellevue Arts MuseumThrough June 26, 2011Bellevue Arts Museum Hours:Monday - Thursday 11 am - 5 pmFriday 11 am - 8 pmSaturday - Sunday 12 - 5 pm

Review of Shadows of a Fleeting World: Pictoral Photography and the Seattle Camera Club @ Henry Art Gallery by Isabella F.Dr. Kyo Koike. Reconstructive. c. 1930. Gelatin silver bromide print. University of Washington Libraries, Special Collections, UW29048z.Shadows of a Fleeting World is a very striking photography exhibit. The photographs taken in the time period between the World Wars shed a light on everyday life in Seattle during the early 1920’s. Similar camera clubs in San Francisco and Los Angeles only accepted Japanese immigrant men into their groups, but Seattle’s club had more diverse membership. Club members were not only Japanese males but also women and whites. The inclusive nature of the club is made more striking by the fact that these Japanese immigrants were not able to gain citizenship.Ella McBride. Judging a Print. c. 1926. Gelatin silver chloride print. Private collection. One photograph, by Hideo Onishi, stood out the most to me. A man stands on a rowboat with a still lake in the background and small ripples on the water. Each subject has complete black and white contrast and the water from the lake can be seen dripping from the man’s coat. Much of the exhibit includes work by Dr. Kyo Koike. His most dramatic piece for me is of the ocean from far above with a man in a rowboat as a speck on the water. Every time I walked past this photo I felt a sense of enlightenment. Other works by him are just as beautiful and moving. One of the highlights of the exhibit is an array of greeting cards sent to Dr. Koike from around the world.Yukio Morinaga. Magellans of Today. c. 1925. Gelatin silver print. University of Washington Libraries, Special Collections, UW29044z.A photograph taken of the Seattle skyline has dramatic cherry tree branches in the foreground and a lighter view of downtown Seattle behind a deep layer of clouds. The Smith Tower is the skyline's only skyscraper. Scenes like these produce not only incredible composition but a view into the history of Seattle. More lighthearted photographs by Wayne Abee focus on dancers and actors dressed in elaborate costumes. The variety of scenes and types of photographs in the exhibit kept me enthralled for well over forty-five minutes.The 1928 American Annual of Photography wrote about the club, “The influence of this group on our Pacific coast has put a lasting mark on photography in the country, the repercussions of which are echoing throughout the world.”Shadows of a Fleeting WorldHenry Art GalleryThrough May 8, 2011Henry Art Gallery Hours:11:00-4:00 Wednesday11:00-9:00 Thursday, Friday11:00-4:00 Saturday, SundayClosed Monday + TuesdayRemember: The Henry is ALWAYS FREE for Teen Tix members, and you can always bring a guest for $5.00!

Please see my review. Watch Preview VIDEO. GO. ENJOY.http://www.facebook.com/?ref=home#!/SpectrumDance/posts/115905341817685

http://www.facebook.com/?ref=home#!/SpectrumDance/posts/115905341817685

Hi,16 and older is just a recommendation, based on the fact that the show contains adult themes (like prostitution). But yes, you're allowed - you won't be denied a ticket because you're 14. I would say just talk with your parents and use your best judgement. If you're teacher, who knows you, is familiar with the show and felt that it would be appropriate for you, then it's probably fine.If you or your parents have more questions about content, you should get in touch with Seattle Shakespeare Company directly. You can call their box office at 206-733-8222.Hope that helps! HollyTeen Tix Program Manager

Why does it say ages 16+? I am 14 and my teacher reccomended this musical to me. Am I allowed to go evem?

Special Enviro-nerd Edition!There are two films playing this week that should be on the calendars of all you compostin', tree plantin', recyclin', lovahs of the land (We're not making fun of you, we swear. We are you.)Queen of the Sun @ Northwest Film ForumMarch 4 - 10Director in attendance opening nightMore info at nwfilmforum.orgQueen Of the Sun provides a profound, alternative examination of the tragic global bee crisis, known as Colony Collapse Disorder. Featuring Michael Pollan, Gunther Hauk, and Vandana Shiva, Queen of the Sun reveals both the problems and the solutions in reforming a culture to be in balance with nature.Watch the trailer:Carbon Nation @ SIFF CinemaMarch 4 - 10More info at siff.netBilled as "The Climate Change Movie That Doesn't Even Care If You Believe In Climate Change," Carbon Nation is an optimistic, solutions-based, non-preachy, non-partisan, big tent film that shows tackling climate change boosts the economy, increases national & energy security and promotes health & a clean environment.Director Peter Byck spent three years traveling the country to visit with everyone from ordinary citizens to titans of industry, all of who are striving to be part of a new, low-carbon economy. The good news is we already have the technology to combat climate change, and it also happens to be very good business.Watch the trailer:Both Northwest Film Forum and SIFF Cinema participate in the Teen Tix program. Day-of-showing tickets are always $5.00 for Teen Tix members. Ticket availability is not guaranteed. We recommend calling ahead before you head down to the theater.

The Mother of Us All, presented by Spectrum Dance Theater @ The Moore TheatreOur Crush of the Month, Amber Mayberry, stars in this "cheeky prat-fall down the rabbit hole of contemporary Africa. Using a kaleidoscopic mixture of dance, music, spoken words and gripping imagery, Artistic Director Donald Byrd plumbs the complexities of modern Africa in an evening of dance|theater that will defy the status quo as it entertains and challenges audiences."Watch the GORGEOUS preview video:

Spectrum Dance Theater - Mother Of Us All • Preview from Spectrum Dance Theater on Vimeo.Can dance change the way we think about an issue as complex as modern Africa? Can if be entertaining at the same time? If Spectrum's previous two pieces in their Beyond Dance: Promoting Awareness and Mutual Understanding (PAMU) series are any indication, the answer is a resounding YES. Go, and find out for yourself.The Mother of Us AllTHIS WEEKEND ONLY: March 3 - 5Spectrum Dance Theater at the Moore Theatre1932 Second Ave, Seattle, WA 98101

Shadows of a Fleeting World at Henry Art GalleryThe Seattle Camera Club (SCC) was founded in 1924 by Japanese immigrants to the Pacific Northwest. Despite the pervasive racism that prevented Japanese immigrants from gaining citizenship, the work of SCC members was well received, finding prizes, purchasers, and general acclaim. Acknowledging the prominence of West Coast camera club photographers, the editor of the 1928 The American Annual of Photography wrote, “the influence of this group on our Pacific coast has put a lasting mark on photography in this country, the repercussions of which are echoing throughout the world.”Here's a perfect, unprecedented chance to check out some of their work. As The Stranger's Jen Graves says "This is a story of your city, in pictures"Shadows of a Fleeting WorldHenry Art GalleryHours11:00-4:00 Wednesday11:00-9:00 Thursday, Friday11:00-4:00 Saturday, SundayClosed Monday + TuesdayREMEMBER: Teen Tix members always get in FREE at the Henry Art Gallery, and you can always bring a guest for $5!

Hard-working, cute-boots-wearing, Janet Jackson-loving dancer Amber Mayberry Check out Amber's interview with Tucker C.: You can see Amber dance in Spectrum Dance Theatre's upcoming show The Mother of Us All March 3 - 5 The Moore Theatre More info at spectrumdance.org

Filmmakers and film lovers, this is an amazing opportunity!At film festivals around the world, a selection of accomplished filmmakers and other film professionals are selected to watch a series of films and award ONE as the best film in the program. At SIFF 2011 (May 19 - June 12), fourteen youth (seven Films4Families and seven FutureWave) will be selected to award the Youth Jury Award for Best Feature in their category.We are looking for students from across King County who have a passion for seeing movies. Youth in grades 3 - 7 are eligible for the Films4Families Jury and teens in grades 8 - 12 may apply for the FutureWave Jury.Download the application here.Any questions about the Youth Juries or SIFF Educational opportunities may be address to [email protected] or by calling 206.464.5830.

Review of The Threepenny Opera presented by Seattle Shakespeare Company at Intiman Theatre by Rachel T. “Art isn’t nice,” says Macheath, main character of The Threepenny Opera, with a smirk. Art is humanity expressed through song, dance, canvas, and more. It is the representation of what mankind truly is – and when you get down to it, the fundamentals of mankind aren’t always lollipops and rainbows, as Bertolt Brecht, the playwright, shows us with this savage satire. In eighth grade, I was forced to learn the opening number of The Threepenny Opera, "Mack the Knife," a song about a suspiciously shark-like Macheath and his lengthy list of crimes, from rape to robbery. Ironically, the number was added to the show at the last minute, but became the most well-known song. So I went to see the play expecting a dark musical drenched in violence, lust, and thievery. Gordon Carpenter as Readymoney Matt and John Bogar as Macheath (Mack the Knife). Photo by John Ulman. It is immediately evident to me that the acting is top-notch. Normally when I see plays, it’s easy for me to tell which actors are better at their jobs than others. However, with The Threepenny Opera, each actor/actress, no matter how small or big their part, does a breathtaking job. John Bogar carries the play as Macheath, a deceivingly genteel knife-wielding leader of thieves and charmer of ladies, feared by all. He reminded me of a twisted Jay Gatsby. Russell Hodgkinson is J.J. Peachum, a shopkeeper whose slate isn’t as clean as it appears to be, doing his best to bring the baddie (who has stolen his daughter’s heart and purity) down. Although these two are enemies, it’s difficult to identify the protagonist from the antagonist, since both have many immoralities. The sets are simple, (for example, just a bed and crates in one scene), but the actors’ skills leave you riveted on them and not the semi-barren stage. Even the use of shadows on the wall behind the characters is used artistically to subtly (or not so subtly) convey messages about what is going on.

Confession: At the start, I wasn’t really thrilled about doing this review. Don’t get me wrong—I think poetry is super-awesome and have zero problem with it, but it just wasn’t something that I normally would have gone to. Regardless, there I was, in Benaroya Hall on a Tuesday night, about to hear a poet that I previously knew nothing about. This, however, was not a huge problem. As it turned out, Patricia Smith is one of those special people who really require no introduction. From her first moments on stage, she was captivating. Her poetry can wax long but never frivolously. She is always in control of her words, and she reminds you of it. At points, the raw power of her words grabs you by your shoulders and flings you across the room into the wall. Her introduction described her style of writing as “trying on many pairs of shoes, seeing which ones are most uncomfortable, and making them dance.” And she did. The dance was not always pretty and simple. Her remembrances of racism growing up in Chicago and the brutality of life after Hurricane Katrina at times made us cringe, shifting our weight in our seats. This was the measure of her power as a poet; to make us look unflinchingly and directly at what we had previously only seen on television and in textbooks.

Photo © Seattle Poetry Slam on flickr

2011 BFA Dance Concerts at Cornish College of the ArtsFeb 19 @ 2pm & 8pmFeb 24 @ 8pmFeb 25 @ 8pmFeb 26 @ 2pmFeb 26 @ 8pmBroadway Performance Hall1625 Broadwaymap & directionsRead Anna B's review of last year's concerts:The BFA dance concerts need some sort of more attractive name. One glance at the title and you yawn, thinking of your little sister’s ballet recitals in third grade and the humdrumness of watching little girls in tutus forget their steps and wave at their parents. Which, actually, can be really entertaining, but not entertaining enough to intentionally go see unless dragged to.Photo by Chris BennionDon’t worry; the BFA dance concerts aren’t anywhere near as boring as their title. Young dancers from Cornish College of the Arts perform original pieces from choreography students; solos and large ensemble pieces. The music ranges from bizarre to lyrical to quirky to classical, and the dance pieces themselves are all over the place. It’s a fantastic chance to see a wide variety of dance styles and ideas smushed into one night; instead of a candy-box assortment of chocolates, it’s like someone threw the whole candy store up on stage—not usually recommended for any concert, but somehow they pull it off.Photo by Chris BennionThere are six BFA dance concerts, but three different shows, which unfortunately means you won’t be seeing the same one as me (my show only played the 18th and 19th). Nevertheless, I’m sure you’ll find awe-inspiring dancing in whatever show you go to. Some of the pieces will be breathtaking, some funny, some quirky, some puzzling, and some will just be blah. It is student work, and some of the pieces fell flat. But I assure you, the rest of the program will more than make up for the flops. At the end of the night, you’ll wish—like I did—that you could dance too, just to join in this creation of new art.- Anna B.February 18th, 2010

Review of The Odyssey at Taproot Theatre by Lauren W.The Aegean Sea. An enchanted island. The hall of a king. The underworld. The Odyssey, most epic of myths, takes the reader bounding through a fantastical ancient Greece. The images it conjures are grand and cinematic. How then can a theatre like Taproot hope to mount a production on its small thrust stage? The answer comes, quite simply and immediately, at the top of the production. A woman enters, Odyssey in hand, weakly attempting to recite the opening lines, until a muse descends to inspire her to truly embody Homer’s spirit. The storyteller and the muse speak and move as one, dance-like and captivating. This moment sets the stage for Taproot Theatre Company’s production of Mary Zimmerman’s The Odyssey: it’s not about making a spectacle, it’s about telling the tale.

Photo by Erik Stuhaug

The Odyssey is, at its heart, about a man who needs to get home and the family that longs for him. If you’re not up to speed, Odysseus has just fought in the Trojan War (the whole horse thing was his idea). On his way home, he runs afoul of the god Poseidon, who dooms him with various afflictions that prevent him from coming home for twenty years. Most adaptations would cut to the chase and follow Odysseus’ story right from the beginning, but that’s not how Zimmerman’s script does it, because it’s not how Homer does it. Instead, the story unfolds to us in its own twisty rhythm, introducing us to Odysseus’ wife and son, letting us see the interplay among the gods, and whetting our appetite to finally meet our protagonist.

Photo by Erik StuhaugAnd when we finally do meet him, the production loses none of the feeling of a community narrative. The thirteen players band together, each playing dozens of characters, all to tell the story of this man. Odysseus himself takes on the role of the bard for the central portion of the story, leading the audience through his own adventures. Scott Nolte’s direction in this portion of the myth is intuitive and delightful. The men need to sail? They fall into form and row in time, the sound design providing the waves. They need to become pigs? They sink to the ground and snort. It’s incredible how simply and effectively the cast and director find ways to convey the fantastical, physical elements of the story.

Photo by Erik StuhaugThroughout the production, Taproot keeps a balance between nods to ancient theatre and modern dialogue and structure. The result is refreshingly straightforward, but not lacking in touches of fun and artistry. From the plaintive bards’ songs to Hermes in converse to the big fight in the end, Taproot Theatre’s Odyssey is organic and captivating. Whether The Odyssey is a story you know by heart or a foreign narrative, Taproot’s production will remind you of the power of a tale well told.The OdysseyTaproot TheatreThrough March 5

Review of The Brothers Size at Seattle Repertory Theatre by Ehrik A.There has been a lot of hype surrounding “newcomer” Tarell Alvin McCraney. Already, his work has been compared to those of David Mamet, Tony Kushner, and August Wilson. So when The Brothers Size (part two of McCraney’s Brother/Sister triptych) came to Seattle, my expectations were high.The Brothers Size follows brothers Ogun (Yaegel T. Welch) and Oshoosi (Warner Miller) Size and doesn’t need its audience to be familiar with the other plays of the trilogy. The older Ogun is hardworking and determined to protect all that he has—ownership of an auto-repair garage and the company of his brother—while the younger Oshoosi currently wrestles with his new freedom after having been released from prison. Enter Elegba (Eddie R. Brown III), an ex-con who befriended the younger Size while in the pen, who also wants to have a loving and guardian relationship with Oshoosi. The audience observes the fraternal love triangle organically evolve as what can be taken as a conventional story becomes as captivating as it is moving.Each actor plays his character exceptionally well and is able to further showcase a variety of theatrical talents as the cast sings, chants, and dances throughout the play. Brown’s Elegba is particularly entrancing as you are constantly forced to reevaluate his character as a both a genuine friend and an ominous threat to the young Oshoosi. Welch and Miller also share a special chemistry that authentically models the highs and lows of brotherhood.And while each performance is virtually perfect, the true star of the show is the writing of 30-year-old Tarell Alvin McCraney, who wrote the script for Size while attending the Yale School of Drama. Replete with fast-paced dialogue and vivid and eloquent speeches, the language perfectly injects poetry into contemporary vernacular and is even ritualistic at times, playing into the elements of African storytelling that are prevalent throughout the show (the names of the characters stem from Yoruban mythology). Furthermore, the repeated use of more familiar (and profane) slang and the use of the “N” word continuously ground us in the delicate reality that serves as the foundation for this modern myth.Still, Size shares with the audience many heartfelt moments straight from brothers’ home including a soulful rendition of Otis Redding’s “Try a Little Tenderness” that leaves you smiling and mildly uncomfortable at the same time. And the play concludes with an emotionally searing and beautiful ending heavy enough to keep you in your seat despite your attempts to get up for a standing ovation. But I assure you. Get up you will. Go see this play.The Brothers SizeSeattle Repertory TheatreThrough February 27Ages 14+ for profanity, sexually suggestive language

Review of Vanities: A New Musical at ACT Theatre by Safaa D.Photo by Chris BennionHave you ever passed by an advertisement for a show and knew you just had to attend? It happens to me more often than not. This was how Vanities came to me and I was thrilled to have the opportunity to review it.Vanities: A new Musical follows three best girlfriends from the changing 60's to the narcissistic 80's displaying their transformations from teenage queens to experienced older women. In spite of their best laid plans, they follow different paths in life, not knowing when they’ll meet again. Set to the musical numbers of David Kirshenbaum, the actresses relay the lives of Joanne, Mary and Kathy through heartbreak, happiness and all the rest. Never leaving the stage--even for costume changes--the actresses sing their hearts out to tell the stories of these three women.Billie Wildrick as Mary, Jennifer Sue Johnson as Joanne, and Cayman Ilika as KathyPhoto by Chris Bennion Jennifer Sue Johnson, Billie Wildrick and Cayman Ilika take the stage and fill it with their powerful voices. Ilika (Kathy) outdoes herself with a rich and melodic voice that she seems to project effortlessly. You don't have to be a great singer to play in a musical, but Ilika's voice would be enough on its own. The fairylike Johnson (Joanne) and spicy Wildrick (Mary) portray their characters well, bringing out different personalities from two girls of the same town, each with their own view of the world.The music goes from upbeat to slow in tempo with a live piano/keyboard accompanist. Ilika's solo "Cute boys with short haircuts" lends a sweet note to the play. While the cheer routine by the three make it fun and tell the hopes and dreams of 1960's girls. Kirshenbaum's score is fun and entertaining, while telling the stories and aspirations of three American women.Photo by Chris BennionThis coming of age play craves audience for its 101 performances and, even though it’s a story about women, it promises to please all genders. I find this play has a wonderful authenticity. It asks questions like: What does being beautiful mean? How do you choose the right road? Is there one?Vanities will sweep you away in a whirlwind of music, thought, plans and cleavage. ENJOY!Vanities: A New MusicalProduced by 5th Avenue Theatre and ACT TheatreACT TheatreThrough May 1, 2011

Review of Cinderella at Pacific Northwest Ballet by Alyssa T. Calling all people! Whomever you are—old, young, romantic or not—seeing Pacific Northwest Ballet’s Cinderella can evoke ideas of fantasy and wonder in your mind. Imagine being a kid again. Watching the ballet is much like watching your favorite fairytale come to life. How much awe would you feel if characters magically popped out the storybook you were clutching, and suddenly began to twirl and spin out before your eyes?! With the PNB’s lovely production of Cinderella, you’re almost literally cast into a temporary wonderland.