TeenTix Blog by TeenTix

A review of the Junot Diaz lectureat Seattle Arts and LecturesBy Tavis H.Oh Junot Diaz! How do I count the ways of your coolness? If I were to say that within a two hour period of time I didn’t develop a man crush on this wonderful poet of the vulgar I would be lying. All I can really say is “Vonnegut and Marquez, pack your bags; you guys are old news! The new face of literary enlightenment has come to town and with him have the expectations of this era’s literary excellence.”So who is this Junot Diaz, who is this man that I praise so highly? Junot Diaz is the Pulitzer prize winning author of the novel The Brief Wondrous Life of Oscar Wao, the tale of a Dominican family and how they cope with the curses of life, love, and the past. Diaz is also the author of Drown, a collection of ten short stories that powerfully portrays the lives and times of immigrants adapting to the culture of the US. I have only read Oscar Wao, but from reading it I can say that I look forward to reading Drown. Diaz as I mentioned earlier is truly a poet of the vulgar. He challenges the proper styles of writing to create a type of novel rich with modern day cultural references, magical realism, and powerful messages. To best describe his writing style I would say that it has the intense pace of thrill of a Michael Crichton book, yet has the charm and material of a Hemmingway novel.Seattle was fortunate enough to have this wonderful writer come through on tour and was very well received by Seattle Arts and Lectures and the sold out audience. Throughout the lecture Diaz let us peek inside his soul; he would read passages from his book and stories with a passionate narrative that was far more meaningful in emotion and narrative than just reading the text. However it would be very unfair to just call Junot Diaz a mere writer for he is also a terrific comedian. It is always wonderful to hear the social elite of Seattle giggle and shriek when a Latin man says “vulgar” words. This brings me to another point on the lecture…it wasn’t a lecture. It was more like Junot Diaz invited a bunch of people to a big room in his house for a party, and then proceeded to crack jokes and talk to people.Even though the setting of the lecture was casual, there was some very serious talk about his book and some of the very heavy messages in it. For example in Oscar Wao both Oscar and his mother (at different times in history) are beaten in the cane fields outside of Santo Domingo. He explained how the cane field was a metaphor for the history of Dominican Republic because the three pillars of Hispaniola’s history which are slavery, genocide, and rape, all happened in the cane fields. He also went on to explain how this creates a connection between Oscar and his mother and how the tyranny of violence may always suppress a person, but never a person’s love.Although the serious Junot was present, the lighter Junot was much more enjoyable as he openly joked about his writers block, his failed attempts at novels, his good times, rough times, and possible future projects. He talked about the possibility of Oscar Wao being turned into a movie, and hinted that Walter Salles (the director of Motorcycle Diaires) maybe attached to the project, and even made mention that his next project –in correlation to his love of the sci-fi and fantasy genres that were so expressed in Oscar Wao- might be a post apocalyptic sci-fi novel.After the lecture I was fortunate enough to meet this man. He was filled with so much grace and friendliness; he is the epitome of the mythical person whose humility is genuine and whose friendliness is comparable to that of his humble nature; he is not the man that rocks the turtlenecks, corduroys, and a pipe, who brushes you off as another sub-being, but he is the man who looks you in the eye with sincerity and makes you his friend with a smile.Too few are men like Junot Diaz. His oratory skills are casual yet punctual, relaxed but not sloppy. His writing is entertaining yet structural, deep but not pretentious. His personality is informal yet wise, receiving but not gushing. He is the man whose career I look forward to following, for not only do I believe he is one of the most powerful and original writers of our time, but I believe that his work just may change the face of the literary canon as we know it. Seattle Arts and Lectures presented Junot Diaz on February 24that Benaroya Hall.For more info on SAL and their upcoming events, visit www.lectures.org

A review of Betrayalat Seattle Repertory Theatreby Zoe B.The plot of Betrayal is not uncommon; a woman is having an affair with her husband’s best friend. What makes this rather mundane plot interesting is the structure. The tale begins two years after the affair has ended and winds backwards in time to its conception. The best parts of Betrayal, and probably the most horrendous part of having an affair, are the moments when one person knows much more than the other thinks they know. The husband asks questions he knows the answer to, just to watch his best friend lie. Or the wife sits in bed, saying little, with her book still open on her lap, as the husband unravels the details of her deception. Harold Pinter was a playwright known, in part, for his use of pauses to demonstrate the tense nature of situations where his words would only be cumbersome and would betray the true feeling of that moment. Betrayal is full of silence, full of tiny eruptions. Betrayal is a play that simmers; it never boils over. In part, this is because Harold Pinter was British and the characters in Betrayal are thoroughly British. Their emotions are quiet, pushed down. This could have been played, however, with similar intensity to the shrill, angry energy one would expect from an American play on adultery. But it wasn’t. There were moments, yes, where all the energy needed was there. In general though, the play felt flat. I blame the transitions. One of the challenges of Betrayal is that it travels, in about 75 minutes, through almost ten years. Which year it is becomes hugely important in understanding the affair. Has it started yet? Does the husband know? This problem was solved neatly by projecting the year above the stage. However, the set and costume changes one would expect in a theatre such as the Rep, required quite a bit of time. As the set changed, and as actors hastily pulled on different outfits and different wigs, a distorted home video played in the background. The video was of a man catching a little girl in his arms after throwing her up in the air. It referred to a repeated story told in the play, and while I’m sure it was supposed to communicate some deep feeling of conflict, it was just distracting, bordering on cheesy. In fact, the whole vibe sent off from these transitions set the play off kilter, made it seem silly when it was striving to be serious. It seemed to me as though the audience was laughing at moments that weren’t funny. My inept interpretation of British humor aside, Betrayal isn’t a comedy. A man afraid his best friend will never speak to him again? Not funny. Thinking for a moment that you have been raising a child who is not your own? Not funny. Betrayal is a classic and for five bucks, probably worth seeing just to grasp how to use such an unusual structure. However, if you are pressed for time this month I’d probably just skip it – there’s a lot of great shows coming up. Betrayal plays at Seattle Repertory Theatre now through March 28th.For tickets and info, visit www.seattlerep.org or call 206.433.2222

A Review of Pharaoh Serket and the Lost Stone of FireAt Seattle Children's Theatreby Sophia B.It's a basic tenant of theatre that appearances are deceiving. First impressions rarely last, at least in well-written plays. But in the case of Pharaoh Serket and the Lost Stone of Fire, the first few minutes set the tone to such an extent that one could gain an accurate impression before the actors even came onstage: dramatic, overused music boomed over a stunning set of stars and columns elegantly painted in an ancient Egyptian style.The play’s plot is fairly simple; a young Pharaoh and a bumbling scribe (the perfunctory comic relief) join a mysterious sorceress on a quest to find a magical stone. It proceeds at a brisk pace, occasionally convoluted but generally entertaining, with notes of humor that had some eyes rolling but earned many an appreciative chuckle. References to ancient Egypt’s culture and religion in the play makes up for a poor portrayal of its politics, though there’s probably no one in the intended audience who’s too hung up on the accuracy of either.Though some of the characters were one-note and overacted, others were complex and intriguing and…overacted. Every actor had unquestionable merit and brought their characters to life, whether playing a pampered and trembling Pharaoh more capable of preening than ruling, or the dangerous and fascinating Zalira, who towered over all the others in strength an confidence, in spite of being bound, beaten or threatened in more than half her scenes. There was just an excess of foot-stamping.Overall, whether simplistic or confusing, dramatic or melodramatic, Pharaoh Serket and the Lost Stone of Fire is an enjoyable watch. Its flaws are minor, and aside from some of the final scenes, hardly detract from the viewing experience. I would advise it for any child interested in a good adventure, if not to anyone hung up on subtlety or historic accuracy.Pharaoh Serket and the Lost Stone of Fire plays now through March 7that Seattle Children's Theatre, located in Seattle Centervisit www.sct.org or call 206.441.3322 for tickets and information

A review of Jane Eyreat Seattle Musical Theatreby Jenny B.The Seattle Musical Theatre presents a remake of the Broadway show Jane Eyre. This timeless story by Charlotte Brontë is seen as nothing short of classic. The musical is a more cheerful mix between Charles Dickens Hard Times and Victor Hugo’s Les Misérables. It has many deep meanings, yet can be seen by a younger audience, making it meaningful for the whole family. Everyone loves a love story, especially one filled with mystery and plot twists. There are many reasons why Charlotte Brontë’s book is timeless. The musical composed by Paul Goden starts out with a charming orphan girl named Jane Eyre who goes through having less than cheery relatives, and having a childhood friend die. Even though she grew up among strife, her friend taught her that “forgiveness” is the most powerful tool you could use. With this knowledge she grows strong and travels to become a governess. On her adventure she finds complicated love entangled in many secrets. Every song was beautifully accompanied by Paul Linnes and his five piece band. They really made the music come to life magnificently, whether it is sombre or upbeat. Another impressive aspect of the show was the amazing use of space accomplished by Carl Bronsdon. There were no major set changes, yet it was always clearly defined were each person was. Instead of hiding one bed onstage and having people shuffling around it, or having them pushed on stage, they were all expertly hidden. The cast was full of wonderful talent, though some needed to be slightly tweaked to perform at their fullest capacity. The leads Danielle Barnum as Jane Eyre and James Padilla as Edward Rochester were both extremely talented singers and had compelling stage chemistry. The only faults were that Danielle’s monologues seemed a tad rushed, and James seemed to lack a focal point, making it hard for the audience to connect. The audience was full of laughter whenever the housekeeper, played by Balayn Sharlples, surrendered her cheerful renditions that kept the performance upbeat. Her performance was the perfect contrast to the more sombre side of the musical. Another shining member of the cast was the competitive lover Ms. Ingram, played by Jenny Shotwell. Her zooming low and high notes rendered Ingram a perfect rendition of a painted peacock. The young orphan girls both seem to be budding stars. It was amazing to see such an astounding voice on such a young girl as Olivia Spokiny, whose character Helen dies. Though she did seem to be a bit lively for her death scene, the rest of the time her acting was well performed and accomplished. Also, young Keaton performs her role wonderfully drawing the audience into the story.The whole cast worked well as a team and played off each other marvellously. The interesting use of the whole cast was well accomplished by the ensemble. They were all accomplished in acting and in voice. Their timing never missed a beat. The singing and most of the performance was consistent and well performed. Though the transitions needed to be more built up or sharper in their execution. Every time there was a change of events it brought you out of the story. Instead of feeling “How could this happen”, it tended to turn into a “Wait, what just happened?” feel. Similarly, other parts of the performance seemed to be less true to the severe nature of the situation intended by the original author. Overall the theatre was lovely and made you feel very much at home. With a lot of community help in the lobby it had a very comfortable feel. The show is defiantly worth seeing because of its life lessons and the considerable talent in the cast. Though it needed some slight changes over all, Jane Eyre was well performed and made for a truly enjoyable night out. Jane Eyre plays at Seattle Musical Theatrelocated in Magnuson Park now through March 1st, 2009visit www.seattlemusicaltheatre.org or call (206) 363-2809 for showtimes, tickets and information.

A review of Ben Xa film playing at SIFF Cinemaby Zoe B.I’m not into video games, the only one I’ve ever enjoyed was Zelda: Twilight Princess, and I only liked it because it was very pretty. So you can imagine how my enthusiasm over Ben X declined as the opening credits began with a World of Warcraft game being played in the background. Ben is a teenager who plays an online video game to escape from the hell that is his day to day life at school. There are two bullies who torture him without mercy, a cruelty that becomes even more heinous as it becomes obvious that Ben isn’t just awkward, he has Asperger's Syndrome. Now, one of the reasons that I can’t stand video games is that they allow a person to escape, to pretend, when they should be learning how to relate to people. However, with Ben the situation is totally flipped. His only friend is a girl named Scarlite, the healer to his warrior character online. Ben is capable of relating to Scarlite, even though he hasn’t met her (and perhaps because he hasn’t), and she provides more human contact for Ben than desire to escape the constant presence of his well-meaning mother. The movie has a dark tone, owing to the interviews with Ben’s parents and teachers. The first is with his beaten-down mother who states, “Someone has to die first. Then everyone wakes up.” The interviews hint at the disaster to come without revealing what actually happens. They are hauntingly reminiscent of the interviews given after Columbine and Virginia Tech, so of course the possibility of a massacre lurks. What actually happens is much less predictable, though arguably much less realistic. Ben meets up with Scarlite, who inspires him to change his life, to take revenge. Despite the potentially diabolic plans this friendship may inspire, and the unreal ease with which they interact given Ben’s condition, it is completely charming.Ben X, playing at SIFF Cinema February 27th at 7:30 PM, kept me interested, especially the director’s use of Ben as an unreliable narrator – we are never quite sure what is real and what Ben is imagining. The audience is kept guessing the whole way through, a rarity in the cookie-cutter movies we are typically exposed to. Ben X plays at SIFF Cinema, locatd in McCaw Hall at Seattle CenterFebruary 27th thru March 5thvisit www.siff.net or call 206.633.7151 for tickets and information

A review of Moby Dick, or the WhaleBy Book-It Repertory Theatre, at the Center House TheatreBy Chelle K.Herman Melville has been thrust upon all of us during our high school years; Moby Dick is one of the mandatory reads. However, it is one of the few obligatory novels that doesn’t make me want to obliterate myself. In this sense, it was a treat to be able to experience a translation of the intense sea adventurers through stage performance by Book-It Repertory at the Center House Theatre, directed by David Quicksall. The illustriousness of the book drew me to the play, and my curiosity heightened pre-show as to how the characters would be cast. Could I proudly look upon the stage and call that actor Ishmael? Would Queequeg feed all my literary notions of a loving cannibal? Would the cast embody everything I had known and come to enjoy through Melville’s text?They certainly did. Nevertheless, this fact almost seemed a little disappointing to me. A book so studied throughout American culture, and beaten into the brains of student youths nationwide, led me to feel that a direct translation was almost more of the same. Little creativity was involved in constructing the play, and the fact that is was everything I expected, made the play less than brilliant. Moreover, David Hogan, playing Ishmael, brought almost a contrived depth to the character. His enthusiasm on stage and inability to pull off the mystique of his character seemed to parallel with quite an amateur performance.Simply put, the book is a very familiar one to most literary buffs. In this sense, seeing as the book is so familiar, it would have been nice to bring a fresh perspective, or an interpretation of Moby Dick, or the Whale to stage. That being said, if the play were based on quality in accuracy of literal depiction, it would earn an A.Moby Dick, or the Whale plays at Book-It Repertorylocated at the Center House Theatre in Seattle Centernow through March 8, 2009visit www.book-it.org or call 206.216.0833 for tickets and information

A Review of Ballastat Northwest Film ForumBy Joshua G.Watching Ballast is an interesting experience. Although I am very skeptical about how much enjoyment one can gain from viewing the movie, it is nonetheless absorbing. Ballast premiered at the 2008 Sundance Film Festival. It will be shown next at the Northwest Film Forum. The movie is an independent production in its execution and presentation, and it is director Lance Hammer’s debut feature. At times, the movie is surprising in its effectiveness primarily due to the cinematography. The strongest feature of this movie is without a doubt the cinematography. All the images are captured using a hand-held camera. The composition in many of the shots is outstanding. There are several truly memorable images. The movie addresses a poor man's suicide and its impact on the lives of three individuals. The three individuals are his son, his ex-companion, and his twin brother. Unfortunately, the story is very fragmented and for the better half of the movie, the characters are not clearly rendered. The movie is filled with obvious and at other times subtle symbols, for example, the opening shot in which a flock of birds fly away. This was a confusing image for me as I was not able to connect the symbolic meaning of this shot with the storyline. This image seemed to distract me from being able to uncover the plot. It was not until much later in the film that I was able to decipher the meaning of this image. I was able to make the connection between the three main characters who all in their own distinct way wanted to fly away from their lives. The pacing of the film is slow. The scenes are very disjointed with each one feeling like a vignette of a larger story. One of my major problems with the film was how slowly the story transpired. It felt like it took a very long time to discern what the story was about, and it took a long time to figure out the significance of why the scenes were presented in the way that they are. I knew the immediate motivations for what the characters were doing, but I did not have enough background information. Because of the slow and plodding pace of the movie, events seem to drift by without having a true relevance to the storyline. The images and representation of the characters are presented in such a way that I did not form a relationship with the characters. Since I did not have an emotional connection with the characters, the story felt disjointed and unimportant. Although I wanted to know what happened, when things finally came to resolution, I did not feel that they were that significant nor did I have an emotional reaction to them. Looking back, I feel bad for the characters and many of the events that happened to them were challenging to watch. I continued to watch the movie without any emotional connection or even a heightened sense of consciousness. In retrospect, I believe there was a significant advancement in artistic value for this independent film. I am very interested to see what this director will do next and how his career will evolve as his first directorial debut was strong. I wish that the movie commanded more of an emotional connection with the audience. The movie was not boring or predictable. While viewing the film, I did not feel like the images that were presented were the most significant way of telling the story. Independent films do have a place, for example The Wrestler or The Visitor. Both those films were able to tell a story in a way that was meaningful for the audience. Sadly, Ballast failed to capture the importance of helping the audience care about the characters or the story. Ballast plays at Northwest Film Forum in Capitol HillFebruary 20th thru the 26th, 2009for tickets and info, visit: www.nwfilmforum.org or call (206) 829-7863

Pete, do you know if singers/vocalists are included?~Emma

Spring Break Rock Band Teen Artist WorkshopFor students in 7th through 10th gradeIf rock is your passion, then spend your spring break as part of akiller rock band! In this Teen Artist Workshop, you will rehearsecover songs, work with your peers to create original works, and learnwhat it takes to be a part of a successful band. Your instructor willhelp you expand your musical repertoire, strengthen your skills onyour instrument and encourage you try out new instruments. Theworkshop concludes with a live rock concert in JBL Theater.At least 6 months experience on your instrument is recommended forthis workshop.Dates: March 30 – April 3, 2009Time: 11:00 am – 3:00 pmVenue: EMP|SFMCost: $200 for members; $215 for non-members (see below forscholarship information)Instructor: Jason ParkerJason Parker has taught music in various capacities, including privatelessons, workshops, master classes, and for Arts Corps. Parker is aworking musician and plays trumpet, flugelhorn, guitar and bass inseveral local bands. He currently leads the Jason Parker Quartet, oneof Seattle's busiest jazz bands, and occasionally sits in with CrookedFingers and DeVotchKa, among others. Learn more about Jason Parker atjasonparkermusic.com.How to Register: Visit empsfm.org/camps to download a registrationpacket.Early Registration Discount: Register for Rock Band Teen ArtistWorkshop by February 20 and receive a $15 discount.Scholarships: Reduced tuition rates are available for low-incomefamilies. Please see details on reduced tuition guidelines in theregistration packet or contact EMP|SFM at 206.770.2760.Questions? Contact EMP|SFM education at 206.770.2760 [email protected].

Thank you so much! I'm glad you think my review is worth reading!~ Emma

The Art of Leadership: Creative Leadership Weekends for TeensMarch 28-29, 2009 and May 2-3, 2009These weekends are FREE for all youth!For youth ages 14-18! There is LIMITED SPACE in this training, SO APPLY SOON.To apply, please contact the Power of Hope at [email protected] or 206.938.6090A two-part creative facilitation training for young people ages 14-18, who are interested in leading groups and organizing events using the arts. The first training develops basic skills to use art to facilitate groups and provides participants with “tool-box” of easy-to-lead art activities. The second training will focus on specific leadership techniques like active listing, presentation skills, and group facilitation and will explore how to use these skills to move a group towards its highest potential. The second training builds on the first training, and it is highly recommended that participants come to both!The Power of Hope is a non-profit, non-religious organization working to unleash the positive potential of youth through art-centered multicultural and intergenerational learning programs that value self-awareness, leadership, community, and social change.Brought to you by: The Power of Hope www.powerofhope.org, youth of Youngstown Programming Committee www.youngstownarts.org, Washington Service Corps and the Seattle Office of Arts and Cultural Affairs

Great review,worth to read...ThanksRegards

A review of Gee's Bendat Taproot Theatre, in Greenwoodby Emma M.Thirty miles southwest of Selma, on the banks of the Alabama River, Gee’s Bend, also known as Boykin, is a rural African American community that is home to some of the most talented quilters in the country. Recently discovered for their amazing and beautiful quilts, the stories of the women who made them are just as powerful. Taproot Theatre’s production of Gee’s Bend marks the play’s regional premiere and is the first show of Taproot’s 2009 season.Gee’s Bend follows the life of Sadie Pettway and her family as they struggle through the great depression, then into the 1960’s and the civil rights movement with an appearance by Martin Luther King Jr., and finally to the year 2000 when the Gee’s Bend quilters came into national fame.The whole cast was packed full of amazing performances, however Tracy Michelle Hughes as Nella stood out. A great singer and comic actress, Hughes gave an outstanding performance throughout the play, but particularly as the older version of Nella. The doddering old lady with a stray hair roller in her hair waiting for the ferry that Hughes was able to capture was just incredible!A huge element to this wonderful production was it’s music. Gospel music ties the whole play together. The powerful words and melodies that inspire the characters penetrate and infuse the audience with a feeling of hope and courage. A powerful and moving story of love and change, for not only African Americans but for women as well, this play reminds us that if we stand by what we love and what we believe we can’t ever go wrong.Gee's bend plays at Taproot Theatre now through February 28, 2009visit www.taproottheatre.org or call 206.781.9707 for tickets and information.

Vera and KEXP have teamed up again for a 5-week program to teach you all the ins and outs of podcasting about local music and the all-ages movement nationwide. You'll team up with other awesome people, and KEXP's DJs to create three podcasts which will be featured alongside KEXP's super successful podcasts, and of course on Vera's webpage too. Check out the last session of podcasts here: Vera and KEXP Podcast!The whole 5-week program costs $50 and spots are very limited. To sign up, fill out an application and send it to [email protected]. Scholarships are available, so please don't hesitate to ask. Applications can be found at theveraproject.orgWHAT: KEXP and Vera's Podcasting Workshop SeriesWHEN: Tuesday's from 4:30-7:30 PM, starting March 1st going through March 31stWHERE: The Vera Project, at the corner of Warren and Republican at the Seattle Center & at KEXP

A Review of Jewelsat Pacific Northwest Balletby Mykhanh P.I don’t consider myself to be an expert on ballet, but there is something about it that inspires a sense of wonder. Maybe it’s the way the ballerinas float and twirl across the stage, their fluid movements creating graceful pictures that little girls dream of being a part of. It is this spirit that the legendary choreographer George Balanchine, who is like the Steven Sondheim of ballet, has captured in Jewels, the first full-length, plotless ballet. Its three acts are named different jewels and emulate a certain style and mood. And while the fact that there is no story to go along with the dance may put off some people, it forces you to focus solely on the ballerinas and their dancing, becoming a pure embodiment of what the music is portraying.The first and longest act, Emeralds, is supposed to signify Paris and the French Romantic-era ballerinas with its grand, sweeping score by Gabriel Fauré and the ballerinas’ long, calf-length skirts. There are a lot more attitudes (posing) and lifts than there are leaps or spins, and your eye is often drawn to the ballerinas’ elaborate arm gestures. It really emphasized to me that a dancer dances with their whole body at all times, not just with a couple of limbs, and something as small as a twitch of a finger matters. However, this was my least favorite, probably because it was the longest and because it just didn’t have the same sense of excitement as the other two; there was a quieter energy about it, and while it was still elegant and pretty, it didn’t appeal to me as much.The next act, Rubies stood for America, and in true American spirit, Balanchine choreographed moves that I’m sure had never been seen or done on pointe. With a jazzy, piano driven score by Igor Stravinsky, the dancers kept everyone on the edge of their seats from the very first hip thrust done in line formation; it was America at its loudest, showiest, and most fun. The costumes had short, flapper-like fringes that swayed as the ballerinas sassily did high kicks, flexed their feet and bent their knees as they jogged around the stage. It was very Broadway style dancing, and if Chicago was ever turned into a ballet, this would be it – even jazz hands wouldn’t seem out of place. It’s not very surprising that Balanchine had in fact choreographed for Broadway. The unexpectedly bold and tongue-in-cheek movements kept the audience constantly amused and giggling, and I’m sure it was a favorite for many judging by the applause at the end.For his last piece, Balanchine returned to a more classical style of ballet to pay tribute to his hometown of St. Petersburg and its famous Imperial Ballet. It was my personal favorite, set to the music of Peter Ilyich Tchaikovsky, and the main duet with the principle couple made me think of Cinderella and Prince Charming dancing at the Ball. The full ballet corps came onstage to dance with the couple and was so strong and clean, they really showed why PNB is a premier ballet company. It was what you would think of when you heard the word ballet, and you could feel the joy that the ballerinas were dancing with. It was a great experience, and I know the audience agreed.Jewels, by Pacific Northwest Ballet, plays at McCaw Hall at Seattle Centernow through February 7th, 2009visit www.pnb.org or call 206.441.3574 for tickets and information

Longhouse Media’s SuperFly Filmmaking Experience in partnership with The SeattleInternational Film Festival present:4th Annual FutureWave Film Festivala program of new works by the filmmakers of tomorrow, promoting cross-cultural experiences and collaborative filmmaking!Join experienced youth filmmakers and actors (13-19 yrs.*) from across the nation to:• Develop valuable leadership and organizing skills• Share ideas with others from around the country• Create four short collaborative films in 36 hours• View student work from the US, Canada, South America and Europe.What is Fly Filmmaking? An extremely artistic, creative, and stimulating form of filmmaking in which filmmakers and actors are able to showcase their skills, collaborate with other artists, and premiere their work at the Seattle International Film Festival (SIFF)! Based on the incredibly short duration of time allotted to the filmmakers and actors, this process can be referred to as “on the fly,” hence the name: Fly Filmmaking.If chosen to participate you will work with 50 other youth filmmakers and actors to plan, shoot, and edit a short film. These films will screen at FutureWave, SIFF’s premier youth film festival.When: June 4th thru June 6th, SIFF Premiere on Saturday June 6th at 4:00 p.m.Where: At a Pacific Northwest Tribe with final screening in Seattle, WA, Capital Hill.To apply, you need to fill out an application.contact [email protected] for application and information.

A Review of Amarcorda film by Frederico Felliniwhich played recently at SIFF Cinemaby Joshua G.Sometimes in order for people to advance their futures, one must examine one's past. This process is shown exquisitely in the film Amarcord by Federico Fellini. The film was made in 1974 and is wildly regarded as one of the classics of the foreign film category at the Oscars. The film is a meditation on Fellini's childhood, spanning a number of episodic segments stretching from spring to spring. However, the film can never be considered Fellini's memoir on celluloid, as the film playfully contradicts itself, and occasionally stretches into fantasy. The main character in the film is a young boy trapped in a dysfunctional family. The boy deals with issues such as life, death, and his own sexual awakening. When one thinks about a film compassing these bold topics, one imagines a film that can be depressing. The film is anything but depressing. The film has frequent moments of horribly immature humor from fart jokes and other incidents of bodily humor. All the characters seem to come off as individuals who might reside in the circus, including the priest whose first act of business at the young boy's confessional is to ask the boy to confess the last time he pleasured himself. Fellini shot the film silent with the voices dubbed in at a later time. At points in the film, it is apparent that the words coming out of the actor's mouths are not what is being said on the screen. But, Fellini does not concern himself with perfection in his dubbing. He is more concerned with perfectly capturing the visual aspect of the story he is trying to portray. This is particularly poignant in some of the films striking images of beauty. At times, the images seem out of place amongst all the immaturity, were it not for Fellini's unique way of representing chaos. In most films chaos represents the apex of the story. But, in Amarcord, the moments of peace and tranquility appear to be the center of the piece. For example there is a moment where a peacock seemingly flies out of nowhere and lands in the snow. Of all the images in the film, this is the scene that I remember the most. Because amongst the perfectly orchestrated chaos where there are multitudes of people on the screen, everything seems disheveled. At the same time, one can tell that the director has control of each element. When the peacock appears, these are the moments that seem special because one believes anything can happen. This film is not for everyone. It is filled with mania and off the wall humor. The film is very experimental in nature. It is the furthest thing away from typical that I have seen in recent memory. This might be a turn-off for some individuals, and to a small degree, myself included. But, for others, this would be the precise reason to enjoy the movie. If I were to select one thing that I did not like about the movie, it would be that the plot is barely present. After the film ended, I left my seat thinking, “OK.....what is next?”However, upon further reflection, memories are much the same way. They do not necessarily follow a well orchestrated script. Individuals do not remember the precise sequence of events in our lives. But there are times that one remembers with vivid recollection each detail of a life event. For me, this is how the film came across, which I am sure was the director's intention. The film ends with a funeral and a wedding which represents both the sorrow and joy in the passing of time. Reaching the end of my teenage years, feeling the weight of the passing of time, I often wonder what I am going to remember from these days of my life. It is questions like these that are the most frustrating as they have no easy answers. Watching Amarcord, I realized that through Fellini's last attempt to deal with and reach back into his past, I received one of the closest answers I am ever going to stumble upon to answer the question of what I might remember from my youth.Amarcord experienced a short run at SIFF Cinema begin on January 2nd through the 8th but the film is semi-widely available for rental or purchase, at least as far as foreign films from the 70's go.

A review of the play WELLat ArtsWest By Alethea H, age 17As people in a very impressionable society, do we go out of our way to accept people and their differences? Well by Lisa Kron does not shy away from asking tough questions like this one and many more. Set in a mid-western town dealing with issues of breaking down racial barriers and a family dealing with their depleted health, this play explores family and social dynamics by enveloping the viewer in a classic mother-daughter relationship. Kate Witt as Lisa Kron and Therese Diekhans as Lisa’s mother, Ann Kron, give superb performances as they truly take on their character’s viewpoint of the world and how life works. The playwright addresses the issues of health and racial integration through reenactments of Lisa’s childhood and young adult life. The play commences with the understanding that Lisa is writing a play right in front of the audience. The stage is set with Ann reclining in a chair in the family’s living room. As the play begins, the audience learns of Ann’s serious hypochondriac issues with allergies. Ann has struggled throughout her life with being well enough to function on a day to day basis. One later learns, that Ann did manage to fight off her deteriorating health long enough to accomplish something that made a difference in the world. She had a major role in organizing the ‘association’ in her neighborhood which is an activist group to further amalgamate different ethnicities within her community. Ann is whole-heartedly devoted to honoring other people’s differences. She is so passionate about diversity that she decided to raise her children in a racially mixed neighborhood. Lisa and her brother were not only the only Caucasian people in their school, but they also were the only Jewish people. Lisa is taught to have a unique and individual personality through her mother’s work. The play is also about Lisa’s own run in with allergies. At one point in Lisa’s college career, Lisa enters an allergy clinic. There the audience meets some interesting characters played by Terra Joy Jones, Frank Lawler, April Wolfe, and Bob Williams. In the allergy clinic, the actors have allergies to practically everything. The audience watches with amusement as the people on stage have odd reactions to different foods or inhalants. Near the end of the play, the crowd realizes that Lisa succeeds in getting over her allergies while Ann can’t seem to shake it off. This is a serious stumbling block for Lisa and is eventually addressed at the end of the play.Well is an astoundingly well-written play that makes fun of situations in everyday life. In many ways, people from every age group and every walk of life can identify with something or someone from Well. Not only is it relatable to its viewers, but it also captures people’s attention. To understand this play one has to be on their toes at all times because the plot changes quickly and surprises are around every corner. One thing that playwright Lisa Kron did to even further captivate audiences is to write the play with audience and cast member interaction. Personally, it is very entertaining to see the actors get on the same level as the crowd. The bluk of the play consists of a conversation between Lisa and the audience. For example, Lisa will complain about her mother to the audience while her mother tells Lisa to be polite and offer the entire crowd something to drink. From this connection that the actors make with the audience, one can better understand Lisa’s thought processes and experiences. The play feels as though the audience members are guests at someone’s house. Well is an exquisite and unique play in that it challenges the normal boundaries of playwriting.The theme of this play is also one that leaves an impression on people and it is one that they can take to heart. In the end, acceptance of people for who they are and acceptance of life’s tough situations is the bow on the package that tied this piece of drama into living, breathing excellence. Throughout the play, we see Ann’s role in breaking down racial prejudices and her goal to see the good side of every person. The audience also sees Lisa’s struggle to wrestle the hardships throughout her life. When Lisa reveals intimate details of her life and has a heartfelt conversation with her mom she learns an important lesson that can change lives. That lesson is of love and to accept each and every situation in our lives no matter how big or small. Simply put, Well is an unbelievably funny play with a touching message.But the play does have one downfall. Without understanding the fact that this play is a play within a play, one will be confused for around a fourth of the performance. Now don’t hold that against them because once one understands this, this element of the play actually enhances the quality of the viewer’s experience. It adds an interesting perspective that no play dares to go. It gives an individual more respect towards the actors and the playwright. It also allows an individual to connect with the actors as actors AND characters instead of just their characters. It also gives the actors a chance to tackle more than one role which shows off their skills.Overall, Well is a smash-hit with the audience. It is an interestingly crafted script and well worth anyone’s time. It broadens its doors to difficult questions in life and has everyone laughing from the time the play starts to the very end. It explores relationships between family and friends and teaches one the value of diversity. This play has many layers for a viewer to peel back, so get up and go see if you can discover what happens when diversity is challenged in Well. Well plays at ArtsWest in West Seattle, now through February 15thVisit www.artwest.org or call 206.938.0963for information and ticketsphoto credit: Therese Diekhans as Ann and Kate Witt as Lisa in WELLat ArtsWest. Photo by Matthew Durham.

Join ACT Theatre’s 2009 Street Team and get free tickets to every show of the regular season, plus bonus benefits, like signed posters and exclusive invitations. As a part of the Street Team, you can be an Ambassador for ACT, spreading the word in Seattle about what’s hot at our downtown theatre. This low-commitment gig is the perfect way to build your resume, check out the city, and become an insider at one of Seattle’s biggest and best performing arts centers! Plus, it’s a great volunteer opportunity, for those looking to meet volunteer requirements. For more info about joining ACT’s Street Team, contact Ben Rapson, at (206) 292-7660 x1326, or [email protected]. Spots on the team are limited, so drop us a line today.

SAM Teen Workshop InSide Song with Guillermo E. Brown January 31, 2009 Noon–2 pm Third Floor Galleries at Seattle Art MuseumCan what you see become sound? Join Guillermo E. Brown, a Brooklyn-based musician known for bending beats in fascinating ways, to perform a live musical improv session. Experiment with how your response to the SAM installation Black Art can become beat boxing, singing, finger snapping. The result will become a human orchestra remixed live.visit www.seattleartmuseum.org for registration and more information on the FREE workshop. In partnership with the Central District Forum for Arts & Ideas. For more information about Guillermo E Brown’s upcoming performances, please visit www.cdforum.org.