TeenTix Blog by TeenTix

A review of Tomas and the Library Ladyat Seattle Children's Theatreby Chelle K.Tomas and the Library Lady was not a performance typical of children’s theatre. It involved emotion, although somewhat dulled to fit the audience’s comprehension, and a strong plot that proved to be the backbone of the whole performance. The reality of the play was undoubtedly pulled from Pat Mora’s fictional storybook, Tomas and the Library Lady. The book, however, contained truths about Tomas Rivera, the leading character, and provided a reality to the morals being taught onstage.Tomas, residing in Iowa as a migrant worker with his family, has found that he will be attending school. With this knowledge, he gains numerous fears about his lack of education and inability to read. With these fears, he finds anxiety building up, and has nowhere to safely store and express his overflowing emotions. Ironically, a safe haven presents itself in the form of a library. In this library, Tomas finds companionship, along with education, in the kind librarian. She teaches him topics that would please children, such as dinosaurs, through literary greats. In these disguise lessons, Tomas eventually learns to read and of the powers held within the pages. Later in life, we find that Tomas has become Head Chancellor of the University of California.This play not only provided humor and visual excitement for young children, but provided a deeper message for an older audience. Tomas’ relationship with the librarian proves that humans are possible of great amounts of compassion, and it gives you a sense of fulfillment to help someone else, rather than yourself. Tomas and the Library Lady, presented at the Seattle Children’s Theatre, has claimed its spot as one of the great children performances, providing dual entertainment for young and old.Tomas and the Library Lady plays now through March 1, 2009at Seattle Children's Theatre, located in Seattle Centervisit www.sct.org or call 206.441.3322 for info and tickets

Come enjoy this special program for FREE: JOHANNES MOSER: ELECTRIC CELLO Oksana Ezhokina, pianoBENJAMIN BRITTEN Sonata for Cello and Piano in C major, Op. 65 Selections for solo Electric Cello JOHANNES BRAHMS Cello Sonata No. 1 in E minor, Op. 38 Sunday, February 1 at 2:05pm If you would like to attend this free event you need to RSVP by emailing: [email protected] with Teen Tix in the Subject line. You can then pick up your tickets at a table in the recital hall lobby -- look for the Teen Tix line. www.seattlesymphony.orgThe Seattle Symphony is located at Benaroya Hall at 3rd & University in downtown Seattle. It is served by a whole bunch of buses. For bus routes and schedules, visit tripplanner.metrokc.gov.

Seattle Art Museum is looking for Teenagers!WANTED: 13 – 19 year oldsWHO ARE: Leaders. Highly-Opinionated. Creative. Visionary. Loud. Committed. Fun- Loving. Exciting. Thoughtful. Change-makers.JOIN TAG—Teen Advisory Group: Take-over the Seattle Art Museum (SAM). TAG meets twice a week on Thursdays and Saturday afternoons from late January to September 2009. Application deadline extended to January 26, 2009.Work with artists: sculptors, painters, writers, dancers, poets, musicians, DJsOrganize events: plan ARTattack: Teen Night Out, including performances, art actitivities, special receptions, film screenings, gallery talksCreate: audio projects, videos, posters, zines, stickers, buttons and more…Receive: community-service learning credit and Museum certificateInterested? Want an application or more information?email: [email protected] with the subject Line: TAG Applicationoremail: [email protected]

Maureen Whiting Company’s Free Workshop Showing is January 16 & 17 at 7pm.A True Triple Threat; ACT’s Central Heating Lab Can Act, Sing and DANCE!Maureen Whiting Company’s Myth of Me and You heralds a new era of contemporary dance presentations at ACT. Created during a year-long residency supported and presented by ACT’s Central Heating Lab, this visceral new piece is the latest in a series of intensely visual contemporary dance works. Myth of Me and You is being created in-the-round specifically for ACT’s stunning Allen Theatre. Over the last year the community has both glimpsed and informed this powerful new work through a series of interactive work-in-progress showings that have become a signature of Maureen Whiting Company. The next opportunity to participate in the creation of this new work takes place January 16 and 17, 2009 at 7 pm in a workshop showing in the Allen Theatre. Admission is FREE and this showing includes set and costume design elements. It will be the last work-in-progress showing before the world premiere run at ACT March 13-15, 2009 at 8pm (Tickets $25 at www.acttheatre.org).Through a subterranean lair created by long-time collaborator and award-winning designer Etta Lilienthal, Myth of Me and You immerses the audience in a universe rich in symbolic meaning and surrealistic imagery. Affixed with antlers, coated in honey and caught in the wild geometry of Whiting’s choreography, the four dancers of Myth of Me and You use darkly playful movement to ask the viewer what role we play in creating—and acting out—our own personal mythologies. Featured dancers include: Ezra Dickinson, Marissa Niederhauser, Cassie Wulff and Belle Wolf. Myth of Me and You is set to an original music score by internationally acclaimed Seattle luminary Eyvind Kang, with additional music by Dave Abramson and Evan Schiller. The piece features costume design by Seattle’s helga hizer with Lucy Brennan, and light design by Chris Reay.

A Review of Servant of Two MastersAt Seattle Shakespeare Companyby Jennifer B.With actors triumphantly marching down the aisles, audience members having their names being bellowed to all their fellow escapists, it is not the first thing that you would expect. Normally when you go to a show you anticipate going to sit down quietly and drink your warm refreshment, but instead you are jostled awake. The audience is immediately immersed in the play before they even take their seats. It is a full audience, actor, and technician warm up. This is an interactive opening of the Seattle Shakespeare Company’s production of The Merchant of Venice… no… no wait, it is the opening of The Servant of Two Masters. This explosive opening of a cast getting confused on what show that they will be performing sets the audience up for an explosion of several different kinds of comedy. This is a comedy that has been rewritten by Carlo Goldoni which came from Shakespeare’s repertoire.How could a company make such a switch up of what show they were doing? I don’t think that the answer will ever be known. Though, one thing is for sure, it does set up a show for a lot of laughs. This is a tale that is filled with several love stories, each with its own twists and turns that keep you guessing - especially when the story is filled with awkward occurrences such as a woman playing a man who dresses up as a woman. Even still, nothing is as interesting as the servant who is caught up in it all by greedily deciding that he can handle having two masters - not even greed, revenge, and even a slight case of murder.The technical aspects of the performance were brilliant, from mocking of some clichés to helping the actors perform some of these clichés. One of the first things you see on the stage is a bright yellow ladder with red and green paint splatters -killing the classic Our Town black ladder, and making it draw your immediate attention instead of having it blend into the background. Every character’s costume fit perfectly for “before the show” and after it started. Deane Middleton made each of the character’s costumes both match the character, and at the same time, mismatch the rest of the cast. All of the costumes were of different time periods though they were still stock costumes. Plus, the costume malfunctions added to the comedy. Another aspect was the music, which was brilliantly timed and performed by Robertson Witmer.Overall, it was like riding a roller coaster, though the main downside was that the “downs” seemed to stay a bit too long. The majority of the performance was fast-paced and hilarious though the second half of the Act I hit a huge slump. Some of the jokes were a little tired after the 20th time, such as a sword being excessively swooshed around, or an exaggerated dance move that was done once again. Was not the rule for theatre that of only using something three times? Through the second half of the performance, most of the jokes did not carry over, rejuvenating the performance. The acting throughout the cast was well accomplished especially in the case of the servants. Both Chris Ensweiler and Kerry Ryan shined in their comedic roles. The cast always worked well in ensemble scenes.There were a few problems with inconsistency. In the beginning of the show it was very clear that this was a performance that they had never performed before, though by the end it seemed like it had been run through quite a few times. Some characters overdid that it was the first time they were performing and others underdid it. The second half of the first act would have been better off with some more comical variation and less slapstick; there were yawns heard throughout the audience. Though Dan McCleary did stay to the authors intentions, he needed to have the best interests of the audience in mind as well.This is a wonderful venue in which to see a show, especially when actors are running up and down the aisles next to you. The show is literally at your feet. The staff is extremely friendly, and the foyer has a cheerful atmosphere. Over 75% of the show was a great success, fast-paced and side-splittingly funny. If they just tightened up the slow and eliminated the repetitious spots, the show would be amazing. But overall, I would recommend this show.The Servant of Two Masters plays now through February 1st, 2009at Seattle Shakespeare Company, located in the Center House Theatre at Seattle Centervisit www.seattleshakespeare.org for showtimes and info

Hey there Teen Tixers:You are all invited and encouraged to attend a special meeting tomorrow, Thursday January 15th from 4 to 5:30 pm.The Bill and Melinda Gates Foundation are creating a new Education Center. If you've driven down Seattle's 5th Avenue lately, you've probably seen the shell of the Gates Foundation's future visitor center just across the street from Seattle Center's Memorial Stadium. Part of the foundation's new campus, it is scheduled for completion in 2011. Open to the general public, the center's goals are to bring awareness to the inequities that exist in our world today, to inspire people to get involved, and to give them the tools and support needed to make this happen. We believe this center presents an amazing opportunity to raise awareness, and to impact individual and organizational involvement in these issues -- locally, nationally and globally.They'd like to hear from teens about what you'd like to see this center become.Please come to this Focus Group Meeting and offer your opinion. It will be fun and easy. All you need to do is show up.I'd love to offer the Gates folks a nice collection of smart and engaged young minds, so please do come, and bring along a friend or two. The more the merrier.Below is location info. Looking forward to seeing you all there!!!Gates Foundation Education Center Focus GroupThursday January 154 to 5:30pmRoom 311, located in the Center House at Seattle CenterThat room is located on the 3rd floor mezzanine level above the food court. More specifically, if you are at the food court level, head up the blue staircase and immediately turn left. Room 311 is right above Quincy's Burgers. Look for signs pointing you there.

The Pearl Fishers @ Seattle OperaSEATTLE CENTER

Sail away to the island of Sri Lanka for a sweet and sonorous romance from the great Georges Bizet (Carmen). A beautiful priestess with a mysterious past is pursued by a pair of strapping fishermen who happen to be the best of friends. This tuneful treat is a simple love story decorated with delicious melodies, vivid nocturnes, rhythmic dances, and a plethora of lusty choruses. Jan 10 – 24

A Review of Azur and Asmar, at SIFF Cinemaby Delaney M.I watched the SIFF film Azur and Asmar, which was produced in 2006 in Belgium. Azur and Asmar was written and directed by Michael Ocelot. It stars Cyril Mourali and Karim M’Riba as Azur and Asmar, Hiam Abbass as Jénane, and Patrick Timsit as Crapoux.Azur and Asmar is an animated film that tells the story of two boys, the blond hair, blue-eyed Azur, and the brown hair, brown-eyed Asmar, who were raised together by Asmar’s mom (Jénane). As both boys grow up, their paths get forced apart. Azur is sent to school in the city while Asmar and his mom get thrown out of Azur’s father’s house. The story then starts again about ten years in the future when Azur washes ashore in Asmar and Jénane’s homeland. After a long struggle, Azur finds Asmar and Jénane only to discover that they are now influential and powerful. Azur and Asmar each set off on a quest to free the Djinn fairy, a mythical character from their bedtime stories so long ago, but will they unite together or continue to hold grudges against each other for the wrongs that Azur’s father did when they were children?Azur and Asmar addresses the difference in culture between different peoples and how they can cause unrest and inequality. It also does an excellent job in emphasizing how what is beautiful to one person can be ugly to another, and that instead of fighting about it we should accept it and move on.The acting talent was quite strong in the film. The relatively unknown actors Cyril Mourali and Karim M’Riba do an excellent job voicing their characters with lots of spirit and without going overboard and making the movie seem childish. The more well-known Hiam Abbass and Patrick Timsit give Azur and Asmar another dimension while also acting as the parental figures in the movie.Azur and Asmar is a very intriguing film that would have different meaning for all of the age groups that see it. To young children it would simply be the story of the boys on a quest to save a fairy. For adults it is a movie with racial undertones that examines the inequalities in our society today, and for teens the movie is a little bit of both. I would recommend this film for people of all ages, as it is truly unique and very entertaining.Azur and Asmar plays at SIFF Cinema, located in McCaw Hall at Seattle CenterJanuary 9th thru 15thvisit www.siff.net for more information and showtimes

Hi Teen Tixers!Last summer the Young Americansʼ Theatre Company wasfounded to give young people in Seattle a place to producetheir own work. It was founded entirely by young people and their first production, Women and Wallace, was put up without any sort of adult supervision.It is the hope of the board that the company will continue to be run by young students in the Seattle community who are as dedicated to theatre as are the six founders, who have a clear idea of who they are as theatre artists and who want to help produce important work for the Seattle community.We think that you could be one of those people. If youʼre interested, please come to an informational meeting on January 10th. There will be a short talk given by the board of YATC followed by a time to socialize with other dedicated young artists like yourself and to get to know the YATC gang.When: Saturday January 10, 2008 1:30-3:00 pmWhere: Seattle Childrenʼs Theater, Middle Rehearsal StudioYATC is bringing together people who will hopefully help us this summer and possibly take control of the company over the next few years. Please come and bring anyone else interested!! Feel free to bring your resumé if you have one, but one is not required. To RSVP or to ask any questions please shoot an email to [email protected]Sincerely,The YATC Board of DirectorsHattie AndresZoey BelyeaTommy FlemingEmma KelleyChelsea TaylorSam TillesYATC award for best new troop!! http://seattletimes.nwsource.com/html/thearts/2008557718_footlights28.html?syndication=rss2008557718_footlights28.html?syndication=rssVisit our facebook page!!http://www.facebook.com/pages/Seattle-WA/The-Young-Americans-Theatre-Company/20329797757?ref=tsAmericans-Theatre-Company/20329797757?ref=ts

A review of 20 Seconds of Joyplaying at Northwest Film Forumby Mykhanh P.It takes a certain type of person to jump off a cliff, and a BASE jumper would definitely be considered one type. BASE jumping entails jumping off of a fixed object (a building, antenna, span or earth, according to the acronym) and free-falling hundreds to thousands of feet before releasing the parachute. It is possibly the most dangerous and fatal extreme sport there is. According to one BASE jumper, three things will happen if you BASE jump long enough: you will get hurt, you will watch people die jumping, and BASE jumping will eventually kill you as well.So why would anyone willingly accept the possibility of death just for the thrill of jumping? 20 Seconds of Joy is a documentary about professional athlete Karina Hollekim. The title comes from Hollekim herself when she asks if it is really that important to jump off a cliff and get 20 seconds of joy. To answer these questions, Director Jens Hoffman takes viewers on a journey through five years of Hollekim’s BASE jumping career, delving into her life and trying to explain her yearning to continually be involved in increasingly risky situations. He does so brilliantly, presenting Hollekim as a complex person who is simply doing what she loves, but also recognizes the dangers of her job and the strain she places upon her loved ones. Her struggle to reconcile these two aspects is dealt with sympathetically and you find yourself admiring her and wishing her the best. With gorgeous shots of breathtaking views, the documentary itself is pretty well made. Watching the jumps was a little suspenseful for me, knowing that I could be witnessing a person’s last moments and the mostly tasteful soundtrack built upon that suspense. There were times that I thought the music was too overpowering though. Some of the interviews were a little hard to understand due to the foreign accents of the interviewees and differences in the sound quality occasionally made sections sound awkward when they were spliced together. The timeline is also a little confusing because the film jumps around a lot; however, this is all minor. 20 Seconds of Joy lets you experience the sense of joy Hollekim receives from her life, yet it also left me pondering deeper subjects like life, death and fear. You can see this filmn at the Northwest Film Forum, located in Capitol HillJanuary 2nd thru the 8th.visit www.nwfilmforum.org for information and show times

FutureWave Shorts Submissions are Open for SIFF 2009Don't miss this chance to be considered to screen your youth-made film the Seattle International Film Festival this June!Submissions are now being accepted for the FutureWave Shorts program featuring the work of youth (aged 18 and under) from around the world.If you have completed a film since January 2008, download the application form and send it in now. The application fee is just $20, and if you shot the film in Washington State, the application is FREE. The FutureWave Shorts will be screened on June 6, 2009 during the Seattle International Film Festival (May 21-June 14, 2009). All youth filmmakers in attendance will participate in a post-screening Q+A (see photo above).If you have any questions about submissions, please contact Dustin Kaspar**Our friends at The Film School are bringing back their extraordinary Prodigy Camp. During one intensive week in June, students will be taught the secrets of screenwriting, directing, and cinematography, and they will apply that knowledge to shooting and editing in a short film.Student Volunteers at SIFFVolunteering with SIFF is great way for high-school students to get to know how SIFF Cinema and the Seattle International Film Festival works, and hours can be credited towards community service requirements. We have year-round opportunities in addition to our very active volunteer time during Festival.To get started, first register on-line at Shiftboard. You'll then receive access to our online scheduler, which has a shift calendar and other information on volunteering. Right now, we have an on-going need for ushers at SIFF Cinema, and also distributing our SIFF Cinema calendars throughout the city. In March, we'll begin recruiting for Festival volunteers, so if you're a registered volunteer, you'll receive our e-mail announcements regarding that. The Variety Pack Show Presented by Reel Grrls in partnership with The Vera Project, Punch Drunk Productions, and SIFFThe Variety Pack Show is a new media series for young women in the Seattle area. Reel Grrls will produce a live show on May 30 featuring local bands, spoken word, films, and work from each of the below studio classes.Cinematography WorkshopFebruary 17-19, 2009A three day film camp during mid-winter break. Learn shot composition, lighting, and video techniques.Super 8 WorkshopMarch 7 and 8, 2009Learn to use real film cameras to capture life in a black and white vintage look.DJ & Sound Engineering WorkshopApril 11 and 12, 2009Reel Grrls partners with The Vera Project to bring you DJ'ing skills and the most hands-on live sound experience of any studio engineering program in the Puget Sound area.VJ WorkshopMay 2 and 3, 2009Be a "Video Jockey" and edit video in sync with live or recorded music.Teen girls can sign up for one or all workshops. More info: [email protected]206.323.0693www.reelgrrls.org

A Review of The Godfather and The Godfather Part 2at SIFF Cinemaby Renee A.I am ashamed to admit that I waited seventeen years to watch the Godfather movies. For years now I have been hearing about this cultural phenomenon with quotes used in all sorts of settings; the most common being the famous phrase and motto of the Corleone Family “I’m gonna make him an offer he can’t refuse.”While I am not the type of girl who watches chick flicks and strays away from any movie involving blood and violence, I still found myself hesitating to start watching these movies. I knew there was going to be a lot of people dying and since I have a tendency to get attached to characters (I was devastated when Piggy died in Lord of the Flies), I knew I could be in for feeling some strong emotions. What I found to be amazing about the Godfather movies is that they manipulate how you feel about each death. Whenever someone died, and I knew it was “for the good of the family,” I was totally ok with it but when someone working for the family was killed, it made me feel downright mad. The fact that I wanted this mafia family to succeed and that I considered them the good guys puzzled me and made me realize just how great these movies are.The first movie “The Godfather” introduces the audience to the Corleone clan, a strong mafia family in the late 1940s. Most importantly the viewers meet Vito Corleone (Marlon Brando), the “don” or “godfather” of the family, and his youngest son Michael (Al Pacino) who, resisting the family business, enlisted in the marines and has returned home a war hero. We are also introduced to the Godfather’s other sons, Sonny (James Caan), Fredo (John Cazale), Tom (Robert Duvall) who is adopted, and his only daughter Connie (Talia Shire). When a drug trafficker asks for help from the Corleone family and is rejected, he has the Godfather shot. Luckily the Godfather survives but the events that occur because of his near fatality change the future of the Corleones forever, especially that of Michael. Michael, after saving his father from a second murder attempt, convinces his brothers that it should be he who murders his fathers attempting assassins. This decision sets the stage for Michael to become the new Don of the family after his brother Sonny is murdered and his father’s health finally fails him. The movie ends with Michael showing the other heads of the five mafia families how powerful he is by having each of them killed. The movie leaves you feeling conflicted because in order to become the new Don of the family Michael has lost the good morals that made him so lovable as the youngest son of the Corleones.The second movie focuses on Michael’s new rule as the don of the Corleone family while also telling the story of his father’s life (Vito) and how he became the Godfather. This story has a more complicated plot filled with backstabbing characters and multiple mafia related murders. The parallels between father and son are shown as we see how both Vito and Michael started out as innocent boys and how their lives changed upon the murders or attempted murders of their fathers. However, the audience is able to see differences in the life of Michael from that of his father’s. Vito always made his business about his family where Michael’s business maneuvers cause him to end up with a ruined marriage and a betrayal by his brother that almost kills him. I loved the insight that this movie offers into the characters and how the family business may not be such a good thing. This second movie takes a lot of the glamour out of the mafia life that I felt was portrayed in the first.So the Seattle International Film Festival Cinema is showing newly restored prints of the Godfather Parts 1 and 2. As a newly made Godfather fanatic, I highly recommend that you take the time and check out these restored masterpieces in cinematography. I honestly think that these movies should be a requirement for everyone to watch at some point in their life but don’t take my word for it. Go see the Godfather parts 1 and 2 and then spread the word about just how extraordinary these movies are. The Godfather and The Godfather Part 2 play at SIFF Cinemalocated in McCaw Hall at Seattle CenterDecember 19 thru January 1stsee www.siff.net for a complete list of showtimes, including several double feature options

The Dutchess and the Duke at Vera!Friday December 12 7:30 PMGirls Rock! Seattle Launch Party!The Dutchess and the DukePanda & AngelAnother Perfect CrimeKusikiaDJ Shani Thunders$11 ($10 w. club card)Buy advance tickets at TICKETWEBVera is extremely excited to welcome Girls Rock Seattle as they host their launch party with Hardly Art risers The Dutchess and the Duke. Their brand of earthy folk and indie This should be a fun night and it goes to a great cause!The Stranger Suggests: Hawnay Troof (of XBXRX) w. Little Party and the Bad Business!Saturday December 13 7:30 PMAntarctic Records & The Vera Project Present:Hawnay Troof (of XBXRX)Little Party and the Bad BusinessThe WigginsVacation$9 ($8 w. club card)Buy advance tickets at TICKETWEBAs if this show wasn’t awesome enough already – check out what The Stranger had to say about it this week: ”Live shows by Hawnay Troof—the solo electro-punk project of explosive XBXRX frontman Vice Cooler—are wildly energetic spectacles, with Cooler rapping and dancing and leaping around.” Vera is proud to welcome one of our own personal favorite performers: Hawnay Troof. This one man dance machine gets things started not too unlike some dudes from just south of Seattle named YACHT and Panther. If you aren’t familiar with Hawnay Troof, you may be familiar with his other group XBXRX, the southern punk powerhouse which Vera has been privileged to have welcome before!

Great Speeches from a Dying World @ The Northwest Film ForumCAPITOL HILL

Finding that homeless people seem to be invisible to the rest of society, director Linas Phillips (Walking To Werner) set out to familiarize himself with 12 people who were living on the streets of Seattle. As he developed friendships and discovered each person's particular struggles, he asked the subjects to read a famous speech from history that they felt related to their lives. Phillips encounters human empathy and hope alongside the low points of extreme poverty in this intimate exploration of homelessness.

A review of Black Nativityat INTIMAN TheatreBy Molly L.Langston Hughes said it best when he described his work of art as “A Gospel Song Play.” That is exactly what it is! Black Nativity is “a,” it is one of a kind, there isn’t anything else quite like it. It is a gospel, spreading the news of Jesus’ birth. The show is a Song, there is so much singing preformed by very talented musicians with amazing soloists. Finally, the show is a play; it is a theatrical interpretation of a story told through words and movement.I’ve seen this play three times before and every time I realize all over again how amazing and unique this show really is. This show is truly a journey; not only are the actors onstage performing a musical, dramatic journey, but you are living one too. When you go to this show at the Intiman, you’ll lose yourself. From the very first note you are captivated, drawn into the story, into the music. The story sucks you in, without knowing it you forget to blink, your eyes are transfixed by the action onstage. Your soul is hooked too. You gulp in the songs about love, about peace, hungry for more. Your heart beats faster with the powerful poetry about change and equality by Langston Hughes.Songs, one after another, each bring you somewhere new. The joy on the choir members’ faces is infectious. So much powerful, joyful dancing interprets the story that the narrators are reading. All the characters are so beautiful, so unique, presenting their well-known stories. There is an indescribable mood and emotion filling everyone there, “I can feel it in the atmosphere-the presence of the Lord is here,” the choir sings. You can tell that they truly believe it. No matter who you are, what your background is or what religion you belong to, you know that there is some other presence too. The show ends and you return to yourself, but there are some notable changes, you aren’t the person you came to the show as: you’re revived and invigorated, and inspired!Black Nativity plays now through Decmeber 27th at INTIMAN Theatre, located in Seattle Center201 Mercer Street, Seattle WA 98109for tickets and info, call 206.269.1900 or visit www.intiman.org

Review of You Can't Take It With Youat Seattle Repertory TheatreBy Emma K.With the holiday season upon us, and every family having to tighten their purse strings, it’s nice to see a show that reminds us of what’s really important. You Can’t Take It With You, currently playing at Seattle Rep, is just such a delightful treat.Written in 1936 by George S. Kaufman and Moss Hart, the play follows the Sycamore family and their circle of eccentric friends. Alice Sycamore, the “normal” one, becomes engaged to Tony Kirby, the son of a wealthy Wall Street businessman. When the two families come together, there are fireworks – literally.The cast of eighteen has excellent rapport with each other and captures the essence of a real family with panache. The ensemble contains a host of Seattle’s most seasoned actors – Anne Allgood, R. Hamilton Wright, and Mark Chamberlin to name a few. Everyone has spot-on comic timing, and finds obvious joy in the script’s abundant humor. As the young lovers, Elise Karolina Hunt and the Jimmy Stewart-esque Ben Hollandsworth are the picture of youthful 1936 innocence and elegance, while Annette Toughtonghi is especially delightful as the comic, would-be dancer Essie. Special note must be taken of Michael Winters as the Grandfather, the voice of reason and wisdom in the household. He has a knowing way about him, and an ease that make it impossible not to believe his character’s sentiments. Also included in the cast are Ian Bell, Frank Corrado, David Drummond, Curtis Eastwood, Brandford Farwell, Allen Galle, Cecil Luellen, and Khatt Taylor.The set design by Michael Ganio is realistically cluttered with eccentric knickknacks, feeling inviting and lived in. Beautiful costumes by Frances Kenny are reminiscent of old Fred Astaire and Ginger Rogers films, while the renowned Warner Shook’s direction crafts an overall sense of fun and contentment.The real genius in this show is the writing. The script is quick and witty, clichéd only to the point of sweetness. It does have its dated moments, however, especially regarding the two African-American characters. This being 2008, it would have been gratifying if the Rep had edited out these offenses as they were, for the most part, gratuitous to the story.Besides this misstep, the production is lively, colorful, and entertaining, while reminding us that money is really not what matters.You Can't Take It With You plays now through January 3rdat Seattle Repertory Theatre, located in Seattle Center155 Mercer Street, Seattle WA 98109for tickets and info, visit http://www.seattlerep.org/ or call 206.443.2222

A Review of The Christmas FoundlingAt Taproot TheatreBy Emma M.The Christmas Foundling, Taproot Theatre’s holiday offering, brings to the season a story of family and love and many fabulous performances.It’s a story of a group of slightly bumbling miners who try their hand at raising a child and then dealing with his long lost family when they arrive on their doorstep ten years later. The play is inspired by stories by Bret Harte who was considered during his time, the American Charles Dickens and was more popular than Mark Twain.Under the direction of Karen Lund, the ensemble gave a good “telling” (as the characters would say) of this powerful but simple story. Although most of the actors gave solid, professional performances, the character of Moscow, played by David Anthony Lewis, was especially appealing as a romantic Russian.The production did a good job of presenting the difficulties and triumphs of the characters as they grappled with some tough choices. However, the ending of the play could have been stronger in the reasons for resolution.The Christmas Foundling gives audiences the opportunity of thinking about what it means to be a family and that is a great gift during the holiday season. The Christmas Foundling plays now through December 27that Taproot Theatre in Greenwoodfor tickets and informationvisit www.taproottheatre.org or call 206.781.9707

A review of Fiddler on the Roof, performed by The Driftwood Playersby Rachel N.Almost everyone has seen or at least heard of the classic movie “Fiddler on the Roof,” but it’s not every day you get to see it performed live. Through December 21st, however, anyone can have the pleasure of seeing this amazing musical performed by the Driftwood Players at Wade James Theatre (voted #2 Best Theatre Group in Western Washington of 2008) in Edmonds – and it certainly was a pleasure! It’s hard to compete with the 1971 film adaptation, but Driftwood’s endearing cast and lively choreography does pretty darn well.“Fiddler on the Roof” is a story of the small, tradition-based Jewish village of Anatevcka in Russia, 1905. We follow the peasant Tevye as his lifestyle of tradition is threatened by his daughters’ wishes to marry men not chosen by a matchmaker, ethnic violence against the Jews, and foreshadowing of a political revolution in Russia. The original production won 9 Tony’s and 3 Academy Awards, and holds a very dear place in every musical-loving heart.Wade James Theatre may seem a little small, but it has a friendly atmosphere, with Christmas décor in the lobby and donation-basis cookies and coffee at intermission. Considering the Driftwood Players are a nonprofit, self-supported group, I wasn’t expecting too much in the way of sets and costumes. But boy, was I wrong! The costumes were very historically accurate, as well as detailed: Tevye had a patch on his vest and scuffed-looking boots; the scene changes were quick, but didn’t take away from the lovely sets; and even the use of lights and effects added to the story. One particular scene is set in a graveyard, and I was very pleased with the set crew’s use of a fog machine!It was easy to hear all the soloists from the front row, but at times it may have been a bit of a strain for those in the back of the audience. There were a few minor technical glitches in the first scene, but nothing else went wrong for the rest of the show. Everyone behind the curtain definitely seemed to know what they were doing, making sure nothing went wrong for the actors onstage. Furthermore, it was evident that the props managers did their homework on Jewish culture: each doorway had a mezuzah (an encased sacred parchment hung on the doorpost of Jewish homes) and the newspaper in one scene even had Hebrew writing. In my opinion, however, the best detail was the live music, especially the presence of a “real” fiddler, not just someone miming to a prerecording.Overall, the actors were quite impressive. There were one or two singers I felt weren’t quite at the same level as the rest of the cast, but it was an overlookable flaw. John Klise, who played Tevye, did a great job considering the magnitude of his role, and his three daughters, Tzeitel (Traci Biegenwald), Hodel (Lindsay Powers), and Chava (Karin Redden), were no less delightful. It was obvious every actor onstage had worked long and hard on multiple songs with impressive choreography, as well as individual lines and blocking.When the house lights came up at the end of act one, the whole audience was buzzing about who their favorite was, what they liked, and how much they were enjoying themselves. I was no less enthusiastic. Although it’s not exactly a “happy ending” kind of show, I had a smile on my face when I walked out the door at the end of the evening. Tickets are $20-$23, a very reasonable price considering the superb quality of both the costumes and its actors. However, seating is not assigned, so make sure you get there in plenty of time to grab a good seat. But regardless where you sit, you’re sure to leave the theatre humming the tunes and tapping your feet . This is one piece of “Tradition” you won’t want to miss!Fiddler On The Roof plays now through December 21st, 2008at Driftwood Theatre in Edmonds950 Main Street, Edmonds WAfor tickets and information:visit www.driftwoodplayers.orgor call 425.774.9600

A review of The Nutcrackerat Pacific Northwest Balletby Jonathan H.I will admit, I am not a huge fan of ballet or dance performances, but The Nutcracker has always been an exception. Having seen this several times in my life, I came in sort of knowing what to expect. I knew I would see dazzling costumes and sets, lots of snow, beautiful dancing, and wonderful music. And to be frank, this is exactly what I got. But there was something different about this visit to McCaw Hall for a performance of Pacific Northwest Ballet’s The Nutcracker. For the first time I realized this was no ordinary ballet, but rather an event. Coming in, I saw employees in costume singing Christmas carols and doing magic tricks for children, and the lobby of the theatre was decorated with all kinds of holiday decor. I also saw various models of nutcrackers placed all around, giving plenty of photo opportunities for families. This in a way adds to the magic of The Nutcracker, because for many children it truly is something big. And I guarantee that this is probably the biggest and one of the best you will see anywhere. Of course, when most tickets run at $60 a pop, that is what you would expect.One of the most unique things about this Nutcracker is that you don’t get the traditional experience you may get other places. Yes, you do get the story we all know and love, and the characters are the same for the most part. The thing I realized as I watched this ballet is that it can be very open to interpretation. The only thing holding it together at the start is the orchestrations by Tchaikovsky, and a simple plot line. After that, several things can be decided for themselves. And PNB is not afraid of changing the traditional experience. Instead of a dance of the Sugar Plum Fairies, you get a dance of the flowers, and instead of the second act taking place in a fantasy land, you get a Southeast Asian setting. And all of these things make the show so much more than a normal show.PNB is also very proud to have their show artistically designed by famous author and illustrator, Maurice Sendak (known for his work illustrating the books “Little Bear” and “Where the Wild Things Are”). His work is very obvious and recognizable, making many of his designs bulky and large. His sets are very elaborate and beautiful, with most everything being two dimensional, although creating the effect of being in three dimensions. He also designed the costumes. Although not as obvious as his artwork, they are still as colorful and elaborate as his sets. There are some dazzling special effects included in the show. Like I mentioned before, it snows on stage. And this is not the fake looking kind you would see on other stages. This looks very realistic and is very beautiful in the Snowflakes dance. It was also great to see a giant 25-foot mouse king come out on the stage, as well as seeing a lit-up Christmas tree triple in size as Clara shrinks to mouse size. These effects add to the magic already added by the performers.The cast of this show is incredibly large, at about fifty dancers not including the 200 children alternating the roles throughout the show’s run. But each one of these fine dancers is almost flawless in their performances, while telling the story and keeping perfect style in their dances. Even the children are impressive, despite the fact that they don’t have the experience that the adults have. Elizabeth Malanga, who plays Clara, is very good having a lot to do at a young age. Other stand-outs include Older Clara (Carrie Imler) and the Nutcracker Prince (Batkhurel Bold), who are beautiful and precise together in their performances. I also liked Uko Gorter as Herr Drosselmeier who, although he has little dancing, does a great job with his character. And I want to give special recognition to the orchestra, doing a flawless job of playing each one of the recognizable suites beautifully. They are so good you almost forget they are even there. Getting tickets to this show shouldn’t be much of a problem, considering that there are over 40 performances of this show scheduled, and the fact that the theatre is exceptionally large means that sold-out houses aren’t likely to happen every night. But do not doubt that it will be crowded, because this is an extremely popular show. The only unfortunate thing with this is that you can’t get the $5 tickets you would get normally with your pass. Sunday, November 30th at 1 pm is the only exception, but there is limited seating for us Teen-Tixers. Otherwise, you will need to pay the normal ticket price. But don’t let that get you down, because this is a seasonal event not to miss. I guarantee it will be worth the price of admission.The Nutcracker, presented by Pacific Northwest Ballet, performs at McCaw Hall at Seattle Centernow through December 30th, 2008.Contact pnb.org or 206.441.3574 for tickets and informationPlease note: This production is NOT Teen Tix eligible. Full ticket prices apply.

Pacific Northwest ballet is about to roll out its annual production of Nutcracker.Its so darn good and popular, that PNB doesn't offer Teen Tix for this show :-(HOWEVER. . . . on one day only, SUNDAY NOVEMBER 30th at 5:30pm, PNB has graciously put aside 100 tickets just for you, our Teen Tix members!!! Only 1 ticket per Teen Tix pass holder (no 2 for $10 this day), and it is first come first serve, so if you wanna see this super cool dance performance, write the date in your calendar now and hustle over to McCaw Hall early on Sunday the 30th to claim your ticket!