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Review of Leroy by Ruby A., age 18“Say ‘Little Nigger.’ I am still small,” quips the young Afro-German Leroy (Alain Morel) when his new girlfriend’s Nazi Party family ask what they should call him. When Leroy and Eva (Anna Hausburg) first meet everything seems like a basic romantic comedy, until Leroy finds out her parents are way right-wing and her five brothers are hardcore skinheads. Rather than surrender to her brother’s orders to, “Go back to Africa!” Leroy goes into overdrive with black culture. He discovers Malcolm X, Shaft, and the curious Blacula after walking into a Black Panther office.Directed and written by Armin Völckers, Leroy takes a humorous approach to racism in the post-World War II Germany with a cast of fresh faces (not just because they are German but for many of them, including Völckers, this is their first film). Völckers is able to successfully explore discrimination in a country where roughly 18% of the population is foreign without offending anyone, except maybe the skinheads, depending on how sensitive they are.The characters struggle with whether or not it is right to call someone a Jew (Jood rather, the entire movie is in German by the way) or Jewish. Except for Leroy’s highly sexual half-Greek sidekick with an affinity for hair-waxing, Dimitrios (Constantin von Jascheroff), who never makes the effort to be politically correct, and refers to Eva as a “Nazi cow.”While the entire film is hilarious through and through, it wouldn’t be possible without Morel as Leroy (sorry to sound like an acceptance speech). His combined awkwardness and effortless wit can only be compared to Michael Cera (Superbad, Juno) but it is his huge afro that takes his loveableness over the top. As far as foreign films go Leroy is the best of its kind and as far as film goes it does no wrong. It has sex, underage drinking, violence, Smart Cars, and German rap—it’s flawless.Ruby A.May 16th, 2008LeroySeattle International Film FestivalShow times:Thursday, June 12th @ 9:30 p.m. @ Pacific Place CinemaSaturday, June 14th @ 1:30 p.m. @ Pacific Place Cinemahttp://www.siff.net/Did you see this film? Leave a comment and tell everybody what you thought!

Review of Saving Luna by Nur L., age 17Saving Luna is a film that will resonate and tug at the heartstrings of all its audience. The breathtaking cinematography takes us deep into the heart of Nootka Sound, where the baby whale Luna suddenly emerges to greet the surrounding people. Luna's appearance in such shallow waters isn't something these people take lightly, and almost immediately two factions break out: those who want to save Luna by keeping him away from human interactions, and those who believe touch and love and even just eye-contact are both unavoidable and necessary for his wellbeing. But Luna's entry into what is essentially an entirely human part of the world brings up serious shades of grey; she crosses the line between humans and the natural environment, and no one quite knows what to do. Yes, everyone has theories, has the best of intentions, but no one really knows for sure what the right course of action is—and therein lies the problem.The mounting tension as Luna's situation grows even more precarious is poignantly shown from the unbiased lens of two journalists' camera. And finally, as we reach the climax of conflict, the journalists find that they must break away from their characteristic objective integrity and take a stand.In an amazing display of talent, each shot taken and each bit of narration brings us closer and closer to this majestic creature until we too, must make our own decisions about what's best for Luna. We grow so attached to this whale through bits of film that transgress any boundary there might be between man and animal, that it seems as though we might also break a boundary and reach out beyond the screen and touch him—and there lies the power of the film.All our preconceived notions about animals must be shattered when we see Luna's story—the story of a whale so desperately in need of interaction and the perilous situation that this places the people of the village in. We witness both the transcendent power of a whale, and the folly and imperfections of even the most well-meaning of people, and we cannot help but be drawn to such a tale.Saving Luna is not only a magnificent retelling of one whale's story, but also a reminder to all of us about humans' fallibility, and you cannot do wrong by seeing it.Nur L.May 14th, 2008Saving LunaSeattle International Film FestivalShow times:Saturday, June 7th @ 11:00 a.m. @ SIFF CinemaSunday, June 8th @ 1:30 p.m. @ SIFF Cinemawww.siff.netDid you see this movie? Leave a comment and tell everybody what you thought!

Review of Emmanuel Jal: War Child by Emma K., age 16“I want to fly an airplane…I want a day that I can just live. My heart wants to learn how to fly an airplane.” These are the words of Emmanuel Jal, a Sudanese boy. He is speaking to a documentary crew who is shooting footage at a children’s refugee camp in Ethiopia. They had asked him what his hopes and ambitions were. As the camera follows him, his face is beaming with hope and joy, yet his eyes show deep fear and sorrow. Shortly before he had fled his home because of the turmoil; his mother had drowned when the ship they were on sank due to overcrowding. Only fifty of the hundreds of people on the boat survived. Emmanuel was one of them. Now, many years later Emanuel is an international hip-hop star. He spreads his message of peace through music and tells his story – one of heartbreak and inspiration. War Child, C. Karim Chrobog’s directorial debut, follows the former Lost Boy of Sudan as he performs, speaks about his past, and returns to his homeland for the first time in eighteen years.Emmanuel was one of many boys who were taken from their refugee camps and recruited to fight for the rebel forces during Sudan’s civil conflict of the 1980s and ‘90s. Their plight was horrific: often given cocaine to keep their energy up, the boys were taught to shoot and kill at a moments notice. Although some – including Emmanuel – escaped the army, they wandered the open country and frequently died of starvation. Emmanuel was one of the lucky ones; he was smuggled to Kenya by a kind British activist and later attended a top African school on scholarship. It was there that he discovered his passion for music.This film is a well edited and crafted tapestry; it intertwines Emmanuel’s story with current information about Sudan, and unpretentiously inspires the audience to take action. Emmanuel himself is honest, modest, and humorous even after all he has undergone – his wonderment at how the Americans are able to make fun of George W. Bush without being killed is at first laughable but then thought provoking and even saddening. All he says has this same understated quality, and it does make the audience think.War Child can be difficult to watch – footage of the war in Sudan is devastating, and some moments are simply gut wrenching (when Emmanuel’s sister talks about the abuse she endured, and when he is confronted by a young student asking whether or not he has ever killed anyone). Nevertheless, this is an important film for people to see; for many people Sudan is just a place on the map or a story in the news. This film makes those ‘stories’ real.Emmanuel’s music is his outlet and what helped him psychologically move past depression and wishes for revenge. As he says, “I put my fight into music.” His songs are more like autobiographical poetry – one talks to his mother is heaven; another questions what would have happened if he had not been rescued. His talent is untainted by ambition; he simply speaks from his heart and in doing so leaves an impression on ours. This film is the same way.After he has visited Sudan for the first time since his escape, Emmanuel stands at the rural airport. His face is full of glee as he snaps pictures of the countryside, does a happy-dance, and talks about his plans for building a school in Leera. Finally, he boards the airplane and flies away, having left us with but a snapshot of his life; yet it is enough to inspire.Emma K.May 12th, 2008Emmanuel Jal: War ChildSeattle International Film FestivalShow times:Wednesday, May 28th @ 7:15 p.m. @ SIFF CinemaSaturday, June 14th @ 9:30 p.m. @ SIFF Cinemawww.siff.netDid you see this movie? Leave a comment and tell everybody what you thought!

Review of Alone in Four Walls by Sophia B., age 16

Alone in Four Walls begins with a close-up of a head being shaved. The head belongs to a small boy with a remarkably childlike face and a plethora of tattoos. This unusual and disturbing montage is only one of equally unique moments in the chilling documentary. Alone in Four Walls, named after one of the boy's tattoos, studies the crimes and prison conditions of juvenile delinquents. It focuses on surprising details, and while some scenes feel too drawn out, images such as that of a former thief carefully making his bed are heartrending in a way that no conventional film would reproduce.Most people associate documentaries with school. The general stereotype is a series of people talking, with pictures interspersed and a monotone voice narrating. Fortunately, there are no stereotypes to be seen in Alone in Four Walls. There are certainly interviews, but not of the expected stammering elderly. Some interviewees are fraught with trembling and sobs, while others lightheartedly recount theft. Over their words are juxtaposed poignant scenes: empty hallways, rows of skinny boys forced to exercise, a window covered in bars.There is no preaching; the children and their victims speak for themselves. At the same time, many scenes are disorienting or downright bewildering. Due to issues with the DVD, I could not finish Alone in Four Walls. However, what I did see was expertly made and touching without trying too hard. I would wholeheartedly recommend this to anyone interested not just in underage crimes but in basic human nature.This documentary is in Russian with English subtitles. Since I don't know Russian, I can't speak for the accuracy of the subtitles, but they are coherent and without spelling errors. Anyone who has watched foreign films will know how rare that is.Sophia B.May 14th, 2008Alone in Four WallsSeattle International Film FestivalShowtimes:Sunday, June 8th @ 4:00 @ Pacific Place CinemaMonday, June 9th @ 7:00 @ Pacific Place Cinemahttp://www.siff.net/Did you see this movie? Leave a comment and tell everybody what you thought!

Review of Camille by Ian S., age 17And his dead bride said, "Silas." And I looked, and behold a blue horse: and its rider's name was Camille, and Love followed with her.But only that love which exists in the most contrived way. That love which is conveyed through a man saying to a woman, "I love you," and the woman says back to the man, "I love you too." That love which conquers all, including the death of the bride an hour into the honeymoon.Camille begins with a wedding between a very hesitant Silas (James Franco) and the titular overly enthusiastic Camille (Sienna Miller). Camille is killed in a motorcycle accident early in the film, only to be resurrected by her love for Silas (or something). The exact cause of her resurrection is never explained, but it doesn't seem to matter either, because, despite being the apparent main plot of the film, it doesn't change anything. Somehow, the death of half the couple notwithstanding, their relationship remains trapped in static.After a decent enough start, the film morphs into a horrifically clichéd romantic dramedy/road movie. The turning point is at about the same time Camille is resurrected. It's as if the filmmakers decided that having an undead bride was original enough to make up for the rest of the film's blandness. Unfortunately, the undead bride gimmick was the only original thing that they could think of. Franco's entire character is lifted from a Lifetime Movie.David Carradine (Kill Bill, Kung Fu) shows up as Cowboy Bob, ostensibly to deliver some good old cowboy wisdom, but no such wisdom is delivered. Cowboy Bob is a stock character, but he is only the cutout—nothing has been pasted onto it. Sure, maybe he paints his horses various colors, but that doesn't make him any more interesting as a character; it's only an unexplainedquirk.Perhaps most frustrating is the constant feeling that this could be slightly better, if it just weren't for the syrupy muzak-style soundtrack. The actors do the best they can with the poorly written dialogue they've been given, and it could almost be believable, but then the sickeningly sweetbackground music drops in, utterly ruining the mood instead of enhancing it.The film is guilty not only of using unrealistic dialogue to display Silas and Camille's love for one another, but also cheap camerawork. As Silas and Camille kiss, the camera twirls around them, pulling in and out, see how much they love each other. And then it begins to rain, but look! They remain kissing in the rain, because they *love* each other. At one point, Camille's sheriff father even tells Silas that he's not afraid to take the law into his own hands—the law of love.After finally pulling the cheapest trick out of the bag—sappiness—the film closes with a magical rain of rice. This corresponds to a line spoken earlier by Camille, distressed by the lack of rice, which they need, she says, for luck. I'd wish it good luck finding an audience, but I believe in Cinematic Darwinism, and Camille is not fit to survive.Ian S.May 12th, 2008CamilleSeattle International Film FestivalShowtimes:Sunday, May 25 @ 9:30 @ Uptown CinemaWednesday, May 28th @ 4:00 @ Uptown Cinemawww.siff.netDid you see this film? Leave a comment and tell everybody what you thought!

Review of Fighter by Delaney M., age 16I watched the SIFF film Fighter which was produced in 2007 in Copenhagen. Fighter was written and directed by Natasha Arthy and stars Xian Gao as the cryptic but wise kung fu master. The female lead in Fighter is played by the spunky and strong Semra Turan.Fighter details a young Turkish girl’s struggle against her parents’ values and traditions in her fight to become a kung fu champion. After Aicha’s brother announces his advantageous engagement, Aicha’s parents forbid her from practicing kung fu, in order to preserve their family honor and force the engagement to continue. However, Aicha decides that instead of quitting kung fu, she wants to step up her game, so she joins a competitive kung fu club behind her parents’ backs. A battle of wills and traditions ensues with many twists and turns in the plot.Fighter takes place in a poor area of urban Copenhagen; it showcases differences in cultures that occur in many European cities. Fighter uses a cool mixture of kung fu fighting and wire supported acrobatics, (although not to the extreme of Crouching Tiger Hidden Dragon.) The costumes in the movie contrast casual Danish clothes with traditional Muslim clothes and functional kung fu Gis.All of the actors are skillfully cast and work together to make the audience feel a part of the story. Semra Turan, (who plays Aicha) brings joy and excitement to the movie. Xian Gao, (who you might recognize from Crouching Tiger Hidden Dragon) plays the enigmatic but always caring kung fu instructor. The kung fu doubles have awe inspiring skill and transform Fighter into an action flick.Fighter is a fantastic movie that is truly unique and inspiring. I would highly recommend this movie to people of all ages. Fighter combines a drama and an action movie so it is also very entertaining for both men and women.Delaney M.Reviewed at home, Sunday May 11, 2008FighterSeattle International Film FestivalShowtimes:Sunday, June 1st @ 1:30 p.m @ Uptown CinemaTuesday, June 3rd @ 7:00 @ Pacific Place Cinemahttp://www.siff.net/Did you see this movie? Leave a comment and tell everybody what you thought!

This is a very good in depth review.

agreed.

An interview with the Chorus members Jon Hill, Guy Adkins, and Ben Gonio, of The Cure at Troy, by Ruby A., age 18Jon, Guy, and Ben have one very important thing in common: their first names are made of three letters, and that is an amazing feat in and of itself. But more importantly, depending on who you talk to, they also star as Chorus members in the play The Cure at Troy. The following is an interview with the three-lettered phenoms and all the magic, at Troy.RA: So I was able to see the play a couple of weeks ago and I found it was very different from what I was expecting. What originally drew you to work on this show?JH: It wasn’t so much the play so much for me as it was the director. I’ve worked with her once before but she is known to be excellent and finds what’s important about a play and that speaks to all of us.RA: And have you worked with her [Tina Landau] before?JH: Yeah, once before in Atlanta, but this guy [Guy Adkins] has worked with her a lot.RA: So you’re familiar with The Viewpoints she uses? I’m not quite sure what to call them, other than yoga. But you all created that?GA: Oh the movement?RA: YeahGA: Yeah, pretty much with Tina’s guidance we do this sort of Viewpoint technique of hers that she developed… and it’s like a movement vocabulary. And the three of us worked extensively with her on that and once we sort of had the vocabulary down she would just sort of send us off into a room and we’d make stuff up, movement-wise, based on gesture work, based on you know what we thought maybe Greek warriors posed like, or what--she said make up a couple of pieces of movement that you think have to do with this play.Ben Gonio, Guy Adkins and Jon Hill are the Chorus in The Cure at Troy at Seattle Rep, seen here looking very serious. Photo by Chris Bennion.RA: So to me this movement looks like yoga, how do you see it working with The Cure at Troy and what do you hope it says to the audience?GA: The movement?RA: Yeah, the movement.GA: Well I don’t know what I hope it says to the audience, but I know what it means to me.BG: The hope, well, a lot of this is really is really, well in simplest terms, trying to find a symbolic way of expressing the poetry.GA: And to use the chorus you know… they sort of provide an accessibility to the language, I think, for the audience through song and movement and that was always sort of the Greek chorus’ job and so that's Tina’s idea of how we use movement and music.BG: We’re like the portal or the guide, we’re like the middle-way…so here is the audience and here is the chorus and this is the action. So we set this thing up and we narrate what’s happening and then we become part of the play and then pull out of it. So that it’s a way of getting the audience involved in the story.RA: I noticed that Philoctetes did quite a bit of spitting on stage, and I know that’s probably pretty widespread in the theatre world but how do you get used to that?BG: Did he?RA: Yeah! Like that for me would be hard to work with. Like if you were working a regular office job and your co-workers kept spitting on you, that’s tough.BG: I think he, Boris, and that you know, these guys would agree with me, he is really just in touch with the vowels and that’s a lot of it, you know. Just really trying to get the words out, physicalizing those words, and it’s the nature of the role too. You know, I think, here is this guy who is practically part of the earth… and well what do you guys think?JH: Yeah I can’t help it sometimes…you have to get the words all the way to the back of the house to make it clear and not just make it sound like vowels.RA: Was there ever a time, like when you first started acting, when you were like, “Oh man I just spit!”?GA: I wasn’t aware of it, I mean I’m not aware of when I’m doing as much as I am when I’m in the audience. I remember my favorite actor that I used to see a lot-especially doing Shakespeare-and he was a serious spitter. I remember thinking, “Now that’s excessive”. But when you’re doing language plays you’re aware of words, like poetry, like Shakespeare, or this-- it’s really hard to make it accessible for the audienceJH: it’s not as prevalent in smaller houses or more naturalistic contemporary plays. I remember the first time, when I was in college, the first play I saw had a spitter, and I hadn’t seen much professional theatre and I remember wanting to be like that guy. And I was like someday, I’m gonna be a spitter.RA: The set is made up with real mud and rocks; did you ever find yourself nervous as the other actors tossed the rocks around the stage?GA: Well the rocks are all tied or bolted down except for a couple that Boris plays with and one that Seth picks up. I’m more concerned about stumbling on rocks or falling through the crevices or falling off the back of the set. Those are the only things that concern me.RA: Yeah because in the beginning you guys just have flashlights.GA: Yeah I mean, I think it’s pretty treacherous but I’m--we’re getting sort used to it, where the rocks are and the set itself. For me, you know how there are those two stairs in front of the black part?RA: MhmmGA: In between that is this drop to the floor and that, that freaks me out.BG: One of our cast members was walking out and almost fell. So it’s a tricky set.RA: In the beginning of the play you guys are sitting on stools. Is that something you do for every show? What is it you are doing there? Are you reading something from the script?GA: Yeah, there is stuff in the books.JH: We can’t tell, it’s out secret.GA: We shouldn’t tell you what we’re reading. But Tina, our director, puts some things in there, and they’re hidden…and sometimes I’ll find something that I didn’t know was there.BG: And some of it is very moving, some poetry and such.RA: Are there any jokes in there?JH: No, but there are some mysteries that are kind of like jokes.RA: What drew you to becoming an actor, specifically in theatre?JH: I wrote a play that my elementary school produced…and I don’t know--watching the actors inspired me…and there is just something about live theatre where anything can happen kind of, and people getting together to believe in something and it’s just really really great. That’s why I got into it.RA: You must have to do a lot of traveling, is that hard on your social lives?JH: I am living in New York right now, I, right now where I’m at in my life…I love going to a new city and learning about people…it’s like an adventure. Right now, I just love it.RA: Were you all theatre geeks in high school?JH: Yeah I was an every kind of geek.GA: I was too. Music...I was always involved in music but I never thought I could do it professionally until I was in high school and I had a teacher tell me that I should and that really opened my eyes.Jon, Guy, and Ben, again, here looking slightly less serious.JH: Same thing happened, where I had an instructor who believed in me. Tell your teachers that!RA: And lastly, could you each give me a reason why people should go and see The Cure at Troy?BG: There are some cool people in it.GA: Some bald sexy men, taking their shirts off. I think it’s innovative and I think it’s unlike anything you’re ever seen before and it’s not safe—I don’t mean unsafe, I just don’t think its safe theatre.RA: It’s dangerous!GA: I mean it could be a danger to my life.RA: Yeah watch out for those rocks.JH: I think it deals with one of the most important things in our society, which is compassion.Ruby A.April 18th, 2008The Cure at TroySeattle Repertory TheatreThrough May 3rdhttp://www.seattlerep.org/Seattle Rep’s Ticket Office: 206-443-2222Ticket Office Hours: Daily, noon – performance timeSeattle Rep is located at 155 Mercer Street, on the North edge of Seattle Center. It is served by buses 1,2,3,4,13,15,16,18,45, 74 and 85. For bus times:

yay!!, im sad i missed the last class :-( so it is critical (haha CRITICal) that a reuniun must take place.

Congratulations to the first ever graduating class of the Young Critics Workshop! Here, for your enjoyment, are a few choice selections of the young critics' work:"So I didn't enjoy my lobster as much as I thought I would. So what? At least I got to have one for free. At least I got to try this delicacy. At least I got to feel like a manly man, yanking its shell apart with my bare hands and staring down at…its excretory tract filled with a large vile-looking green gob of lobster waste. Yum!" - Review of a clam bake by Ian S."In a summary the play sounds like a classic episode of 7th Heaven but these guidelines are quickly forgotten in the place of the freshest comedy since Tina Fey’s 30 Rock. Kevin manages to make it all work using dachshunds, cocktail wieners, and hairy legs and leaving out sexual entendres and dirty words." - Review of How? How? Why? Why? Why? at Seattle Rep by Ruby A."The illustrations are wonderful, the information is breathtaking, and the price…well that’s the best part! It’s free at any Washington State Department of Licensing Center. So don’t just take one. Take ten of them! In fact, impress your friends by getting one for each of them too!" - Review of The Washington State Driver's Guide by Manal H.YCW 07-08: Ian S, Leah M, Manal H, Elsa W, Professor Kiley, Paulina P, Ruby A, Kirsten O, Josie O and (down front) Queen of Teen Tix Holly A. Missing from this picture (but not from our hearts): Bianca G, Terry G, and Ashraf H."The dining room was the only place that was perfectly clean. It was clean because we weren’t allowed to go in there, and we weren’t allowed to go in there because it was clean." - Review of Thanksgiving dinner by Bianca G."Instead of giving you some bland facts about Duchamp and his mediocre work of art, PDL not only puts you inside the painting, spinning like the spirals that give it its name, but they add their own humor to it too, exaggerating the dizzy noises and screams to a point that in which it all seems silly, which is exactly what they wanted. PDL not only makes works like “Spirals” memorable to those who would never have taken a second look at it, but also delivers an important message to the high and mighty cultural aristocrats of the city: relax, its just art." - Review of PDL's Unauthorized Tour of Seattle Art Museum by Ashraf H.The Young Critics Workshop is an elite writing seminar for 11th and 12th graders who are interested in critical journalism. Applications for next year's YCW will be available in July, 2008.

Review of The Cure at Troy by Emma K., age 16Believe the hype. Here are three reasons why The Cure at Troy, currently playing at Seattle Rep, is worth a trip to the theatre:1. It’s relevantThe Cure at Troy was written by Seamus Heaney as a response to the turmoil going on in Northern Ireland during the 1980s and ‘90s. Based on the play Philoctetes by ancient Greek playwright Sophocles, the adaptation retains some classical elements while integrating new styles into the ancient story. The chorus provides a narrative and commentary in mostly poetic verse as the main characters perform in contemporary language; this juxtaposition makes for occasional and welcome comedy (ex. “We’re Greeks with a job to do.”) In addition to being surprisingly funny in moments, the script is also powerful in its theme of conflicting morals – does one do what he is told by his leaders or does he follow his own personal truth? You don’t have to know or understand ancient Greek history to appreciate this premise which is undeniably relevant in today’s world.The cast of The Cure at Troy at Seattle Rep. Photo by Chris Bennion.2. It’s a combination of commanding art forms, not just a playThe story is simple: Odysseus, a Greek general, learns that he needs the bow of Hercules (a god) in order to win the war against Troy. The problem? He has left the bow is possession of Philoctetes, a wounded soldier he abandoned on a barren island with a mortal wound ten years ago. He now needs to retrieve the weapon and sends Neoptolemus, the young son of Achilles, to win Philoctetes’ trust and steal the bow. Movement is incorporated into the story as well as vibrant music by Josh Schmidt. Although some of the dance like motions are out of place, these elements invigorate the production and provide an ‘other-worldly’ quality at times. Lighting by Scott Zielinski also infuses the show with energy and transcendence. Sometimes these efforts are over the top – the Technicolor light show at the climax, the clichéd tune played at the end – but overall this imaginative take on the story protects it from becoming a stuffy remnant of a history book and keeps in fresh and intriguing. The tale is presented as an artistic creation that aims to prove the timelessness of ancient themes.3. The performancesThe cast is committed to their performances, delivering them with drive and assuredness. As Philoctetes, the abandoned archer who now wallows in his own physical and emotional agony, Boris McGiver is determined. He brings a strong sense of urgency to his role and believably transitions from his character’s moments of untainted wisdom to those of his immense anger and pain. Seth Numrich plays the young Neoptolemus with a sincerity, ambition and fitting confusion. As his morals conflict within himself he shows a tender quality of authentic earnestness. The character of Odysseus, played by Hans Altwies with condescension and intent, is not presented as a hero. Rather, he is a man who has given up everything in his ambition. Guy Adkins, Ben Gonio, and Jon Hill are the chorus; their singing is glorious and they deliver most of the movement pieces with precision and fervor.This show is not without its hitches, but the ultimate messages of love and moral purity make it haunting in its significance and clarity.Emma K.April 9th, 2008The Cure at TroySeattle Repertory TheatreThrough May 3rdwww.seattlerep.orgSeattle Rep’s Ticket Office: 206-443-2222Ticket Office Hours: Daily, noon – performance timeSeattle Rep is located at 155 Mercer Street, on the North edge of Seattle Center. It is served by buses 1,2,3,4,13,15,16,18,45, 74 and 85. For bus times: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

Review of The Dead Guy by Jenny B., age 19

“Look at everyone in this country. They’re all desperate to feel something – really feel something. We see torture and murder – it’s kind of upsetting. We’re flat-lining,” Gina (played by Erica Bergman) proclaims persuasively in ArtsWest’s production of The Dead Guy. This is an astonishing story, in which playwright Erick Coble teaches us about life. The message is brought to life by director Rob West’s integration of theatre and television and Will Abrahamse’s set design, which captures even the most absent minded attendee’s attention. With almost everything being recorded, it begs an interesting question of the audience, which feeds into the message of the show: do you watch the screens or the actors?Ray Tagavilla and Erica Bergman in The Dead Guy at ArtsWest. Photo by Matthew Durham.This astonishing story teaches us about the pointlessness of reality television. It shows us how some people live through their televisions instead of experiencing things for themselves. The Dead Guy does this by taking reality TV to the extreme by putting a man’s life in the hands of the audience. The main character Eldon (played by Ray Tagavilla) has a week to live. In that week, through realizations from how he has treated others to how it is important to appreciate the small things in life, he teaches us about love and living life to the fullest. By the end of the performance that I saw, the actors were energetic and convincing, but the beginning the show, for lack of a better word, was void of life. The lines were well delivered, but the conviction behind them was not. The lines delivered by Eldon were funny, but the absence of comedic timing didn’t lead the audience to laughter. About a fourth of the way into the show, though, the energy picked up and then everything started to click. Then, the audience followed and was moved to more than just laughter, but to deep feelings for the plight of this character. Maybe with proper warm-ups this would not happen in the future. The play is surrounded by a charming atmosphere, from the integrated art that lines the walls (a Deborah Paine curated exhibit called Yer Killin’ Me) to the friendly box office crew and concession stand workers, who are helpful and understanding. This show is definitely worth attending just to experience the playwright’s message. This well-written piece that is great for everyone to reflect on their own situations and life. It gives us perspective on how we spend our time and what we value in life. Jenny B.April 5th, 2008The Dead GuyArtsWestThrough April 26thArtsWest’s Ticket Office: 206-938-0339www.artswest.orgArtsWest is located at 4711 California Ave SW in West Seattle. It's served by buses 22, 37, 51, 53, 54, 55, 57, 128, and 560. Bus times: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

I enjoyed reading your review very much..You mentioned the parts of the ballet that you liked best, but you didn't mention who danced them.

Review of A Midsummer Night's Dream by Jennifer K., age 17For those infatuated with ballet, Pacific Northwest Ballet has long held our affection. Arguably the Northwest’s most prestigious ballet company, PNB’s performances are always professional and enchanting. However, there is a large portion of Seattle-ites who, sadly, do not hold this enamored view of ballet. Instead, they think of it as dull, stuffy performances by women in tulle and men in tights that should have ended in the 18th Century. Whether you belong to the first group or the second, PNB’s production of A Midsummer Night’s Dream is an ideal show for you.Pacific Northwest Ballet principal dancers Louise Nadeau and Olivier Wevers in A Midsummer Night's Dream at PNB. Photo by Angela Sterling.A Midsummer Night’s Dream is definitely not a long, dry classical ballet. It is actually a fairly short ballet consisting of two acts. The first act contains the twisting Shakespearean storyline. Oberon and Titania, the king and queen of the fairies, are feuding in the enchanted forest. Two human couples—Hermia and Lysander, and Helena and Demetrius—are also in these woods. Hermia and Lysander are happily in love, but Helena and Demetrius are not so lucky. Helena loves Demetrius, but he scorns her. Puck, a mischievous fairy, has found a flower that causes people to fall in love with the first person they see. He sets out to use it to end Oberon and Titania’s quarrel and to remedy Helena’s unloved plight. He succeeds in doing this, but only after causing some humorous mix-ups between the lovers. These include forcing Titania to fall in love with Bottom, a workman with the head of a donkey. In the second act, all the couples are happily reunited and they celebrate with a series of grand wedding dances.A Midsummer Night’s Dream will not disappoint those who adore going to ballets. The legendary George Balanchine did the choreography, and it is stunning. Of the dances, my personal favorites were Oberon’s impressive solos and the breathtaking Pas de Deux (duet) in Act II. The sets are large and creative, and include a starlit sky and a sizeable spider’s web. The dancing in Act I features quite a bit of miming and acting to tell the story, but Act II gives the typical “ballet” experience, with more classical choreographyIf it is your first time attending a ballet, do not despair. A Midsummer Night’s Dream is still an excellent performance for you. The storyline is clear and entertaining, and there is plenty of humor woven throughout. Puck and Bottom’s solos are especially enjoyable. The ballet does an excellent job of combining the charming events of the famous Shakespearean comedy with the impressive choreography of George Balanchine. No dull pastel tutus adorn the dancers of this show. Instead, sparkling costumes in clear jewel tones swirl across the stage.Please remember that this is a ballet, so it will be a bit “cheesy.” A Midsummer Night’s Dream is a fairytale and should be treated as such. The dancers don’t speak, so they must communicate solely with their bodies. Thus, their acting is overemphasized. The idea of dancing out a story is a bit comical in itself. This is all part of the charm of a ballet. No matter how implausible, though, everyone enjoys a happy ending.After each show, there is a question-and-answer time with PNB artistic director Peter Boal and one of the lead dancers. Opening night, Carrie Imler, who played Titania, attended. She said that one of the reasons she loves performing is that it allows her to take an audience into an imaginary world where they can forget about their worries for a few hours and simply enjoy the story. Even if ballets are not normally in your comfort-zone, I encourage you to see this show. It provides a painless introduction to this important category of the arts. It may even transform you into an avid lover of dance. Enjoy the haphazard story, soak up the lighthearted dancing, forget your troubles for a night, and go home happy.Jennifer K.April 3rd, 2008A Midsummer Night's DreamApril 3 – 13http://www.pnb.org/PNB’s Ticket Office: 206-441-2424Ticket Office Hours: Weekdays 10 a.m. – show time, weekends 90 minutes before show timePacific Northwest Ballet is located in McCaw Hall, 321 Mercer Street, on the north edge of Seattle Center. It is served by buses 1,2,3,4,13,14,15,16,18,45,74 and 82. For bus schedules: tripplanner.metrokc.gov.Did you see this show? Leave a comment and tell everybody what you thought!

Review of The Diary of Anne Frank by Emma K., age 16I first read The Diary of Anne Frank when I was eleven and since then it has had a profound affect on me; I am pleased to say that no film or stage version has moved me as much as the production currently playing at Intiman Theatre.The cast is a group of seasoned actors. The adaptation by Frances Goodrich and Albert Hackett – though not entirely historically accurate – succeeds in giving a humanized look into the lives of eight Jews, who did everything they could during the horrific years of World War II to preserve their hope and, ultimately, their lives. As I was leaving the theatre, I heard the woman behind me saying, “It’s so sad. We all know how it is going to end, but it’s still so sad.” We do know how the story ends, with the discovery and death of all the people in hiding, save Otto Frank; yet, I could feel the audience around me hoping it would end some other way as they began to know these courageous people being portrayed on stage.Lucy DeVito (in foreground) with the company of Anne Frank at INTIMAN Theatre. Photo by Chris Bennion.As Anne Frank, Lucy DeVito is initially impish, appropriately childlike, and the epitome of a young girl going through the trials of growing up. As the play progresses, so does her Anne, becoming a hopeful – but not naive – young woman. DeVito clearly has a gift for comedy, but she proves herself as a strong dramatic actress as well. Her Anne is entertaining, innocent, and humbling, all at once.Matthew Boston plays Mr. Frank, the only occupant of the secret annex to survive the genocide, and the person who oversaw the publication of Anne’s diary. He evokes sympathy throughout, but is strongest during his silent moments – his expressions and physical tension are exceedingly powerful. Equally affecting is Amy Thone as Mrs. Frank. She is a worn, silent sufferer in this role – compassionate and strong, even through her exhaustion. As Margot Frank, Lindsay Evans does not have a large part, but delivers it with fitting grace and reservation, echoing the performance given my Ms. Thone.The audience feels for Connor Toms as Peter Van Daan, the boy who becomes a friend and confidant to Anne. He perfectly captures the frustration and confusion a young boy growing up under such conditions must have experienced. He is sensitive and touching.As Mr. and Mrs. Van Daan, Michael Winters and Shellie Shulkin provide comic relief but also have some of the most vulnerable moments of all the characters. They are human, and these actors showcase their fear and anxiety. Alban Dennis plays Mr. Dussel, the dentist who hides with the Franks and Van Daans. His is the only character that pronounces resignation to his plight – he is aware and paranoid, so very awakened to the suffering outside. Dennis has a wonderful physical presence; even when he is silent his character’s anxiety and stress is evident.Carol Roscoe, as Miep, and Jim Gall, as Mr Kraler, play the people who looked after the eight souls in hiding. They perform their roles with compassion and subtle apprehension; however, their characters do not have many chances to appear – this is a story about the people in hiding.The set design, by Nayna Ramey, is impressive, creating an apartment of many levels which is based on the factual secret annex. Sound, by Chris R. Walker, is also to be noted – along with the lighting by Marcus Dilliard, it helps to make the production realistic. Costumes, by Frances Kenny, are practical and appropriate to the time period down to the underclothes. The play is admirably directed by Sari Ketter.This is a humbling production, one that reminds me how powerful the theatre can be. The chemistry between the cast and audience was so strong, the story touching everyone’s heart. Anne Frank was a special girl, not for the way she died but because of the way she lived. This production reminds us of that by making her experience real – alive, humorous, pitiable. I hope that everyone will see this play and be inspired to take action against the genocide and oppression still going on in the world. Intiman should be tremendously proud of this presentation.Emma K.April 5th, 2008The Diary of Anne FrankMarch 21 – May 17http://www.intiman.org/INTIMAN’s ticket office: 206.269.1900INTIMAN Theatre is located at 201 Mercer Street on the Seattle Center campus. It is served by buses 1,2,3,4,13,15,16,18,45, 74 and 85 and others. For bus times: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

Review of How? How? Why? Why? Why? by Ian S., age 17First I just hear Kevin Kling's words. Or, more accurately, a jumble of words. I'm somewhat distracted, and this seems a bit boring, so I'm not hearing exactly what he's saying. My eyes keep darting around the stage taking in the scene before me, but my thoughts are just somewhere else entirely. And then I notice something: Kling hasn't moved his right arm the whole time he's been standing up talking. His left is atrophied, and it has been since he was born, I can tell by just looking at it. And I understand that. But why hasn't he moved his right arm?And then it occurs to me: he's going to tell us about why he hasn't moved his right arm. And there's got to be an interesting story behind it. And I start listening to every word he says. And I'm hooked.Kevin Kling and Simone Perrin in How? How? Why? Why? Why? at Seattle Rep. Photo by Chris Bennion.Kling makes near perfect use of the stream-of-consciousness style to tell his story. Though the delivery sometimes feels slightly forced, what he's saying is so compelling that it hardly matters. The story flows freely, going off on tangents wherever Kling feels it's necessary. He's got a lot of stories to tell, and they all seem to point towards the eventual climax: his motorcycle crash. If the motorcycle crash is the climax, then his recovery is the falling action. The rest of the play deals with his childhood and his personality. With the help of an accordion-playing woman (Simone Perrin), Kling presents a mosaic, giving us hilarious caricatures of friends and family from his life before the crash. But most of the story is all his."…and this little kid in the elevator at the hospital says to me, 'I bumped my head on a post and I had to get eight stitches back here.' And I say back, 'Oh yeah, well I had to get stitches from up here down to here and all the way around here and back up here.' And the kid says, 'Well yeah, but mine hurt.' And I said 'ok.' Who am I to deny another man's pain?"Ian S.March 18th, 2008How? How? Why? Why? Why?Seattle Repertory TheatreThrough April 19thMore info and show times: http://www.seattlerep.org/Seattle Rep’s Ticket Office: 206-443-2222Ticket Office Hours: Daily, noon – performance timeSeattle Rep is located at 155 Mercer Street, on the North edge of Seattle Center. It is served by buses 1,2,3,4,13,15,16,18,45, 74 and 85. For bus times:tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

I sa this movie March '07 at the Cleveland International Film Festival. Like you say in your review I often associate documentaries with a good nap, but not this. I cried during this film. The curator of the Louvre at the time sits on a set of stairs in the louvre watching a statue carried out and says 'i won't live to see it's return' and then the voice over lets us know he never did. After seeing it I wanted to learn more...it was so powerful.Not the best comment but my mind is currently a jumble.

Review of The Miser by Paulina P., age 17There is just something about an up-to-date translation that warms the heart and brings a kind of fellowship between the audience and the characters, especially when those characters accuse the audience of stealing their money. David Chambers' new translation of Moliere’s The Miser keeps enough of the 17th century to keep the character in context but an equal part of the Seattleite to keep local audiences entertained.Brian Claudio Smith, Todd Jefferson Moore and Jennifer Sue Johnson in The Miser. Photo by John Ulman.The Miser directed by Robert Currier at the Seattle Shakespeare Company uses these local jokes to accent a story that already has a wealth of hilarity. The slapstick comedy with the movements of the characters and the sound design are just supplemented by the witty remarks and the stereotypical moves of the characters.The story’s central character, Harpagon, played crooked and crazily by Todd Jefferson Moore, is an aged man who always has enough fight for his money. That race for more cash leads him to try and marry is only daughter, Elise, to an older rich man and persuades him into marrying the woman his son, Cleante, is in love with. These quadrangles of love and money cause lots of fist fights and jokes between the family members who drag their lovers into the fray.These lovers swim or swoosh across the stage towards one another and agree to abandon their father and his promise of inheritance if they could only have their love. These highly stylized movements are done on a very decadent set for Seattle Shakespeare Company. It has doors that open and close and intricate perspective design and even candles. It helps to bring in the eccentric world of modern Moliere and create an equally funny backdrop. The style of the costumes also help to show the depth of the stereotypical characters. The brother, Cleante, is fantastically overdressed for the time and makes faces that parallel his almost clownish garb.Seattle Shakespeare Company has made every inch of this production a wild entertaining ride and is a nice intro to the kind of satirical comedies that befit Moliere. One should see it if only for the dancing.Paulina P.March 14th, 2008The MiserSeattle Shakespeare CompanyMarch 13 – April 6More info and show times: http://www.seattleshakespeare.org/Seattle Shakespeare Company’s ticket office: 206-733-8222Ticket office hours: Tues – Fri: 1 – 6 p.m. and one hour before curtain Mon, Sat & Sun: One hour before curtain.

Seattle Shakespeare Company is located in the Center House Theatre at Seattle Center. It is served by buses 3,4,5,8,16,19,24,74 and 82. For bus times: triplanner.metrokc.govDid you see this show? Leave a comment and tell everyone what you thought!

Review of Director's Choice by Renee A., age 16Two hours of watching ballerinas twirl around a stage was not exactly my idea of a great Thursday night. After doing ballet for ten years I wasn’t used to being the one in the audience, and I didn’t think that I would like it. So as my friend and I headed to McCaw Hall to watch Pacific Northwest Ballet’s latest performance called Director’s Choice, my expectations were not so high. But I would like to take this moment to admit that I was completely proven wrong. Apparently I am a fan of being in the audience, as the show completely exceeded my expectations.Pacific Northwest Ballet company dancers in the PNB premiere of William Forsythe's One Flat Thing, reproduced. Photo by Angela SterlingDirector’s Choice is a showcase for contemporary works specifically chosen by PNB Artistic Director Peter Boal. This year’s performances are called Sense of Doubt (choreographed by Paul Gibson), Fur Alina (choreographed by Edwaard Liang), Vespers (choreographed by Ulysses Dove), and One Flat Thing, reproduced (choreographed by William Forsythe). Sense of Doubt is the first performance and it is a great way to open the show. This dance features a solo, duet, trio, and quartet that take turns displaying beautiful choreography on the stage that suggest a sense of anxiety and intrigue. The soloist was my favorite part of the dance. Her name is Noelani Pantastico and she is a joy to watch.Fur Alina, my favorite display of the night, shows the struggle between two lovers. The music is barely there which makes the emotions flowing from the two dancers all the more real. Batkhurel Bold and Miranda Weese definitely deserved the rounds and rounds of applause they received at the finish of their piece.Vespers is the most upbeat dance in the show, literally, as the music consists of erratic drumbeats. The choreography consists of six female dancers, all wearing some variation of a black dress, performing around wooden chairs. This piece was inspired by the choreographer’s grandmother and the other women that she worshipped with. My favorite part of this dance was that once again I was able to witness Noelani Pantastico dance.The last piece of the show is One Flat Thing, reproduced and is by far the most impressive dance of the night. The choreography involves fourteen dancers moving swiftly and erratically around twenty metal tables. Every dancer wears a different color so the dance is filled with a medley of colors. The dramatic movement of the dancers is almost confusing-I didn’t know where to look-but I enjoyed every moment of it.I would encourage all people to go see this show. Besides the high performance quality, the venue is great and the staff is eager to help make your evening the best it can possibly be. Even if you don’t think you like ballet, try something new and give this show a chance because I am quite sure you will not regret it!Renee A.March 13th, 2008Director's ChoicePacific Northwest BalletMarch 13 – 22More info and show times: http://www.pnb.org/PNB’s Ticket Office: 206-441-2424Ticket Office Hours: Weekdays 10 a.m. – show time, weekends 90 minutes before show timePacific Northwest Ballet is located at McCaw Hall, 321 Mercer Street, on the north edge of Seattle Center. It is served by buses 1,2,3,4,13,14,15,16,18,45,74 and 82. For bus schedules: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everyone what you thought!