TeenTix Blog by TeenTix

Ah, I wish I'd been there! The one meeting I miss and of course it's the most exciting one...I liked The Breach, though, haha.Love you guys!Terry

A review of a class about reviewing, by Bianca G.Finally, our Young Critics Workshop met the fine humans behind the bylines of The Stranger. And it was as glorious as we had dreamed! Seriously. They entered like an army of hipsters armed with their thick, horn-rimmed glasses and were as weird as expected, but in all the good ways. Allow me to quickly spew all the compliments I have bottled up. They are scholarly, yet too cool for school; they are opinionated socialites; they are handsome, witty, and charming. They are not arrogant about their coolness, as their slogan "Seattle’s Only Newspaper" would suggest. In fact, they laugh a lot.Stranger day at Teen Tix's Young Critics WorkshopThe five kind souls that volunteered their time for the good of young critics were (in alphabetical order): Paul Constant, Charles Mudede, Matthew Richter, David Schmader, and Miz Lindy West. And of course, our faithful teacher Brendan Kiley. The Stranger seems to be mostly guys, which is weird because our young critics circle has only two . The Stranger panel talked about how they drift between work and play like it ain’t no thing, because their job is so enjoyable that work and play become one and clocking hours is trivial. Then they shared their stories of how they all "stumbled" or "fell into" The Stranger, meanwhile we were thinking with purpose how we must work there. It’s like they didn’t realize that this is an era of people who admire The Stranger and want to be part of it, beginning with The Stranger’s 19 year-old public intern who has written about being star struck by Dan Savage. We have been reading their work since middle school, since I had to sneak The Stranger around because my mother thought it was inappropriate.The Stranger's Brendan Kiley, Matthew Richter, Charles Mudede, Paul Constant and Lindy West at Teen Tix's Young Critic's WorkshopDavid Schmader met with a group of three of us to read our reviews of the horrible play The Breach (Holly is the world's most optimistic person, and even she said "I didn’t love it.") He said pleasant things, (considering his usual reporting on infant deaths, pitbull attacks, etc) complimenting our verb use and making reasonable suggestions. But it wouldn’t have mattered if he had told us our work smelled as bad as The Breach, because he, THE DAVID SCHMADER, was there in real life! Reading our writing! He even LOL’d a few times!YCW students with The Stranger's Brendan Kiley, Charles Mudede, David Schmader and Matthew RichterLindy West also shared stories from her days at Garfield, then Charles Mudede spoke very precisely about his epiphanies from reading Marx or something. And Mr. Schmader assured us that writing "gets easier." I was in such a good mood afterwards, my parents noticed. It was the absolute best session of YCW we’d ever experienced, and ever will experience until the day Dan Savage comes.Young Critics Workshop students basking in the scholarly glow of the guest Strangers.The Young Critics Workshop is Teen Tix's seminar for 11th & 12th graders who are interested in critical journalism. For the past four months, the eleven writers who were invited to participate in this year's workshop have been working under the guidance of Stranger Performance Editor Brendan Kiley on improving their critical writing skills. Applications for the 2008-2009 Young Critics Workshop will be available in July.

Review of Stars by Kirsten O., age 17The world of ballet is a strange one, and it didn’t take long for me to realize that I was probably in a bit over my head after watching the first few minutes of Stars of Today Meet Stars of Tomorrow. The performance itself sounds incredibly promising: it boasts several world renowned dancers from prestigious dance companies such as Kiev Ballet (Ukraine National Theatre Opera and Ballet), the Bolshoi Ballet (Moscow), the English National Ballet (London), and Alberta Ballet (Canada). However, as the first piece, “Pas de Quarte”, played out in front of me, I realized what I had gotten myself into; four female dancers in frilly white dresses frolicked, pranced, and daintily twirled around the stage. With smiles plastered on their faces and wreaths of obnoxious white flowers adorning their hair, the whole thing was a little too sugary and maybe a bit ridiculous for me. It seemed stiff and rigid, and while the dancers were all amazingly talented, executing every twirl, jump, and step to a tee, it was not the most exciting thing to watch.As the production continued, I quickly grew tired of men and women prancing about in what looked like glorified lingerie, and while I kept trying to tell myself that I should respect and enjoy the art form as it played out in front of me, I just couldn’t help but escape the thought that this whole thing was a bit silly. And then, all the sudden, salvation! As the fourth piece, titled “Cachaca” began, the energy and liveliness emanating from the stage made me wanted to stand up, clap along with the beat of the music, and maybe even start dancing myself! The five female dancers wore sassy knee length floral print dresses, and bounded around the stage, still incorporating many impressive leaps, jumps and twirls. The dancing was much less rigid, and while it still maintained the daintiness that characterizes ballet, it had a certain edge and energy. This was actually fun to watch!Photo by Rex TranterYet another highlight was a piece called “Qualia”, and it was perhaps the most impressive bit in the entire production. The two dancers, Sarah Lamb and Edward Watson, wore no frills or gaudy sparkles, and instead were stripped down in plain white shorts and t-shirts. For even a novice ballet goer like myself, I knew that this was a serious showcase of talent: both dancers expertly executed their complex moves without hesitation, and the strength exhibited by both dancers was absolutely remarkable. Both dancers were constantly flowing and moving with each other in a series of intricate twirls and twists, and both gracefully contorted themselves in ways I had never thought possible. The passion and emotion the performers seemed to have for each other translated into their dancing, and I was left speechless after their stunning performance. Even if I didn’t understand ballet, I could still respect it, and this piece forced me to see what a beautiful and complicated art form ballet truly was.In the end, Stars is not for everyone. It is a treat for anyone who is dance enthusiast or a lover of ballet, but otherwise, it is lost on the casual viewer. But even then, there are pieces that don’t require you to be an expert on ballet to marvel at the skill and energy that the dancers showcase on stage. However, if you fall into this category, you’d be much better off seeing a movie or a play, and leave Stars for those who truly enjoy this complex and difficult art form.Kirsten O.March 8th, 2008Did you see this show? Leave a comment and tell everyone what you thought!

Hey! I wrote a review for this for The Portland Mercury. It will be out tomorrow. Whee!

Review of The Hundred Dresses by Jennifer K., age 17No matter how old people become, they always love to act like children. There is something therapeutic in letting the worries of the teen and adult world drift away and simply having fun. Childhood has an age-old reputation as a time of innocence and happiness. However, this view is not entirely accurate. Children have fun, but they also make wrong decisions, learn difficult lessons, and go through pain just like adults. The Hundred Dresses, based on the book by Eleanor Estes, tells both of these sides of childhood. Maddie and Peggy are best friends living during the great depression. They are puzzled by an immigrant girl named Wanda. Peggy teases Wanda, and Maddie, though never joining in, does nothing to stop her. The consequences of the girls’ actions are more serious than they expected, and they must learn from their mistakes and try to do better next time.Sarah Harlett, Emily Cedergreen, Troy Fischnaller, Tim Gouran and Betsey Schwartz in The Hundred Dresses at SCT. Photo by Chris Bennion.Allison Narver directed this superb play. Betsy Schwartz plays Maddie and Sarah Harlett plays Peggy. Sharia Pierce plays Wanda. Seattle Children’s Theater does an excellent job of making this story come to life. The sets and costumes are simple and realistic, and the lighting effects are quite well done. To add to the mood, 1930s radio clips play during set changes. At various times throughout the play, the audience gets glimpses of what is happening in Maddie’s imagination with mini dream-sequences. These are portrayed as old-fashioned radio shows, and help to lighten up the play’s serious mood.Yes, the play is serious. Its message of tolerance is a heavy one, both for the characters and the audience. They learn that in life, it is not easy to realize you were wrong, but it is vital. Though the moral is grave, it is woven so skillfully through the children’s crisp autumn schooldays that the audience accepts it as simply another part of life. Rather than showing an ideal but unrealistic chain of events, The Hundred Dresses portrays the err-and-repent way that life usually happens. Thus, the audience can empathize with the characters rather than feel preached at.The characters truly make the play remarkable. The cast members do an incredible job of acting like children; they make it look effortless. Each of them has their own unique personality, so the audience can always identify with someone. They are familiar characters—the leader, the pleasing friend, the silly one—and the audience members feel as though they have met them all before, or even as if they are one of them. Everyone has been in Maddie’s situation. Everyone has faced peer pressure. These characters tell us that we, like them, can make the right choice next time.The Hundred Dresses is a children’s story. It is simple, clear, and comforting. The moral is an old one. Do not hurt other people’s feelings. Put yourself in their shoes. Find out the whole story before you judge. But, it is not merely a children’s story. Like a proverb that has lasted a thousand years, its message has new meaning every time you hear it. It is entertaining, colorful, and fun, but it is also wise and poignant. No matter what age you are, you can learn from The Hundred Dresses.Jennifer K.March 2nd, 2008The Hundred DressesSeattle Children's TheatreThrough April 6thMore info and show times: http://www.sct.org/SCT's Ticket Office: 206-441-3322Ticket Office Hours: Friday 9 a.m. - show time, Saturday 10 a.m. - show time, Sunday noon - show timeSeattle Children's Theatre is located at the West entrance to Seattle Center, just north of Pacific Science Center and West of the Space Needle. It is served by buses 1, 13, 15, 18, 19, 24 and 33. For bus times: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

Review of Girls Rock! by Ashraf H., age 17As I, a seventeen year-old dude, sat down to watch Girls Rock!, a documentary about an ultra-cool Rock n’ Roll camp for girls, I came to ask myself why I had taken on such a screening. The answer I came up with consisted of two parts: (a) because members from two of my favorite local bands (Carrie Brownstein from Sleater-Kinney and Beth Ditto from The Gossip) appeared in it, and (b) that I wanted to see for myself if this is just another girls-are-from-Venus-boys-are-from-Mars film that blamed men for all of the problems that women face today. As I soon found out, it’s nothing of the sort; it’s an eye-opener to both men and women alike to what girls today have to go through everyday, and a camp made especially for them to express themselves and learn various life lessons via rock n’ roll.As mentioned earlier, Girls Rock! is a documentary following the experiences of four girls at The Rock n’ Roll Camp for Girls located in Portland, Oregon where about a hundred girls from across the nation, both amateurs and experienced in their weapon of choice, form bands and join for a week of workshops, practices, and classes all leading up to a final performance with fellow camp-formed bandmates in front of more than 700 people.The girls: Laura, a fifteen year-old Korean adoptee and metal-head who, despite her outgoing personality, has extremely low self-esteem; Palace, an eight year-old princess with an attitude; Misty, a seventeen year-old former drug abuser, street rat, and gang member, looking for a change; and Amelia, another eight year-old, whose favorite bands include Sonic Youth and whose dog, Pippi, is her greatest muse.This documentary is one of the better ones I’ve seen in my short lifetime. It’s made in a way that the both the super young and super old could both enjoy at the same time. With informative, fascinating, and sometimes shocking facts and statistics strategically placed throughout the film, getting bored is not an option. There were parts in which I literally LOLed and there were parts in which I, a male teenager, actually got goosebumps. I recommend this film to anyone and everyone, guys and girls, with even the slightest bit of interest in music and how it changes lives of those around it. And don’t be intimidated by the fact that it’s a documentary; the fact of the matter is, documentaries are just like other movies, but about real people and real events, which make them all the more appealing. Do yourself a favor and check it out, you might not get another chance.Girls Rock! SIFF Cinema March 7th - 20thMore info and showtimes: http://www.seattlefilm.org/SIFF Cinema Ticket Office: 206-324-9996Ticket office opens 1 hour before show time.SIFF Cinema is located at the Nesholm Family Lecture Hall 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 film? Leave a comment and tell everybody what you thought!

Review of The Imaginary Invalid by Ori R., age 17Hypochondriacs are easy to make fun of. Moliere takes a "sick" joke to a whole new level in The Imaginary Invalid. A man who constantly believes he is sick tries to marry his daughter off to a doctor. The play is a beautiful catastrophe. People who love a hilarious mess will adore this production! Invalid is a musical, and as most musicals are, it is a high-end presentation. The sets are astounding, the costumes are elegant, and the actors are top-notch. The play may seem a tad long for a comedy, but the two hours fly by. I took my younger brother (15) to the play with me, and he didn’t even notice what time it was when I took him home. This musical was so hilarious, I could barely settle down to go to sleep afterwards!Julie Briskman and Bradford Farwell in The Imaginary Invalid. Photo by Chris Bennion.The Imaginary Invalid is incredibly witty, clever, and littered with thin-masked innuendo. All of these elements combine to make a classic comedy that teens and adults alike shall love. For the boys: fart jokes. For the girls: misled romance. For the adults: quite a lot more than a review should say. This play had so many quotable lines, and if you know Latin, then the doctors’ dialogues will strike you as comical indeed. All in all, take as many friends as you possibly can to see this play, or send your parents for a comedy-packed night on the town!Ori R.February 27th, 2008The Imaginary InvalidSeattle Repertory TheatreThrough March 22ndMore info and show times: 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!

I saw Hamlet opening night at SCT, and I was blown away. The intensity each actor brought to the stage was phenomonal, and made each hour-long act fly by. Fantastic!

I have a crush on him. Did you ever go to the show??!!!?

An interview with Hamlet's Connor Toms, by Bianca G., age 18Connor Toms is an actor, and you can tell. He’s articulate, like someone who has taken voice lessons, he knocks on wood frequently and superstitiously, and he’s so animated that he constantly shifts around in his chair. He’s currently playing the role of Hamlet at the Seattle Children’s Theatre. Here he discusses everything from how stage fright was like puberty, to how Spokane community theatre was like Waiting for Guffman.Faking it: Toms as Hamlet at SCT. Photo by Chris Bennion. BG: I heard the famous lines were missing. Do you feel disappointed?BG: Do a lot of people tell you that you look like Ferris Bueller?CT: All the time. I used to also get this actor named C. Thomas Howell. If you’ve ever seen The Outsiders, he played Pony Boy. About once a week I get that. But it’s great, I’d rather have that than Nathan Lane or somebody else.BG: All right, well I haven’t seen the play.CT: Oh, NO! Oh my goodness.BG: Do you get stage fright at all?CT: I did in high school quite a bit. Now I only get scared when my parents come. My parents are old hippies; I think they actually met on a commune. They love everything and they’ll love me and everything I do. But it’s true that I want to prove to them that I’m worthy of doing this.Darragh Kennan, Toms and Renata Friedman in Hamlet at SCT. Photo by Chris Bennion.BG: How did stage fright used to affect you? Shaking?CT: Oh, absolutely: shakes, quavering voice, you know. It’s like going through puberty all over again. Also, I couldn’t look other actors on stage in the eye. I’d be too afraid.BG: Is there a lot of spitting on stage?CT: Yes. There have been very hysterical moments of very dignified actors in town here…I won’t mention their names. Because when you’re so excited and you’re in the moment, you don’t want the resonance of your voice or your diction to be lost in any way. I’ve had people spit onto my face, into my eye… You kind of have to shake it off and keep going with it. Just the other day I had a student matinee, and I was spitting. I spit into the front two rows and these kids just squealed and freaked out. But it was fun. Not that spitting on kids is fun, but it was fun to hear them screech about that.BG: Have you ever forgotten a line? CT: Oh yeah. We call it going up on a line. Every single show that I’ve ever been in, there’s been a moment where some actor on stage looked at me with just no idea. Sometimes you get kinda lost, when you’re doing eleven shows a week especially, you kinda go on autopilot. You’re up there, and you’re doing your best to say your lines, but you’re also going through your grocery list, making sure you walk the dog. Just today someone said, “The King is very … unhappy?” because they completely forgot what they were supposed to say.BG: What’s your strategy for remembering all of these lines?CT: It’s just spending time with the script, for me. I actually don’t memorize until I’m in the rehearsal room. I can spend hours and hours and hours on my own going over it, and I won’t remember it until I’m up, on my feet, with the other actor, with my script in hand. And then I can do it once and I got it. Shakespeare writes in iambic pentameter, so it comes out in this very lyrical, rhythmatic way. So it’s kind of like how you can memorize a song after hearing it twice. It comes pretty quick actually, especially if you’re doing Shakespeare that has rhyme.BG: Do you like reading Shakespeare?CT: I was lucky enough to go to a 2-week camp course in Ashland, Oregon when I was 17 and I kinda got the bug of the love for Shakespeare. I had some weird, obsessive dream to read all of Shakespeare’s plays by the time I got to college.BG: How many are there?CT: 37. I think I made it through about five. And I can’t say that I understood them, at all. I got a little tired of that, but I came back from that camp going “I’m gonna read them all. I’m gonna read them all!”BG: Would you ever just Sparknotes the play?CT: What is Sparknote?BG: Say in high school you’re assigned to read Hamlet and you don’t want to, so you go to Sparknotes.com and they give you the summary and the analysis for free.CT: Oh really. No way. Why would I do that?BG: Well for me, I don’t understand what he’s saying, and I can’t relate to it, and no one talks like that, and I don’t enjoy reading it. So if I have to read it for school…sometimes people just go to Sparknotes.CT: Interesting. That’s great.BG: Teachers, I don’t think they like it.CT: Well of course not. My mom’s a teacher, I’ll bet she hates it. I’ll have to ask her about that. If I’m going to be playing Hamlet I’d rather read the actual play than go to Sparknotes.com. But I can see how that would be very tempting. I’ll bet that if I was in school, that’d be a place I’d go very, very quick.BG: So if you’re doing Hamlet for kids, they must not understand anything you’re saying. CT: The thing is, they do. That’s the very interesting thing. One of the reasons is this adaptation is very clear.BG: Is it original Shakespeare lines?CT: Oh yes it is. Instead of the four and a half hour play, it is down to just this one boy and his relationship with his family. His mother, his father, his uncle, and a couple of his friends come through. The surprising thing is that there are lots of kids that might not understand the vocabulary, but they get this play. They’re moved by it and they’re very, very into it. By the end kids are getting weepy, getting sad, that happens all the time.BG: Wow, crying? They don’t just get bored? CT: Well there’s a couple that get bored. I can see them in the audience texting and playing rock paper scissors.BG: Is Hamlet really crazy, or is he faking it?CT: No, he’s faking it. Particularly in this adaptation, trying to explain that isn’t as interesting as telling the story of this kid who makes an awkward decision, and then has to justify it. If he’s completely sane, how do you justify a completely sane person acting like this and it results in the death of his entire family; and his girlfriend; and his pseudo, possible father-in-law. Like, they all die. Because of what he does. I don’t necessarily think it’s the smartest choice for anyone to do, like I’m just going to pretend to be crazy to get away with a whole bunch of stuff. It’s something only somebody with the clout of a prince, of royalty, could probably get away with. But this was also written 400 years ago and times were different back then, so who knows? I would picture that today, that rebellious kind of phase is just grease your hair back, put a couple of earrings in, and listen to Panic at the Disco and get all emo or goth. That would be a way you could separate yourself from the crowd and get figure out secrets or the truth. You’re looking to ostracize yourself, and for Hamlet that means pretending he’s crazy.Faking it: Toms as Hamlet at SCT. Photo by Chris Bennion. BG: I heard the famous lines were missing. Do you feel disappointed?CT: Sure. They were honestly discussed. The director, she was also the adapter, so she had final say. It broke her heart. She hated doing it. And it’s horrifying, and it sucks, but it makes the story clearer and therefore, it works. It’s unfortunate, but it works.BG: Do you like performing for children better than adults? CT: I can’t say I like anyone better. This business is so rough that you take whatever you can get. I didn’t attack Hamlet with any less gusto than I would for someone else, but we tailored my performance for a teenage audience. Kids are a harder audience than adults any day. If adults don’t like it they will sit there politely and not like it. Kids line up afterwards for your autograph, and then tell you they didn’t like the show, to your face. Kids are ruthless, but I’d much rather have an honest answer like that than an adult who’d come up and say “Aww, yeah, mmm, mm…programs, look, great.”BG: Are you worried that after this you’ll be out of a job until you’re cast for another play?CT: I’ve been pretty lucky for the last couple of years to always have at least the next six months planned out for me. And it is luck. It’s just what kind of work is available and who can get it. It was scary for awhile, especially when I got out of college and I wasn’t getting any work. That was terrifying. I’m now a very good waiter, and an even better bartender. But I do live off my acting wages.BG: Would you do this for the rest of your life?CT: If I could, yeah. I would.BG: You’d never get sick of it?CT: No. I don’t think so. I don’t want to sound too cheesy, but it’s too indescribable. The feelings that you have when you’re on the stage and you’re just hittin’ it and audience is lovin’ it. Now that I’ve had it, it’s like I want it all the time. Also, I don’t know of many other professions where a large group of people clap for you when you’re done. The thing is, if I ever did get bored, I’d quit immediately, because it wouldn’t be worth it to the audiences and to the people who are like me, who love it so much.BG: Was there an epiphany moment, when you realized this is what I want to do for the rest of my life?CT: Well there wasn’t one big bomb, but there were a series of minor explosions that happened when I was 12 until I was 21 and graduated college. Not only can I do this, but I want to, and those are two completely different thoughts.BG: So when you were my age, you pretty much knew?CT: Pretty much. Nothing else really spoke to me, other than sitting down and listening to Nirvana all day. I started when I was four, and I did do other stuff: I played baseball, I was a wrestler, I wrote a lot of really bad poetry.BG: Really? CT: Yeah, oh yeah. It’s sitting in my room from when I was fourteen years old.BG: You should send some of it to me.CT: Alright, you just have to promise you won’t use it in this interview.BG: Ok. So didn’t you and Holly (Teen Tix director) go to Junior High together? CT: Yes. And then I went to Lewis and Clark high school in Spokane, Washington. Holly can testify that they had the worst drama program in the state. It was just horrifyingly bad. We had about five people, I was maybe the only guy, and no stage, no money to speak of. All of our funds went directly to the football team. I was pretty much the only one that really cared. I’m pretty sure she went to Ferris, which had this amazing budget, with musicals all the time, I was so jealous of her, and everyone that got to go to her school.BG: How did you deal with that drama program?CT: I did a lot of community theatre in Spokane. I hate to say this, but a lot of those shows are sub-par compared to here. I would go to school, the drama class, and then spend the rest of the night at the theatre, just hanging out with the actors there, doing shows.BG: Is it like Waiting For Guffman?CT: Yes, very much so.BG: Actually? CT: Oh yeah. You know, small town theatre people who think that they’re fantastic.BG: Any parting words for the teenagers of the Teen Tix community? CT: Oh jeez, no. I mean, thank you so much, this is great. This is actually my first interview, so I hope I did well. I guess just keep supporting theatre. You’re the next generation coming up, so I hope you enjoy it.Bianca G.February 8th, 2008Hamlet plays at Seattle Children's Theatre through February 24thMore info and show times: http://www.sct.org/SCT’s Ticket Office: 206-441-3322Ticket Office Hours: Friday 9 a.m. – show time, Saturday 10 a.m. – show time, Sunday noon – show timeSeattle Children's Theatre is located at the West entrance to Seattle Center, just north of Pacific Science Center and West of the Space Needle. It is served by buses 1, 13, 15, 18, 19, 24 and 33. For bus times: tripplanner.metrokc.govCheck out Jennifer K.'s review of Hamlet!

I thought this column was terribly captivating and informative. Keep up the good work Leah! - Olivia

Review of The Diary of Anne Frank by Lauren C., age 16Anne Frank races on stage, jumping gleefully, a distinct contrast to the morose faces that surround her. A typical 13-year-old, she does not understand what is happening to her as she closes the door to her new home behind her for the first, and penultimate, time.We follow eight people as they go through the day-to-day trials of living in a cramped space, with little food and contact with the outside world. Anne, her sister Margot, her parents, the three van Daans, and, later, Mr. Drummle, are all living together in five tiny rooms. The cramped feeling they must have experienced is expertly shown on the stage. The set looks thrown together, mismatched pieces turned into a makeshift home. None of these eight characters go offstage between their entrance and the very end; everything, including costume changes (nothing inappropriate, I swear) is accomplished onstage.Their life is beautifully contrasted with that of people on the outside, such as Miep, who helps them by delivering food and other necessities. She is well-dressed and always looks put together, while those living in the attic seem to degenerate over the course of the two hours.At the end of Act One, the majority of the audience stayed in their seats, mulling over what they had been watching. I have seen many shows at Driftwood, and the lobby at intermission is usually full of laughter and people greeting old friends. Today it was nearly silent.This is not to suggest that the play is depressing. Rather, it leaves a message of hope in the hardest of situations. During one of the toughest moments of the play, Mr. Frank gathers the group together and says, “we have spent to years living in fear. Now, we live in hope.” There are even some downright funny moments, and others in which you are shocked by exactly how human the characters are. The only character that seemed flat was Margot, who is almost too perfect. However, as we are seeing this through Anne’s eyes, and she thinks Margot is the older sister who does no wrong, this is fitting.If you are looking for a light piece of entertainment that will leave you laughing and smiling as you leave the theatre, you are not looking for this play. Anne Frank is a piece of art, well directed, acted, and produced, that offers a glimpse into a piece of WWII history that we don’t hear about often; the story of those left in hiding.In the house, they cannot move their legs or even talk above a whisper, especially during daylight hours. Even at night, the space is so cramped it is impossible to run and jump. Only small slivers of the sky are visible, for they cannot draw the curtains. This would be difficult for anyone, for a rambunctious 13-year-old it is torture.Returning home during the end of the play, Otto Frank tells Miep that Anne was happy at the concentration camp, because there she could spend time in the sunshine and the outdoors she missed so badly. Imagining a world in which a concentration camp is an improvement begins to suggest just how hard Anne’s life was in the attic.The Diary of Anne FrankDriftwood PlayersOctober 19 – 28More info and show times: http://www.driftwoodplayers.org/Driftwood Players’ Ticket Office: 425-774-9600Ticket Office Hours: Open for phone calls 10 – 6 Tuesday – Saturday. Ticket office at the theatre opens one hour prior to show time.The Driftwood Players are located at 950 Main Street in Edmonds. It is served by Community Transit routes 110, 131, 404, 416, and 870. For bus times: tripplanner.metrokc.gov

Review of Persuasion by Emma M., age 13Jane Austen has been loved by readers for almost two hundred years. Austen’s stories of love and marriage feature smart and brave women that ultimately find true love. Book-It Repertory Theatre has taken on the daunting task of adapting Austen’s novel Persuasion into a play for the stage. I’m happy to say it is a smashing success.Chiara Motley as Anne Elliot in Persuasion at Book-It Repertory Theatre. Photo by John Ulman.Persuasion is the story of Anne Elliot. Anne’s family is going broke thanks to her sister and father’s extravagant lifestyle, so, in an attempt to cut their expenses, they rent their house and move to Bath. Inadvertently, by renting their house, Anne’s old boyfriend, Captain Wentworth, ends up spending time with her again after eight years of silence. Anne and Wentworth struggle to overcome the constrictions of the nineteenth century and their own pride.Book-It has transformed their theatre for this production to be theatre-in-the-round (when there are seats all the way around the stage, creating a round playing space). I thought that having theatre-in-the-round was an interesting idea but the sometimes the staging made it really hard to see the actors.All the actors did a really superb job. They made the difficult nineteenth century vocabulary understandable, and elegant to listen to. The performances I enjoyed the most out of the fantastic cast were those of Carol Roscoe as Mary Musgrove and Kevin McKeon as Sir Walter Elliot. Roscoe and McKeon had the audience in stitches when they were on stage.The combination of wonderful acting and Austen’s story of everlasting love and the constrictions of nineteenth century society make this play great.PersuasionBook-It Repertory TheatreThrough March 2ndMore info and show times: http://www.book-it.org/Book-It’s Ticket Office: 206-216-0833Ticket Office Hours: Tuesday-Saturday 1:00 p.m. – show timeBook-It Repertory Theatre 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: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

Review of The Rape of Europa by Leah L.At first glance this films seems like any other somewhat boring documentary that you’re forced to watch in your history class. That is however, only at first glance.The Rape of Europa is a dynamic, extremely powerful film that explores Adolf Hitler’s campaign to steal and plunder all of Europe’s “inappropriate” works of art. This huge chunk of history, that is left out of most lectures on WWII, is conveyed through images of the Nazi Regime bombing Russia, Italy and five other countries, destroying not only people, but the priceless pieces of art that were hidden within the cities.The film not only covers the pillaging of cities and artwork, and the Allies who attempted to save and preserve them, but it also portrays Hitler’s brutal and terrifying attempt to completely eradicate Jewish and Slavic culture.Based on art historian Lynn H. Nicholas’s book, about Europe’s most prized museums under the fate of Nazi rule, The Rape of Europa, pulls the audience inside Hitler’s eyes and his vision of a completely Germanic-ruled Europe. It sheds light into some of the darkest corners of history that people are not educated about and doesn’t shy away from the complete evil and insanity that took place in Europe between the years 1937 and 1945.As many people don’t know, Adolf Hitler was an artist himself, and after not being accepted into the Vienna Academy of Art he decided to start a collection of his own and steal some of Europe’s most priceless pieces of art, including Raphael’s Portrait of a Young Man.He and his “Nazi bureaucracy” created a list of Europe’s most prized possession and continued their murderous, ego-centric rampage to steal 19th century sentimental paintings, both to embellish and improve the Reich museums, and his own private collection.In the end, over 16,000 paintings were stolen, due to their modern and Jewish aspects.The whole 117 minutes of film is filled with solid, factual history that is mostly unknown and fascinating to the viewer. The Rape of Europa leaves you with new insight and feeling for art and the ability it has to change people’s lives.Leah L.February 10th, 2008The Rape of EuropaSIFF CinemaThrough February 14thMore info and showtimes: www.seattlefilm.orgSIFF Cinema Ticket Office: 206-324-9996Ticket office opens 1 hour before show time.SIFF Cinema is located at the Nesholm Family Lecture Hall 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 film? Leave a comment and tell everyone what you thought!

Review of The Breach by Alethea H., age 16The epiphany of death. Are you sinking on dry land? Dipping into the issues of racial equality, gay America, and other controversial issues, this play boggles the mind, stimulates the senses and slams many people along the way. “Who are we as a society?”, “What do we stand for?”, and “Where are we headed?” are all questions raised in the play The Breach written by Catherine Filloux, Tarell Alvin McCraney, and Joe Sutton, directed by David Esbjornson, choreographed by Sonia Dawkins, and playing in Seattle Rep’s Bagley Wright Theatre.John Aylward and Nike Imoru in The Breach at Seattle Rep. Photo by Chris Bennion.It opens with a boom. The outstanding set and the prodigious actors are key ingredients to this roller coaster ride of a drama. After the audience is scared silly out of their seats from a blatant flash of thunder they can take time to appreciate the set. Whoosh! The audience members are immediately displaced into the lower ninth ward during Hurricane Katrina. The moveable roof is small in comparison to the orchestra pit, which is used literally as an aquatic pool with rain flowing from the balcony of the stage, drenching what would have been a house in New Orleans.This story follows the journey of three remarkable human beings and chronicles their struggle to survive and see the world how it truly is. In the opening scenes, we are given the classic example of what everyone views Katrina as: a family stripped of their dignity, sitting on a rooftop, hoping to endure the fate that may meet them in the murky waters below. Michelove René Bain, a fourth grader, plays a seven year-old girl, Quan, who is torn between the storm and her family’s constant bickering. During the entire play she does not speak, but has the older version of herself, Crystal Fox, off to the side of the house narrating and remembering what happened on that day with her brother and her grandfather. At first, it was slightly perplexing why a director would choose to have someone else narrate the little girl's thoughts, but further down the road everyone could see that the little girl had more to fear if she did speak up. Her grandfather, Pere Leon, played by William Hall, Jr., is a classic example of a man gone bitter by age and quick to assume the worst. To put it bluntly, the grandfather and the brother, Severence, played by Hubert Point-Du Jour, are not on good terms at all. Distracted by his oppressive childhood and his shameful secret, Severence desperately tries to keep what family he has left together throughout the storm. In the scenes to follow, John Aylward, who plays Mac, is introduced as an elderly disabled man who is fighting for his life. The audience follows Mac on a journey in the desolate waters through his hallucinations and through dealing with being abandoned by his loved ones. Mac is followed by Water. In this play a person is actually cast as Water. It is just a little bit strange. The talented actress assigned to the role is Nike Imoru. As evidenced by the fact that I am now absolutely terrified of water and having nightmares about drowning, this actress successfully portrays an almost evil force from a fairy tale that constantly provokes Mac. Her deep voice and creepy, floaty-like mannerisms could definitely be categorized as amazing acting, but her performance is almost distracting. The third actor present in this whirlwind of a play is Michael Braun, who plays a reporter and questions the character "Woman”, portrayed by Michele Shay, about what she thinks happened in Katrina. He explores the myths surrounding Katrina and his own feelings of racial prejudice toward others.Overall, this play isn't a walk in the park. Little laughing goes on during the play, and the constant interchange between the three story lines makes it distracting and confusing at times. But, there is good acting, an outstanding set, and questions for all generations to consider. Therefore, I encourage everyone to go see The Breach with an open mind. If you are challenged by intellectual thought processes this play isn't for you, but if you enjoy political arguments and questions regarding the values of the human race, this play is the thread to your needle.Alethea H.January 10th, 2008Note: This play contains frequent instances of coarse language. It is recommended for mature students ages 13 and up. For more information on content, please contact Seattle Rep directly.The BreachSeattle Repertory TheatreThrough February 9More 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!

Review of Hamlet by Jennifer K., age 17Every student should see Hamlet at least once, if only because it contains the famous “To be or not to be” soliloquy. Conveniently for those who haven’t seen it yet, Seattle Children’s Theater is currently showing a beautifully simple and accessible production of the illustrious play. Rita Giomi adapted the play and directed an exceptional cast of only five actors. Connor Toms stars as Hamlet, while Peter Crook, Darragh Kennan, Renata Friedman, and Amy Thone play the other 11 characters.Peter Crook, Amy Thone, Darragh Kennan, Connor Toms and Renata Friedman in Hamlet at SCT. Photo by Chris Bennion.Hamlet takes place in Denmark. The king has recently died and his brother Claudius has assumed his throne and married his widow. Hamlet, the late king’s son, is moody and mournful until an appearance of his father’s ghost urges him to action. The ghost says that Claudius murdered him, and begs his son to take revenge. Thus begins Hamlet’s long struggle to decide whether to follow his father’s wishes or not. His indecision costs almost everyone their lives. And don’t worry, that’s not a spoiler because this is a Shakespearean tragedy, so the audience should expect death.The first thing that struck me about this production was the visual design. The set and costumes are extremely well done. The stage is entirely gray, and each character wears gray with one splash of color. This makes the characters easy to identify; the royals have red, the comic relief sport orange, and Ophelia’s family wears blue. Also, props stand out against the gray background. All of this makes the actions onstage very clear. The audience will notice what is important. This is vital in a Shakespeare play, where context usually translates the lines.Because the cast is so small, the actors are constantly switching characters. The efficiency of these transitions is phenomenal. Friedman exits as Ophelia and, less than 20 seconds later, appears as Horatio on the other side of the stage. The switch is so seamless that half the scene went by before I remembered that she played both characters. Throughout the show, each actor embraces their character-of-the-moment so fully that their other roles are forgotten. This makes the play believable, which is key. The greatest challenge to actors is to look like their character, not to look like an actor playing that character. This group of actors understands that perfectly. You may not like Toms’ mannerisms, but you will believe they’re Hamlet’s, not his. You may dislike Queen Gertrude and love the gravedigger, even though Thone plays them both.Overall, this play is excellent. Whether it’s your introduction to Hamlet or your sixth time seeing it, you will find SCT’s version unpretentious but intense. It may be a bit frightening for kids under 12, but the wonderful set and costume design and superb acting will appeal to teens and adults alike. And don’t expect a happy ending—it is a tragedy, after all—but who says tragedies can’t be enjoyable?Jennifer K.January 26th, 2008HamletSeattle Children's TheatreThrough February 24thMore info and show times: http://www.sct.org/SCT’s Ticket Office: 206-441-3322Ticket Office Hours: Friday 9 a.m. – show time, Saturday 10 a.m. – show time, Sunday noon – show timeSeattle Children's Theatre is located at the West entrance to Seattle Center, just north of Pacific Science Center and West of the Space Needle. It is served by buses 1, 13, 15, 18, 19, 24 and 33. For bus times: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everyone what you thought!Also, check out Bianca G.'s interview with Hamlet star Connor Toms.

Review of The Retreat from Moscow by Michelle K., age 17The small neighborhood that encapsulates ArtsWest Theatre welcomes me immediately. I get out of the car, stop in an antique store, distract myself with mildewed fur coats, and mill about the quaint streets waiting for 7 o’clock to arrive. After loitering through another 3 or 4 stores, I open the doors to the homey Playhouse, where The Retreat From Moscow is to be premiered, and collect my tickets. The ambience of the theatre is very cozy, almost like a home I have been invited into: ergo “Playhouse”. The walls are adorned with watercolors by local artists, and the ceilings are low, perhaps suggesting the intimate performance I am in for. I sit down in the seat indicated on my ticket stub, along with 40 other guests. Unsure of what to make of the smallness of the whole theatre, I anticipate what action could possibly take place on the stage in front of me. It has a wooden floor, and is level with the audience. Very small - 50 feet by 50 feet - the props the actors have to make use of are but a chair, a table, and a faux kitchen sink. Plagued by HD DVDs and high budget films, I know my imagination is about to be dusted off. Within ten minutes of being seated, three actors enter the room, the lights dim, and the production commences immediately with a queue of wind-chime music.Therese Diekhans and James Cowen in The Retreat from Moscow at ArtsWest. Photo by Rachel Jackson.The intensity of emotion between the three characters is made obvious from the get-go. Jamie, played by James Cowen, has come from the city to visit his parents Edward and Alice, played by John Wray and Therese Diekhans, respectively, at their small home in England. As soon as Jamie retires upstairs to take a warm bath after his journey, Edward decides to recede into his literature on Napoleon’s numerous escapades around Northern Europe. Alice, on the other side of the room, throws gazes of curiosity at her husband, provoking the thought to the audience that their marital relationship is struggling to flourish. Ultimately, Edward recite a passage from his book. His recitation denotes the “survival of the fittest” ways of war, and how nastiness and antipathetic actions will take place if one is endangering another’s goal to live. Edward’s reading majorly preludes upcoming conflicts in his marriage and ultimately leads to the decisive question of the play: should I stay for your well being, or should I go for mine? Entangled within the marital tiffs is their son, Jamie, the mediator. He tries to promote compromise between his parents, but in the end, allows his elders to work out their problems as to save himself from possible emotional damages.The minimalist nature of the set really allows for a key focus on the heavy topics the play meant to portray. A couple chairs and a table are at that are really needed in the play and keep from the distraction of the poetic dialogues of the characters. The actors truly defend the core purpose of the play and are expertly cast. As Jamie, Cowen offers insight into his parents throughout the play that justify his position as a key character with a developed mentality. Diekhans aces the portrayal of Alice and, with only minor defects in her British accent, feeds the spirit of the play with an artistic being and highly humorous yarns of dialogue that lighten the mood at only the most perfect and appropriate intervals. John Wray (Edward) is the shining light of this play. He fuels the entire performance with his uncanny stabs of irony and extremely likable aura. Authentically British, Wray acts in incredible synchronicity with Diekhams. In harmony, this team depicts a painful and dying marriage to a tee.The whole of the play ties together perfectly. With the undistracting set and the normal day-wear costumes, the raw meat of the play is allowed to be consumed by the audience with knowing. The less that was happening around the actors the more that I could personally come in contact with the dialogue and the character’s surreal emotions. After the play’s end, I felt as if I could truly walk out onto the street and meet Edward and Alice and console them after their (often heated) arguments. The performance, in conjunction with the tagline, “Is love always worth fighting for?” displays a breathtakingly ambitious approach toward the ideals and realities of love; it is surprising that such a little playhouse can contain such emotion.Michelle K.January 11th, 2008Note: This play deals with mature themes, including divorce, infidelity and suicide, and includes graphic historical descriptions of Napoleon’s retreat from Moscow. For more information on content, please contact ArtsWest directly.The Retreat from MoscowArtsWestJanuary 9 – 22ArtsWest’s Ticket Office: 206-938-0339More info and show times: http://www.artswest.org/ArtsWest 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. tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

Review of Swansong by Leah M., age 18Sunday night is officially the new Saturday. Which makes Tuesday the new Friday, June the new October, and my birthday the new Christmas. Seattle Shakespeare Company, nestled deep amongst the overpriced elephant ears of Seattle Center, is the group responsible for these big changes, adding a fifth play to their usually four play repertoire, making space by nestling it in on a non-traditional Sunday-Wednesday schedule. Doing homework is overrated - I promise hanging out on weekdays is the hippest thing this side of hula hoops, and seeing Swansong is the best possible school night option if you’re finally tired of watching Law and Order re-runs.Tim Gouran and Brandon Whitehead in Swansong at Seattle Shakespeare Company. Photo by John UlmanSwansong elaborates on the loosely documented relationship between Shakespeare and his rival/bff Ben Jonson. (I’ll save you the post-play Google: Jonson is a real person, all the play lines and poems are real, and no, that is not how Shakespeare really died.) Seven years after Shakespeare’s death, Ben has to write a prologue for the printing of a folio of all Shakespeare’s plays; a vaguely boring premise, made surprisingly engaging through flashbacks, vignettes, and all the characters being drunk in at least ½ of the scenes. The play centers on arguably the most mystical, and most charming of all human bonds, guy love. Leads Tim Gouran (Will Shakespeare) and Brandon Whitehead (Ben Jonson) stick to their mostly one-dimensional character profiles, as the idealistic dreamer and the cynical sour-puss, respectively. The performances are strong, but it’s hard to get completely lost in the play because of the stilted dialog, which slips from present day to faux-Shakespearean for no apparent reason. Separately, if I hear anyone say “O Jesu” one more time, I will personally make them eat an entire copy of Hamlet, but I digress.Despite its superficial shortcoming, Swansong leaves a good taste in your mouth. There are very few people that remain impervious to tales of friendship, brotherly love, and anything involving the brilliance of Shakespeare, so prepare for your heartstrings to be pulled.Bonuses:- Tom, the “fiiiiiiive minutes” intermission guy from Seattle Children’s Theater makes guest appearances at SSC.- Patrick Page, Swansong playwright, used to play Scar in The Lion King on Broadway.- Tim (Shakespeare) is scruffily handsome, and looks like a young Johnny Depp.Leah M.January 13th, 2008SwansongSeattle Shakespeare CompanyThrough January 23rdNOTE: This show is running Sunday through Wednesday eveningsMore 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 everybody what you thought!

Review of Julius Caesar by Ori R., age 17This presentation of Shakespeare’s Julius Caesar would likely insult anyone who believed they were going to see a high-class performance of an esoteric work. The cast of this play -- written about Rome -- was clothed in Japanese Samurai-era garb. Disturbingly, the script was not amended from “Fellow Romans” to “Fellow Japanese,” so the clothes and Japanese backdrop seemed like a horrible joke. Director Gregg Loughridge also changed the play to be a cynical stab at Shakespeare; more travesty than tribute. I was quite insulted that they would choose to break down the serious nature of the play. Any line in the original script that Shakespeare included from one of his other works would be followed by a sarcastic, “Oh, sonnet sixteen,” or “I love that poem!”David Quicksall and Hana Lass in Julius Caesar. Photo by Erik Stuhaug.The show also included audience participation, which breaks the fourth wall and is better suited to The Rocky Horror Picture Show than to a cultured performance. Though breaking the fourth wall can be a wonderful concept, the company did so both inappropriately and frequently: during serious scenes, audience members would be called out to respond to a question or make a prophecy. The prophesying was a nice touch, but asking a dozen people, “What is your profession?” seemed excessive and annoying. A cell phone was pulled out on stage, further demolishing the Feudal Japanese setting. These insults to Shakespeare and the audience added up to an offensive level, and extended the actual length of an already lengthy production.Very little can be said in support of seeing this play, but it had some merit. The storyline is important for teens to know, since it is constantly referenced. Additionally, the theme of treachery and betrayal is a good topic for an English class essay. Aside from the actual play, the venue is fantastic. There is not a bad seat in the house, the stage area is well lit, and the set design is always impeccable. In conclusion, avoid this particular presentation of Julius Caesar, but see the play in the future when another company presents it.Ori R.January 4th, 2008Julius CaesarSeattle Shakespeare CompanyJanuary 2 – 27More 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 everybody what you thought!

Review of The Neverending Story by Emma K., age 16Any story containing magical lands, a courageous hero, fantastical beasts and a subtle moral is bound to provide a child with endless entertainment. The Neverending Story, currently playing at Seattle Children’s Theatre, has all this and more.Michael Place as Atreyu and Hans Altwies as Falkor in The Neverending StoryPhoto by Chris BennionIt is the story of a young boy names Bastian who, after recently losing his mother, discovers an engrossing novel: The Neverending Story. Camping out in a hidden room of his school, he reads about the mysterious country of Fantastica, whose queen, the Childlike Empress, is dying. Meanwhile an unknown terror called The Nothing is destroying her kingdom. A young hunter named Atreyu is enlisted to search the country until he finds the one thing that will save Fantastica: someone to give the Childlike Empress a new name. As Bastian reads, he discovers that his wishes for the book’s characters play a bigger role in the story than he could ever have imagined.Although the play does not have a particularly strong start, the journey into Fantastica makes up for it. Brilliant sets designed by Carey Wong completely transport the audience into many different locations while Catherine Hunt’s lush costumes add to the magical effect. Also to be noted are Andrew Duff and Chris R. Walker, whose respective lighting and sound effects heighten the mood. In addition to nine adult actors, the production boasts an array of puppets, ranging from miniature gnomes to towering giants. Especially impressive are a larger-than-life spider, and an ancient turtle who takes up a third of the stage. All of the puppets are designed and ‘directed’ by Douglas N. Paasch, whose creations have been seen around Seattle for many years. Also on the list of special effects are a fog machine, falling snow, and a special system of ropes which allows the actors to fly.While all of the actors are enjoyable, standout performances are given by Timothy Hyland as an eccentric book-seller, and Hans Altwies, whose portrayal of the lucky dragon was a favorite with the young crowd. Michael Place is easy to relate to as Atreyu, Fantastica’s hero, though his character’s almost constant angst could become wearisome. As Bastian, Gabriel Baron added a touch of comedy and effortlessly endeared himself to the crowd. The cast also voices the puppets, providing an assortment of amusing personalities.The Neverending Story is a delightful creation for younger children whose imaginations are always ready for an adventure.Emma K.December 15th, 2007The Neverending StorySeattle Children's TheatreThrough January 27thMore info and show times: http://www.sct.org/SCT’s Ticket Office: 206-441-3322Ticket Office Hours: Friday 9 a.m. – show time, Saturday 10 a.m. – show time, Sunday noon – show timeSeattle Children's Theatre is located at the West entrance to Seattle Center, just north of Pacific Science Center and West of the Space Needle. It is served by buses 1, 13, 15, 18, 19, 24 and 33. For bus times: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everyone what you thought!