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Review of The Nutcracker by Rachel N., age 15If someone told you they had no clue what a Sugarplum Fairy was, you’d think they were nuts! That goes to show just how famous the Russian ballet The Nutcracker has become, despite its flop premier in December of 1892. Although International Ballet Theater’s performance of this classic held fast to its traditional beauty, with stunning pas de deux performances by Russian dancers Maria Makarenko and Dmitry Zavalishin, I left the theater with somewhat ambivalent feelings about the overall production.Photo by Rex TranterThe story of The Nutcracker is relatively well-known: it begins at a Victorian Christmas Party at the Stahlbaum home, where there is much merriment and frivolity. They are soon joined by Clara and Fritz Stahlbaum’s godfather, Herr Drosselmeyer. He gives Clara a Nutcracker doll as a present, which she instantly falls in love with, and when she falls asleep that night, she finds herself in a fantasy land full of twirling snowflakes and dancing candies. We follow her dream as the Nutcracker is transformed into a gallant prince and she into a beautiful princess and they travel to the Prince’s Kingdom of Sweets.Anyone would have been dazzled by the exquisite costumes and beautiful sets; children would have been awed by the falling snow and changing lights. But I was distracted by the inefficiency of the sound timing. The pre-recorded soundtrack took away from the magic of the dancing at times, especially on the few painful occasions when the Nutcracker’s grand entrance was momentarily accompanied by silence. For about the first half of Act One, I was somewhat reminded of a school play by the ill-timed movement of a couple of the youngsters and the inefficient attention to certain details, such as one dancer’s blouse being too short, a few of the ballerina’s un-tucked straps, and a backstage hand being distractingly visible from the audience. However, when the “real” dancers came out, the dancing in and of itself was beautifully and skillfully orchestrated: the Arabian “coffee” scene was absolutely enrapturing, the Chinese “tea” soloist was warm and inviting, and the Snowflakes’ graceful movements sucked you into the child-like dream of it all.None of the staff appeared in any way unhappy to be there, and the cheery Christmas music in the lobby – as well as the outdoor accompaniment of a dancing, musical Christmas tree – served its purpose of drawing you into the holiday mood. But even with the enchanting dancing, sets, and costumes, I can’t say I would recommend $30-$40 a ticket to take the family. If you’re a hardcore Nutcracker fan, you’ll probably enjoy this traditional performance of the beloved classic. But as for me, I left the theater not quite knowing what I was supposed to have gotten from that. I guess I just didn’t quite “get it.”Rachel N.December 9th, 2007The NutcrackerInternational Ballet Theatre at The Meydenbauer TheatreThrough December 23rdMore info and show times: http://www.interballettheatre.org/IBT’s Ticket Office: 425-284-0444International Ballet Theatre performs at the Meydenbauer Theatre, 11100 NE 6th St, Bellevue, WA. It is served by Metro Transit routes 555, 556, 271, 233, 237, 249, 261, 342, 230, 232, 253, 240, 885, 921 and many others. For bus routes and times: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everyone what you thought!

Review of The Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society’s Production of A Christmas Carol by Jennifer K., age 17Charles Dickens’ A Christmas Carol is a profound piece of writing with a cautionary theme that has touched many readers during the Christmas season. The Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society has transformed it into a comedic romp full of mishaps and bursting with hilarity. The ridiculously long title, “Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society” belongs to a fictional acting group whose exploits are the subject of several plays by David McGillivray and Walter Zerlin Jr. These are mostly plays-within-plays, and A Christmas Carol is no exception. In it, under the direction of Scott Nolte, five unique actors take to the stage with the intention of showing the audience their rendition of the tale of Mr. Ebenezer Scrooge.Bethany Wallace, Larry Albert and Alyson S. BrannerPhoto by Matthew LawrenceTaproot Theatre is a cozy little place where a small stage serves as a canvas for dramatic paintings that surpass many of those seen at larger venues. As theatergoers take their seats, they may notice a middle-aged, eccentric woman with a bright red purse wandering around. After a few encounters with other audience members, this woman steps up onto the stage and asks for quiet. Thus begins A Christmas Carol. This woman is Mrs. Reece, an actress who peaked in the 1980s but still thinks she is a star, played by Shellie Shulkin. Next, the audience meets Thelma, the diva completely devoted to her art who plays Scrooge in the troupe’s performance and is acted by Alyson S. Branner. The two other women of the Farndale Dramatic Society are Mercedes, who has recently suffered a spinal injury, and Felicity, who is spunky and obliging. These two roles are played by Lorrie Fargo and Bethany Wallace, respectively. Finally, Larry Albert plays Gordon, the only man in the group.This group of characters is determined to put on a worthy performance. Unfortunately, everything seems to be against them. Set pieces fall over and actors forget their lines, but, of course, the show must go on. The Taproot Theatre actors switch back and forth between their chaotic mock-performance and their frustrated “offstage” banter with ease and agility. Each of these cast members has his or her own specialty in comedy. Shulkin does a spectacular job of interacting with the audience—teasing and pleading with them. Branner remains incredibly “dramatic,” oblivious that the “play” is crashing down around her. Fargo draws the laughs from her physical comedy, and Wallace’s undaunted optimism inspires much mirth. Albert, the most natural comedian of the group, has impeccable timing that allows him to bring out laughter in all his scenes.A fair description of this Christmas Carol is that it is essentially a cross between the amateur production inside “A Midsummer Night’s Dream” and a Monty Python skit. Most of the humor is simple and what some would call “corny.” The audience must not think too much about it, but rather laugh and then forget it. Once they begin to inspect and critique, they will decide it is not funny. More so than with most plays, the success of the humor in A Christmas Carol depends entirely upon the attitude of the audience. This is the perfect show to see with a group of friends in good moods, as it helps the actors greatly to have an easy-going, easy-laughing audience. In the words of Larry Albert (from an after-show discussion), “When everyone does play along, then everyone has a good time.”Unfortunately, not every theatergoer is easily entertained, and those seeking complexity of wit or plot should look elsewhere. However, A Christmas Carol does hit the spot for anyone looking for a thoroughly jolly Christmas play. It turns everything into a farce, from its ingenious set design to its incredibly creative characters. Since most people are familiar with the original story of A Christmas Carol, the plot can deviate quite a bit without causing confusion. Please consider that this is quite a British show, so the humor may be different than what you are used to. During some moments, the audience will be bent double with laughter, while other times a whole scene may pass without so much as a chuckle. The actors do a phenomenal job of carrying this unique play, however, and their individual talents shine, contrasting effectively with one another.Actors often “feed” off of their audience, taking in their reactions and adjusting their acting accordingly. In this play, it is incredibly difficult to maintain the required silliness if the audience sits silently. The more you give as an audience member, the more the actors will give back to you. However, beware of some audience participation if your seats are near the front, or if you are unusually good at charades! If you go with relaxed, jovial friends and an optimistic spirit, you are sure to enjoy this peppy, frivolous version of A Christmas Carol.Jennifer K.December 5th, 2007The Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society’s Production of A Christmas CarolTaproot TheatreThrough December 29thMore info and show times: http://www.taproottheatre.org/Taproot’s Ticket Office: 206-781-9707Ticket office hours: Tuesday – Saturday, Noon – show timeTaproot Theatre is located at 204 N 85th Street (at the intersection of Greenwood Ave and 85th), Seattle, 98103. It is served by buses 66, 67, 68, and 242. For bus times, go to tripplanner.metrokc.gov.Did you see this show? Leave a comment and tell everybody what you thought!

Review of The Gifts of the Magi by Emma M., age 13The short story “The Gifts of the Magi” by O. Henry is a Christmas classic about two newlyweds, Jim and Della, who are living in New York City in 1905. They struggle to get by with Jim out of work and there simply isn’t enough money for Christmas gifts. So they each sacrifice the possessions they love the most to give each other a Christmas gift.Jessica Skerrit as DellaIn ArtsWest’s The Gifts of the Magi, another O. Henry story entitled “The Cop and the Anthem” is mixed in with this timeless Christmas tale. “The Cop and the Anthem” is about a cheerful bum named Soapy Smith who tries desperately to get arrested for Christmas, so he can spend the winter in a nice warm jail cell.The Gifts of the Magi is adapted by Mark St. Germain. In my view, the adaptation does not do justice to the original O. Henry story. Perhaps that is because the original story is so short that St. Germain felt he had to lengthen it, and that’s where the play lost me. The play includes a lot of songs, some of which don’t have much to do with the story. Plus the songs are so full of unnecessary words that I couldn’t always understand what they were singing.The play is directed by Brandon Ivie. I liked his directing. It is very minimalist and Ivie lets the audience use their imagination to fill in the minimalist gaps.The play is full of talented actors. Take, for example, Jessica Skerritt, who plays Della. She has a very nice voice and I didn’t have any problems hearing her. I also think she does a good job acting the part of a young woman in love and also having to deal with the problems of living without enough money.John W. Bartley plays opposite Skerritt as Jim. Bartley’s performance is good but inconsistent. He breaks character when he is playing the love scenes; I could see the actor, not the character, playing on stage. His performance is better when he does his solo “How Much to Buy My Dream”.Also, I really enjoyed the performance by Trish LaGrua as City Her.All in all, I think the acting is good, the directing is good, but the show could be improved but cutting out and/or shortening a few songs. I enjoyed the atmosphere and the acting I saw at ArtsWest. I really liked their staff and their theatre. The staff is positive and helpful and the theatre is interesting because it’s so small; there are only 149 seats. That makes for a really fun theatre experience!Emma K.December 5th, 2007The Gifts of the MagiArtsWestThrough December 23rdArtsWest’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!

I was not there, but heard from a couple who were, and they said Sanjaya sounded fabulous!

Review of Black Nativity by Bianca G., age 18It’s exciting, a chance for people who aren’t members of a gospel church to finally stand up and scarrream hallelujah for the price of a theatre ticket. And if anything can bring old and young people together, black and white people together, it’s a song that is catchy as all get out.Photo by Chris BennionIn the ninth annual performance at “The Intiman Non-Denominational Church,” Black Nativity tells the story of Jesus while the audience patiently waits for the next song. Then there were times with no story and no song, when the audience was confused but clapped encouragingly (the abrupt tap dancing solo because someone knew how, aerial flips for the sake of aerial flips.) It was reminiscent of a talent show and I had no idea what was going on, and yet I’d never felt so alive!You’re guaranteed some feel-good divinity, unless you’re the type to transition in and out of clapping awkwardly or dread being picked from the audience. During the performance you will be asked to stand up and shake everyone’s hand around you, dance while they sing the cha-cha slide, and clap pretty much the entire time. The occasional bit of humor is bizarre; a few in the audience doubled over laughing while everyone else smiled politely, raised their eyebrows, and felt a little embarrassed.To reinstate the feeling of belonging they took roll, giving a shoutout to the Presbyterians, the Baptists, the Jews, etc., though the atheists went unrecognized. There was even a guest appearance by the always fabulous Sanjaya and two more-forgotten American Idols. If you’re a sucker for musicals, you’ll love Black Nativity. If you find musicals unrealistic and virtually plotless, then you still might like it because the songs are so darn catchy. Then they’re stuck in your head for the next three days.Bianca G.December 2nd, 2007Black NativityINTIMAN TheatreThrough December 28thMore info and show times: http://www.intiman.org/INTIMAN’s Ticket Office: 206-269-1900Ticket Office Hours: Tuesday – Sunday Noon – show timeINTIMAN 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 Peter Pan by Paulina P., age 17“You can tell he likes rats,” whispered the young girl, sitting on her mother’s lap to my left. That comment made me smile and realize how good an introduction to theater this piece is. It has a familiar story with elements that are unique to the theater and this production. There were no flying teenagers or elaborate Victoria interiors but adapter and director Joy Marzec succeeded in giving the audience a refreshingly new twist on this story.Great Bloor as Wendy and James Grixoni-Lewis as Peter. Photo byErik Stuhaug.Culture’s classic youthful boy was a powerful mix of confused angsty teenager but happy and carefree child. The theme that Pan is both a child and a teenager was the point of this Pan. He wants to be a child but at the same time, he has the power of one much older and the passion of one whom the world mistreated. For those who wanted to see the angst in Pan it was there, but it could be easily overlooked. That darkness was a real contrast to the general view of Pan as a happy innocent child with no real malice and it just added an extra layer to this classic tale.The production itself had some other quirks that I noticed. The choice to have all of the actors use British accents was a bit too much. When the actor had a handle on a plain accent, it was fine but some of the younger actors made it sound fake and screechy. Wendy was the biggest culprit; her accent made her voice sound higher than it was and aged her even before her character narrated herself into motherhood. The rest of the narration asides were entertaining but a little overused, but they made up for it with some fantastic lighting tricks for the wonderfully single-minded Tinkerbell and the best flight to Neverland I’d ever seen.Paulina P.November 29th, 2007Peter PanBook-It Repertory TheatreThrough December 23rdMore 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 timeThis show is recommended for people ages 7 and up.Book-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: triplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

Review of American Sabor by Renee A., age 16Here in Seattle we are blessed with such a great variety of venues that offer all sorts of enrichment for our minds. One such establishment is the Experience Music Project, which I luckily got a chance to visit last Sunday, to check out their new exhibit American Sabor: Latinos in U.S. Popular Music. The exhibit focuses on the influence Latinos have had in American music and its culture.Joe Cuba band member dancing with partner at the Palladium, New York City, circa 1955. Courtesy of Johan Kugelberg.Walking into the display, both my sight and hearing were immediately stimulated. The new exhibit is filled with brightly colored albums, photos taken from concerts of bands such as Santana, and performances playing on multiple TVs. There never seemed to be less than three different songs playing at once, whether it was coming from one of the TVs, a booth where you could learn to play some famous tunes on a piano, or through one of the headphones attached to an Mp3 player.Since I arrived right at opening time on a Sunday, the museum was mostly deserted for the first hour of my wanderings, which meant I had free reign of the Latino exhibit to try out all the booths (as many times as I wanted). My favorite booth was the one where I learned to play a section of WAR’s “Low Rider.” I also enjoyed watching several concerts and music videos from famous contributors to the Latino music genre. I have to say, I was pretty excited when, after watching several (boring) recordings of concerts, suddenly a Daddy Yankee video came up. It showed that although the exhibit focused mainly on the influence of Latino music up to the 90’s that it also included some more recent influences that are popular today.My trip to the museum was definitely not a waste as I learned quite a bit about a music genre that before the trip I was not too familiar with. I also had a blast listening to new music, checking out some very interesting outfits previously worn by famous Latino music contributors, and learning that the guy who made “La Bamba” famous couldn’t actually speak any Spanish! Winter break is steadily approaching and I bet you will need something to do with all that time you aren’t in school, so go check out EMP’s latest exhibit American Sabor: Latinos in U.S. Popular Music!Renee A.December 2nd, 2007American Sabor: Latinos in U.S. Popular MusicExperience Music Project (EMP)Through September 7, 2008EMP is open from 10 a.m. to 8 p.m. daily.For more info, visit http://www.empsfm.org/EMP is located at the base of the Space Needle on the Seattle Center campus. They are served by buses 1, 3, 4, 5, 8, 13, 16, 26, 28, 74, 82 and several others, along with the Seattle Center monorail. For bus times, visit tripplanner.metrokc.govDid you see this exhibit? Leave a comment and tell everybody what you thought!

Review of The Big Friendly Giant by Delaney M., age 15The play The Big Friendly Giant (BFG) is currently running at Seattle Children’s Theater. The BFG is based on the book by Roald Dahl. This play was adapted by David Wood and directed by Rita Giomi. The BFG is played by Charles Leggett. Sophie is played by Jennifer Sue Johnson.Jennifer Sue Johnson and Charles Leggett in The Big Friendly Giant. Photo by Chris Bennion.The BFG is about a young orphan Sophie who sees a giant and gets whisked away to his home. At first Sophie is frightened by the giant but she soon finds out that he is a good giant who is in charge of blowing dreams to sleeping children. When Sophie and the BFG realize that the other giants are going to London to eat children, they hatch a brilliant plan to stop the giants and teach them a well deserved lesson.The BFG creates an interesting mix of acting and puppetry. The actors use puppets when they are trying to convey how small they are compared to the giants. The puppets are ingeniously designed and look exactly like their respective actors. The scenery is very simplistic but it carries across the changing locations very well. The props are very ingenious, especially the dream jars full of LED’s that light up to make it appear like there are colored dreams inside the jars. The cast works very well together and creates a believable cohesion of characters.On the evening that I went, the theater was packed full of parents and small children, but besides the parents there was no one over the age of ten. The theater has no reserved seating so if you want a good seat you should try to show up early.A small side note, unless you are bringing a small child or you have a VERY large imagination, this play is a little young for anyone over the age of ten.Delaney M.November 25th, 2007The BFGThrough December 30thSeattle Children's TheatreMore 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 Birdie Blue by Jennifer K., 17Birdie Blue packs for a trip, and, as many travelers do, she becomes nostalgic. Throughout this 90-minute play, Birdie recalls events and characters that have touched her, and the audience is swept up into the turbulence of her past.Birdie Blue, put on by Seattle Repertory Theater, is directed by Chuck Smith and written by Cheryl L. West. West is a noted playwright who often deals with controversial themes in her work. Birdie Blue describes the civil rights movement and its aftermath. It also speaks of a more subtle, but no less painful topic: caring for a loved one with Alzheimer’s. Velma Austin plays Birdie, a gritty, middle-aged woman with a powerful history. William Hall, Jr. plays Jackson, Birdie’s husband who has Alzheimer’s. Sean Blake plays all the other characters, including Bam, Birdie’s son, Sook, her brother, and Minerva, her older sister. The performances by these actors are what make this play remarkable.Velma Austin as Birdie in Birdie Blue. Photo by Chris Bennion.First of all, from the moment she steps onstage, Austin (Birdie) has the audience wrapped around her finger. She is warm and caring, but fiery and strong; she has a sense of humor, a sometimes misbehaving mouth, and a twinkle in her eye. The audience believes her implicitly; indeed, it is impossible not to. She is incredibly genuine. Throughout the play, she grows softer, more caring, and less tempestuous, but she retains a determination that will not falter.Also, Hall (Jackson) gives an outstanding performance as a man in different stages of a degenerative disease. He is so candid that he is almost painful to watch, especially if you have known someone with Alzheimer’s.Finally, Blake’s characters range from an adorable toddler, to a rebellious teen, to a middle-aged woman. He plays all of them well, with an easy humor. His acting brings a refreshing lightness to contrast the other two characters’ more serious roles.Throughout the play, scenes jump back and forth between different decades. In some places, this is a bit confusing, especially at the beginning, when all the characters are new. As the play goes on, however, it becomes easier to follow. Everything from costumes to radio clips gives the audience clues as to which time period they are watching. For instance, afro wigs and bell-bottom jeans mean the 70s. The radio clips are especially effective. Music from the different decades plays as Birdie and her friends dance, sing, or listen. Snippets of Martin Luther King, Jr.’s speeches ring out as Birdie hangs on every word. Indeed, King’s remarks often parallel events in Birdie’s life. On the whole, the play does justice to a complex arrangement of scenes from an equally complex time of history.Teens who see Birdie Blue may dislike it at first. Jackson’s illness is difficult to watch. But as the play progresses, flashbacks showing who Jackson used to be draw out viewers’ pity. They understand that he once was a person with charm, joy, and a sense of humor. Now, they can see him as Birdie does, through compassionate eyes.Conservative playgoers may object to some of the content. There is enough language to earn a PG-13 rating, and it deals with some controversial subject matter. Honestly, teens without much experience with mature plays may want to think twice about seeing Birdie Blue. Personally, I was unpleasantly surprised with the ending and with some of the content.Overall, Birdie Blue is a moving play that gives a vivid picture of African-American life during and after the civil rights movement. It also portrays the pain and tenderness gained from caring for a loved one with a disease like Alzheimer’s. The characters are charmingly, and sometimes painfully, realistic. It is a powerful drama with enough humor to make it pleasant, but with deep, dark themes that may disappoint some viewers. Theatergoers who enjoy this genre, however, will adore Birdie Blue.Jennifer K.November 20th, 2007Birdie BlueThrough December 16thSeattle Repertory TheatreMore 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 Joseph and the Amazing Technicolor Dreamcoat by Lauren C., age 16A musical theatre lover’s dream, Joseph and the Amazing Technicolor Dreamcoat is a smorgasbord of musical styles, including an Elvis-style song, country music, and a disco beat. Plus, there isn’t a single spoken word in the show.Based on the biblical story of Joseph, who is sold into slavery in Egypt and then climbs the ranks of society because of his dream-interpreting skill, Joseph takes that basic outline and turns it into an incredible, colorful, high-energy show that is extremely entertaining. This is, however, not a religious show, and would be enjoyed by teens of any faith simply for the great storytelling.From the very beginning, the beautiful talent of the Narrator (Laurie A. Miller) creates a link between spectators and cast, carrying us through the story with grace and energy.The story is told mainly through up-tempo ensemble pieces, but about halfway through the show, the pace slows down to connect with the ensemble on an emotional level. Joseph (Jason M. Martin Jr.) sings a moving rendition of “Close Every Door,” professing his faith even at his lowest point.Martin and Miller are both beautifully cast, bringing hard work and artistry go their roles. In fact, that could be said of every actor in this talented ensemble. Throughout the musical, the entire ensemble works together to create a cohesive piece. Through the choreography, they sometimes enhance the set and always add to the scene. Every person on stage is truly having fun sharing the exceptional gift that each and every one of them has.The set is simple - evocative of a storybook-like setting. Colorful lighting adds to the otherworldly effect. The costumes, especially those of the female ensemble members, are where the technical crew really went all out. The themed numbers have beautiful themed costumes, like poodle skirts with jackals in place of poodles. Oftentimes, I was shocked that the dozen or so women managed to change as quickly as they did! Overall, the technical aspects of the production worked together very well and added to the already wonderful show.The small size of the venue makes for a community feeling, which is only added to in the lobby prior to the show. There is an ongoing holiday raffle, and tickets are sold by the arms-length. Rather than sticking to themselves, patrons found themselves asking perfect strangers for the use of their arm in hopes of getting more tickets for their money.Personally, I found this a beautifully done production of a wonderful show. If you know this show well, I insist you go see this version. And if you’ve never heard of it, I highly suggest you attend. If you’ve never seen a musical or even a play, this would be the perfect beginning. The show is comedic with a great storyline and message, the voices are great, and the you’ll find yourself smiling all the way through.Lauren C.11/18/2007Joseph and the Amazing Technicolor DreamcoatDriftwood PlayersNovember 16th – December 16thMore 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.govDid you see this show? Leave a comment and tell everybody what you thought!

Review of Repertoire by Elisabeth S.I liked Velocity Dance Studio, where Next Stage Dance Theatre’s Repertoire was playing, the moment I walked up the stairs and into the main lobby. It was very warm, a happy alternative to the biting winter air outside. The petite woman who took my ticket was just as warm as the room, and as I waited for the house doors to open, I became increasingly excited for the impending performance. When the doors opened at last, I got a surprise, and just like the friendly dance teacher and the comfortable heat in the lobby, it was a good one.There was no curtain separating the audience from the dancers, and the stage was separated from the audience by a slight wooden platform lined with chairs. It would have been easy for the dancers to reach out and touch the first row of the audience if they so chose. I tapped my foot against a leg of my chair, and for the second time, waited. Couples streamed through the open house doors, smiling and waving to friends in the audience. Complacent husbands seated themselves beside their grinning wives, and the lights dimmed.From here, things slowly started to slip downhill. The first piece, one out of seven short pieces choreographed by the dancer, featured minimal dialogue at the beginning, soft giggling, and flowing blue sheets. Technique does not seem to be a main concern at Next Stage, a difficult realization for me to come to grips with. The dancer, Dominique Gabella, who accompanied the choreographer, danced with elegant grace, a seasoned performer that awed and inspired me. She was a pleasure to watch, but as the night continued I realized that she would be the only dancer who would ignite this feeling in me.All the dancers were middle-aged or older, all women. All the dance was in the modern, interpretive style, all representing an event or memory in the dancer's life.Call me judgmental, but I could not manage to find the actual “dance” in the performances. There was no spark, no connection, and by the end of the performance, I was pushing laughs back into the pit of my stomach that had somehow snuck their way into my throat.I felt worlds apart from the performers until I could no longer find the art in the pieces. One, in which the dancer attempted to communicate with the audience through jibberish and very little dance, I couldn't understand at all, while the others were impossible for me to relate to. If it hadn't been for Gabella's gorgeous, technically sound solo rendition of a woman at the ocean, I might have walked out. Dancer after dancer looked more and more ridiculous to me, despite the work she put into her piece or the meaning behind the movements. All I could see were melodramatic hand gestures.The icing on this sour cake came when the dancers decided to have a discussion on creativity, and its meaning to the audience. I rolled my eyes, inwardly heckling the seemingly pretentious dance troupe, but as soon as the audience began to speak, I realized my mistake, and the experience was changed for me.I learned something terribly valuable about art that night: its totally subjective, beautiful to different people with different experiences at different age levels. Dance, as with any form of art, does not have only one definition, and I realized in that room that so willing welcomed me, but that I unjustly rejected, all art is worthy of recognition. Although I feel no connection to this type of art, and, in fact, thoroughly dislike it, I felt connected to the audience who spoke eloquently and openly about how much they enjoyed the performances. The warmth that Next Stage Dance Theatre naturally radiates returned to my bones, and I began to understand how unfair I had been.I am no judge of “good” art, I am just an observer, but I would not recommend this performance to teenagers. I do not believe that we can yet relate to its power because the experiences that were shared there in that intimate theatre are secrets that often only adults have the key to. But it is a good place to escape from the cold, and I am positive no one would mind if you warmed your hands in lobby, or took a peek at their unconventional and unique style of movement.Elisabeth S.11/17/2007Did you see this show? Leave a comment and tell everybody what you thought!

Review of Metropolis @ SIFF Cinema by Ori R., age 17In 2026, the rich revel in the pleasures of the future as the poor are forced to live underground, working on the machines that power the overworld. A New Tower of Babel houses the man who rules over it all. This is the premise of Fritz Lang’s Metropolis. The film was revolutionary for its time, combining ancient philosophies with futuristic technology, including the idea of the “Middle Path.” The plot was a version of the Exodus story that touched on many ideas, including loyalty, love, and father-son relationships. There were some impressive special effects, and new concepts such as hydroelectricity and robotics were introduced. This movie is referenced quite often by the science fiction of today. Flash Gordon, one of Sci-Fi’s most popular shows this year, draws heavily from the world of Metropolis.While revolutionary for its day, modern audiences will find Metropolis difficult to sit through. The film is silent, and requires a great deal of imagination to determine what is happening. Much of the original film has been lost, and the missing scenes have been replaced with summary text blocks. To my dismay, these often appear during action sequences. The pace is extremely slow, and characters may speak in pantomime for an entire minute, followed by one or two lines of text; however, the story is quite enjoyable, and leaves the audience with something to think about in the end. Overall, this film is not suited for most audiences; however, it is vital for any sci-fi lover to see it to understand the true origins of modern science fiction.Ori R.11/16/2007Did you see this film? Leave a comment and tell everybody what you thought!

Review of The Cook by Jenny B., age 18The Cook brings to Seattle Repertory Theatre a whole new perspective on a historical event. When talking about Fidel Castro’s takeover of Cuba, we always seem to discuss the people who left Cuba, and not those who stayed behind. This story steps you through the gain and loss that the average Cuban family went through during this period.Zabryna Guevara as Gladys, the cook, Jessica Pimentel as Elena, and A.K. Murtadha as Julio in The Cook. Photo by Chris Bennion.This show focuses on the perspective of Gladys, a cook for a wealthy family. It goes through her entire life, showing how the revolution affected her and her family. She is obsessed with the idea that the old owner of the house that she is living in will come back. She anticipates it for forty years, only to be surprised by a guest.The house, like Gladys’ hope, starts to deteriorate. The passage of time is shown through intense and convincing aging that is added during the second intermission. The bright walls turn into a yellow gray and some wallpaper appears to peel, showing Scenic Designer Mikiko Suzuki MacAdams’ brilliance at her art. The open layout of the kitchen makes you imagine the vastness of the entire house. All of the action appropriately takes place in the kitchen, showing the meaning of food to a family, especially Gladys’; throughout the story the only thing that tends to be consistent is Gladys and her food.Over time every character but Gladys changes costume to follow the age. Everything from a communist workers suit to bright 70s pants is worn. Every costume accents the change that the character has gone through over the years. The 70s outfit worn by Gladys’ cousin is shocking compared to the rest of the drably-dressed family, though compared to what people were wearing in other parts of the world at the time, it doesn’t seem as extravagant. This is the perfect way to show what can be normal to some is deadly to others.Every actor on the stage is worth their salt. They seem to capitalize on jumps between moments of joy as well as moments of pain. Whether they are switching characters or time periods, there is almost never a doubt in your mind as to exactly what is going on, even when nothing has seemed to change.The always-open arms of the Seattle Repertory Theatre embrace everyone, from their audience to Eduardo Machado, the author of the play, who came to watch the show on opening night. I hope he was as impressed as I was at the actors’ ability to tell this heart-wrenching yet touching story. Overall, the heavy symbolism and quality of this production will keep anyone greatly entertained for the entire show.Jenny B.November 7th, 2007Note: This play contains some coarse language and discussion of sexuality. For more information on content, please contact Seattle Rep directly.The CookSeattle Repertory TheatreThrough December 1stMore info and show times: www.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!

It was an amazing show, and I the character playing Jem Finch is my friend. It was ana overall really good show.

Review of Contemporary Classics by Emma K., age 16Dance is one of the most versatile and mesmerizing art forms. Pacific Northwest Ballet’s Contemporary Classics is a truly spectacular testament to this fact. Dancers from PNB’s troupe of forty-five perform four separate pieces, each more unique and stunning than the last.The first piece, Agon, recently marked its 50th anniversary. First performed by the New York City Ballet, it was choreographed by George Balanchine and set to music by legendary composer Igor Stravinsky. Agon is made up of four sections, each set against a plain blue background. Dressed in simple black and white, the dancers accomplish tremendously complex physical feats while managing to make them look effortless. The real thrill of Agon is the duet of Louise Nadeau and Oliver Wevers. Formerly, the choreography has been abrupt, sharp, and synchronized. Now, the lighting and music soften while the dancers’ motions are fluid and beautifully formed. While there is no obvious story to be followed, the piece is full of emotion and easily draws the audience in.PNB principal dancer Mara Vinson in Kiss. Photo by Angela Sterling.Kiss, the second piece, is hauntingly beautiful and gives the audience a sense of defying gravity with endless motion. Mara Vinson and James Moore are suspended in the air by harnesses. Manipulating the ropes holding them aloft, they swing above the stage, separating from and returning to each other. Dramatic lighting and evocative music by Arvo Part add to the raw human emotion brought to life by Susan Marshall’s choreography. The performance is hypnotizing.The third piece in the series, Caught, is nothing short of stunning. Choreographed by David Parson, the piece is meant to be a series of ‘snapshots’ examining flight. On a dark stage, the shirtless Jonathan Porretta leaps about the stage, while a strobe light catches him only when he is airborne. The effect is brief flashes of light that make it appear as though the dance is taking place almost entirely in the air. Every few moments, a spotlight shines on Porretta when he returns to a neutral stance center stage – as if he has been there the whole time. Robert Fripp’s music – solely performed by electric guitars – admirably adds to the novelty of this performance.Finally, In the Upper Room– choreographed by Twyla Tharp in 1986 – is a delightful mix of color and light. A fog machine runs throughout the performance, giving it a cloud-like quality. Dancers begin the piece in pajamas and throughout the presentation change costumes until they are all in red. The choreography plays with the arts of running, flight, and unity. Music by Philip Glass compliments the growth of this piece, as it seems to begin in the light of morning and end in the dark of night.On opening night, the audience was thrilled by the performances and the curtain calls lasted several minutes. Contemporary Classics is a fascinating and thrilling study of modern ballet, not to be missed.Emma K.November 1st, 2007Contemporary ClassicsPacific Northwest BalletThrough November 11thMore 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 in McCaw Hall Seattle Opera, 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 everybody what you thought!

Check out Seattle Children's Theatre's new blog SCT Behind the Curtain, currently featuring an interview with Disney's High School Musical star (and Teen Tix member!) Mickey Rowe. Here's a snippet:Why do you do what you do?That is a hard question to answer… Why does a Business Man do what he does? Well, I’m not in it for the money. I guess I do theatre because it is what I am passionate about. It makes me tick. I like people, and theatre is people collaborating ideas with each other and coming together to create a story to tell to other people and hopefully through that story I can share some insight on life with the audience. It makes me think of the quote, “Art is much less important than life, but what a poor life without it.” -Robert MotherwellDisney's High School Musical is playing at Seattle Children's Theatre through November 24th. Check out teen reviewer Jennifer K's review of High School Musical, then see the show, just $5.00 day-of-show with your Teen Tix pass. Rock.

Review of Pericles by Delaney M., age 15The play Pericles is currently running at Seattle Shakespeare Company (SSC). Pericles was written by William Shakespeare, and SSC’s version is directed by Sheila Daniels. The role of Pericles is played by Reginald André Jackson, Thaisa is played by Alycia Delmore, and Marina is played by Kate Czajkowski. Seattle Shakespeare Company’s Artistic Director, Stephanie Shine, also plays the part of Dionyza in the production.The play takes place along the eastern coast of the Mediterranean Sea. Pericles is Shakespeare’s attempt at writing an action-adventure play, so it’s full of unexpected turns of fate. During the course of the play there are shipwrecks, incest, tournaments for the heart of a lady, a wedding, death, and brothels.Molly Tomhave, Reginald André Jackson, and Alycia Delmore in PericlesPhoto by Erik StuhaugThe theater at SSC is very up close and personal; there are only seven rows of seating and the actors walk up and down the steps between the seats. The set design is very ingenious in that it is able to switch from being a boat to a palace or an island with only a few minor changes. All of the actors are very well cast; they all seem very suited to their own roles. The actors are very talented at speaking in Shakespearean language but still getting their point across. As an ensemble, the cast works very well together. They play off each other and make the play even more interesting. Jackson does a spectacular job as Pericles; he has a very difficult role to play, and he goes above and beyond. Also, Todd Jefferson Moore, who plays all of the many kings as well as the brothel owner, does a spectacular job; he is by far the funniest actor.Seattle Shakespeare Company has a very nice venue inside the Center House at the Seattle Center. SSC draws a very eclectic crowd of all ages. On opening night, everyone seemed genuinely excited to be there, and there was a lovely post-performance reception, catered by Palomino, which gave an opportunity to meet the cast and directors. SSC does a very good job of making Shakespeare seems intriguing and funny.As a side note, Pericles does deal with some mature content, such as a brothel and incest, so it may be best not to bring anyone younger than a teenager to the performance. Also, unless you have studied Shakespeare extensively, you may have a little difficulty understanding everything the actors say; so just sit back and, if you don’t understand something, let it go. It will all become clear soon enough.Delaney M.October 26th, 2007PericlesSeattle Shakespeare CompanyThrough November 18thMore info and show times: http://www.seattleshakespeare.org/Seattle Shakes’ Ticket Office: 206-733-8222Ticket office hours: 1 p.m. – show timeNote: This production contains some mature subject matter, including sexuality. For more information on content, please contact SSC directly.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.govRead Delaney's interview with Pericles star Alycia Delmore here.Did you see this show? Leave a comment and tell everybody what you thought!

Review of Dracula by Paulina P., age 17Ballet is not my forte. Seldom do I elect to go and see one, no matter what the piece, but Dracula really kept me entertained. It was my first time to Vera Altunina’s International Ballet Theatre (IBT) and I was surprised that there even was a ballet for Bram Stoker’s Dracula. I knew the story, and wondered how they would interpret the story of this great vampire. I tried to look for examples of the music for this ballet, but every one that I found was different from the last. So, the only thing I was sure of was that there was a vampire. This very eclectic and romantic version of Dracula will be playing through Halloween, so go see it while you can.Dracula has many stories attached to it. IBT’s cult classic is the story of Jonathan, Mina, and Lucy, three young people who come to a small Transylvanian village and are slowly seduced into Dracula’s castle. This story has many extremes and easily contrasts the loving gleeful youth with the violent but passionate demons.Kristofer Forrest’s lighting design makes Dracula’s world come to life with gels and complex layering. He extends the world of Transylvania by having light projectors shining out into the audience. While mildly blinding, it is a good way to show the confusion in the characters. The characters are also highlighted by the use of spotlights during particular scenes. During a passionate dance between Jonathan and Mina, Forrest lights the dancers, but also entwines their silhouettes. The shadows never line up properly and seem to symbolize the fact that, though Mina and Jonathan are ready to be married, they can never be together.This symbolism extends to the music. It has a range of styles from waltz jazz to some very entertaining Irish jigs. It reminded me of putting my computer’s music on shuffle. However, that does not distract from the storyline. Each piece is chosen specifically for the scene that it portrays. The sequence with the demons is wonderfully done with Charles Gounod’s Faust. It has the energy and passion of the demons and ghouls, while it still has some beauty to it. Its strength is in the harsh but commanding mode of the piece.Ballets generally do not have much of a wooden set and Dracula is no exception. The only set that is used is four wooden boxes on wheels, a set of chairs, and a table. This gives the dancers room to dance, but is also functional. The boxes give the dancers levels to dance on and creates a much-juxtaposed world. Sheila Edwards’ projections help to add a nice background for the story. They don’t inhibit the motion of the dance, but do establish a world to dance in. The projections also show the passage of time. If one were to watch just the background, one could see how long each scene is and how quickly the characters are admitted into the soul of Dracula.Dracula and his world of Transylvania are defined by the spectacularly done costumes in the show. Treva Putsche’s choice of traditional eastern European dress is fantastic; it helps to show where they are in the world. The character costumes are kind of non-descript, but the folk scene really puts the audience into Transylvania. Each costume is very detailed and unique. Each demon has its own interpretative costume that helps to portray its individuality. In addition, the costuming of the gypsies is unique. Each female gypsy has a floor length gown, which is a stark contrast to the village girls, whose skirts are only knee length. It was my first time seeing an interpretation of a gypsy who was not considered to also be a tart.The gypsies give a lot of life to the show and so do the rest of the dancers. The group scenes are just as well done as the intimate dances. The choreography is not just that of ballet but also of jazz and other art forms; it made it entertaining. It has the basics of classic ballet but then it takes it to a new level. It shows the passion in the dance because of the mixture of the different kinds of dances. The love story is a slow and moving classic ballet, while the demonic portions are fantastic and vivacious. At the performance that I attended, there were a few costume malfunctions in the first act, and the performers were not always together. Though as a ballet this may have looked bad, as a folk dance it was perfect. Folk dances do not need to have every dancer doing exactly the same thing because they are for celebration and not for artistic feeling.The story is a unique interpretation of Dracula because it focuses on the people who are not Dracula more than Dracula himself. He seems to be just the token character of the story instead of the main character. He does not even dance in the ballet, which is somewhat odd. However, IBT does stick to the theme that they present. They create their own world of Dracula by picking their music, and though at times it seems strange to see an Irish jig at the end of a Transylvanian play, it is still a lot of funThe venue is completely dressed up for Dracula. Outside there is a moving and talking gargoyle to accent the creepiness of Dracula’s castle. There are some very cool little stands with toys and stuff for the production, which also advertise their upcoming shows. There were not very many people on Friday, but I think that it will be packed for Halloween. This performance was very different than what I expected but it was still really entertaining. One just has to adopt the mindset that Dracula is a story for all to interpret and enjoy.Paulina P.October 26th, 2007DraculaInternational Ballet TheatreThrough October 31stMore info and show times: interballettheatre.orgIBT's Ticket Office: 425-284-0444Special offer for Teen Tix members and their guests: 2 for $10 advance tickets to Dracula on Tuesday, October 30th! Call 425-284-0444 to reserve your tickets today! Note: you must be a Teen Tix member to take advantage of this offer. You will need to show your Teen Tix pass at will call in order to claim your tickets. Not a Teen Tix member yet? Sign up today, it's FREE! Go here to register.International Ballet Theatre performs at the Meydenbauer Theatre, 11100 NE 6th St, Bellevue, WA. It is served by Metro Transit routes 555, 556, 271, 233, 237, 249, 261, 342, 230, 232, 253, 240, 885, 921 and many others. For bus routes and times: tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

By Delaney M., age 15

Last week I met Alycia Delmore, a 30-year-old local actress, at the Starbucks in the Center House. Alycia is tall and has shoulder length dark brown hair. She was dressed in the typical Seattle fashion of jeans, a sweater, a puffy vest, and a scarf. She’s currently starring in Seattle Shakespeare Company’s Pericles. Intrigued by Alycia’s interest in Shakespearean theater, I set off with a long list of questions for her. After she had gotten a tea, we sat down and talked about how nervous we were, because this was both of our first interviews. Alycia made our interview very enjoyable with her down-to-earth outlook on life. She came off as very strong, independent, and an inspiring person. She is very easy to relate to and entertaining to speak with. I feel lucky to have gotten to meet her!

Review of The Legend of Sleepy Hollow by Cindy C.It was a dark and stormy night – perfect conditions to see one of the most classic Halloween stories brought to life by the Driftwood Players on a small stage in Edmonds - Washington Irving’s classic story The Legend of Sleepy Hollow.I had never been to Edmonds, let alone to the Wade James Theatre, so I was surprised at the small size of the venue. The maximum occupancy was 220, which might seem small but turned out to be surprisingly cozy. Before the show, people of all ages, from toddlers dressed up in Halloween costumes to seniors, mingled in the warm lobby.The only interpretation of Sleepy Hollow I knew about before seeing this production was Tim Burton’s macabre film version, with Johnny Depp and Christina Ricci. However this production was fun, appropriate for all ages and perfect for getting into the spirit of Halloween. Ichabod Crane (Scot Garrett), a new schoolmaster from Connecticut, competes with Brom (William H. Bowen), a man who is as crude as Crane is educated, for the affections of Katrina Van Tassel (Jesse Roth), the beautiful daughter of Baltus Van Tassel (Dennis Heetbrink). In addition, Sleepy Hollow is haunted by various spirits, most famous of whom is the Headless Horseman.The actors are well-suited to their parts, and their genuine enjoyment of playing these parts is evident in every line. Garrett is delightfully awkward and endearing, because Ichabod doesn’t quite fit in with the town. He also channels Johnny Depp’s memorable performance as he jumps and trembles in fear of the Headless Horseman (and the sight of blood). Yet Garrett also conveys Ichabod’s confidence along with spot-on comedic timing, especially when fighting over Katrina with Brom. Bowen couldn’t have been more perfect for the part of Brom – it would have been easy to hate Brom in the hands of a lesser actor. But thanks to Bowen, Brom is almost lovable, as he delights in taunting Ichabod (which provides for some hilarious moments) and provides a contrast to Ichabod’s refined manner towards Katrina.Though Sleepy Hollow has elements of a horror story (like the Headless Horseman), under the direction of Rachel Bowen the tone is much more lighthearted. The townspeople take delight in poking fun at Ichabod’s fear of ghosts and ghouls, providing ample comic relief in addition to the hilarious physical comedy of both Brom and Ichabod as they fight for Katrina’s affections. Not only are the comedic elements present, but the horror elements are as well. When the Headless Horseman finally appears on stage, the use of lighting and shadows to create a monstrous effect are impressive, especially for a venue of this size.This play was made for the community, by the community. That much was evident throughout the show. The children sitting in the audience were delighted by the slapstick humor and frightened by the Headless Horseman. The teens and adults in the audience were treated to a few in-jokes as well, including the use of the Star Wars“Imperial March” in one hilarious scene with Ichabod primping for a date with Katrina. After the show, audience and cast members lingered in the lobby to chat, and there was a dessert table as well. The general atmosphere was warm and everyone seemed to know each other, congratulating each other on their accomplishments.The Legend of Sleepy Hollow is a perfect Halloween treat for the whole family, and I highly recommend it. With only one act at around 50 minutes, Sleepy Hollow is part of the Driftwood Players’ Alternative Stages productions. It is a great example of how unconventional formats can work to a play’s advantage. Sleepy Hollow is scary, funny, and just a little silly – just like Halloween itself.- Cindy C.October 19th, 2007The Legend of Sleepy HollowEdmonds Driftwood PlayersThrough October 28thMore info and show times: www.driftwoodplayers.orgDriftwood 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.govDid you see this show? Leave a comment and let everybody know what you thought!