TeenTix Blog by TeenTix

Review of The Women by Paulina P., age 17Susanna Wilson, Anne Allgood, Julie Briskman and Emily Cedergreen are just a few of The WomenPhoto by Chris BennionIt was an adventure to get down to Seattle to see The Women at the ACT Theatre and I had no idea what to expect. I did not recall seeing any shows directed by Warner Shook, had actually never seen a performance at the ACT Theatre, and had never heard of the playwright. I hoped that going into this play knowing almost nothing about it would be a good thing. I did a little research, reading the summary online, and got the vague impression of a witty piece about the role of women in the 1930s. The play itself does center on that theme but there is much more to it than just high society gossips.The Women is about a few East Egg married women who get together to lunch and gossip about the absentees. Each woman has her own life, filled with new love, scandal, children, work, and (sometimes) contentedness. This story centers on Mary Haines, played by Suzanne Bouchard, who loves the life that she has with her husband of twelve years. One luncheon, however, Mrs. Haines’ good friend Sylvia Fowler, played by Julie Briskman, has some interesting news to tell. Someone has heard tales that Mr. Haines was out with a common shop girl. As a true friend of Mrs. Haines, Mrs. Fowler cannot bring herself to admit the story that she has heard…so she has her oblivious new manicurist tell the tale.Before the show, the audience was treated to some wonderful recordings of 1930s jazz, soft familiar favorites that put one in the mood for talking. The show itself does not have much music in it but the music afterward is just terrific. It has a completely different style than the beginning of the play, which helps to accent the growth of the characters and also makes for a good transition back to the present day.The story is complex and the performance reminds the audience of that in every detail, from the lighting to the costumes. The lighting compliments both the personalities of the characters and the feelings of each scene. The entrances and exits are phenomenal. The director, Warner Shook, overlaps each scene so that set changes serve a greater purpose than just to change the furniture. By allowing the audience to see her just waiting in her coat outside or lounging in a bathtub, the scene changes give an extra glimpse into the character of each woman. Each scene always has a little flair to accent a detail, such as an amber-colored light to highlight some animal trophies or an actor lit from below.Lighting Designer M.L. Geiger was able to light them so well in part because of the extensive use of a hydraulic lift on the stage. It helps to move big portions of the set on and off the stage quickly. The set is minimalist but definitely has everything that it needs. All of the furniture has the ability to move on and off the stage quickly. The set is a stylized but semi-modern portrayal of things in the 1930s. The colors are bright and brash but have a nice older feeling to them too, which is a really good way to hook a modern audience while keeping the time-period straight. This is also done through the costuming. The styles of all the dresses and outfits are definitely from the depression era, but each reflects the character that wears them. They have bright patterned colors that stand out and help to create the world, and sizes and styles that would look good even now.Now, to the performance itself. I feel that all of the actors are fantastic in this piece and really do the fullest with their extreme characters. Almost all of the actors are well cast, especially those within the ensemble. They really work as a team to give the audience the feeling of high society, even those who change characters. On opening night, the only actor that I felt needed to play more with the team was Megan Schutzler, the young actor who portrays Little Mary. She didn’t seem to have a cohesive understanding of the child character. Every time she spoke, it seemed like she was delivering one-liners instead of a whole personality. It disappointed me because the casting was almost perfect other than that.The show works together well, with each aspect complimenting the same theme and same setting. The ensemble members have the same amount of character development as the main characters and are just as well dressed. This really helps to make the world come to life because everyone lives in the same idea. Each person and detail helps to further the theme of each scene and make it come alive. Everything flows together nicely, from blocking to the automated set. Though the lobby does not contain any displays for the show, this only helped to add to the intrigue beforehand. The lobby allows one to know the setting and the theme but not any details so that everything is new and crisp during the performance.This performance was a wonderful introduction to the ACT and I had a lovely time there. The placing of the theatre was a little confusing because I did not realize that they had multiple stages in the same building. With the help of the staff, it was easy to navigate the area. They were all very welcoming and informative if one ever had a question. The audience was mostly older people so I got the impression that it may not have been their first time seeing this show. They still seemed to enjoy all of the witty remarks, but there was one joke which only a few others and I had the pleasure of indulging, something about Wagner and a dress.The Women is a wonderful play, very smart, with many layers of understanding. One could take it at first as just a satire of the women of the time but the themes are more powerful than that. It contains the idea that fancy may change but real love with last forever if one fights for it. It gives a humorous key to a serious story, but lets both sides have equal time to flourish. It shows the wit and intelligence of the writer but allows slapstick to parallel with the complex wit. It would be a great introduction into theatre for someone who has the interest to pay attention and would be perfect for teenage female audiences. It just ropes the audience in with fast lines, scandalous situations, and chains of smoke.Paulina P.October 11th, 2007Note: ACT recommends this play for people who are high school age and up. For more information on content, please contact ACT directly.The WomenACT TheatreThrough December 2ndMore information and show times: www.acttheatre.orgACT's Ticket Office: 206-292-7676Ticket office hours: Tuesday - Sunday noon - show timeACT Theatre is located at 7th & Union in downtown Seattle. It is served by a whole bunch of buses. For bus routes and schedules, visit tripplanner.metrokc.govDid you see this show? Leave a comment and tell everybody what you thought!

Review of Dinah Was by Jenny B., age 18Stephanie Hatley stars as Dinah Washington Photo by Andre HelmstetterI’m sure that every jazz musician knows the story of Dinah Was, the opening show of the 2007–2008 season at the Seattle Parks and Recreation's Langston Hughes Performing Art Center (LHPAC). Directed by Jacqueline Moscou and staring Stephanie Scott-Hatley, this inspiring production follows the life of the amazing jazz singer Dinah Washington. Though no one can say that Dinah didn’t have a positive impact on the world we live into today, this sad and provocative story shows another other side of her history. Even though Dinah was on top of the world when she was on stage, she had issues off of it. Her personal life was in shambles for most of her life, and yet she put on a proud face, broke new ground and changed the nation. LHPAC brings this show to life; Dinah’s amazing music is being heard again through her story.Every aspect of the show is well put-together. The jazz ensemble fills the venue with soul and music. On opening night, Scott-Hatley’s voice carried to the back of the audience, not just telling us Dinah’s story, but making us live it. Chills ran through the audience during her rendition of “What A Diff’rence A Day Makes.”She shares the stage with two other amazing singers: Felicia V. Loud, who captures the audience’s heart as the poor maid with a gorgeous voice, and G. To’mas Jones, who plays a devious character who, in the end, you can’t help but forgive. Other actors include Ton Davis, and Nik Doner, both of whom have to switch from a hated to a loved character just by changing hats. They accomplish this beautifully and there is never a doubt as to which character each is playing. The same can be said of Scott-Hatley’s clean steps through time - you always know exactly where she is and why. The greatest aspects of this show are the inspiring story and the people who portray it.Other elements of the show, though, are just as important. The lights make every transition clear, and every fade is perfectly timed with the message. The pliable, multi-leveled set makes the steps through time easy to portray. The best part of the set is the platform from which the star performs. As soon as she heads for it, we know we are in for a treat. Plus, the artistically painted face of Dinah imprinted on the set watches over the play as if Dinah herself were there. At the end of the show, the eye-catching backdrop sparkles. As Loud walks off, she touches it, showing the ripples that Dinah made throughout her life.Throughout, Dinah Was portrays the wonderful things that Dinah did to change our world for the better. The opening night audience was inspired to a standing ovation, and I wouldn’t be surprised if this becomes a common practice during the run of this production. The whole theatre had such a great atmosphere, and I felt like I was stepping into a tight-knit and talented community. Telling this kind of story on stage takes a team and a lot of talent. This cast, band, and technical team did it amazingly well. I know that I will see shows at Langston Hughes Performing Arts Center in the future.Jenny B.October 12th, 200711.2.2007: Langston Hughes PAC regrets to announce that, due to a significant injury to the principal performer, ALL remaining performances of Dinah Was have been canceled.

Review of Murderers by Emma K., age 16Sarah Rudinoff as Minka in MurderersPhoto by Chris BennionMurder may not be your typical topic for a comedy, but it is certainly entertaining. Currently playing at Seattle Repertory Theatre, Murderers, by former actor Jeffrey Hatcher, is a compilation of three monologues, each told by an unlikely murder suspect residing at the Riddle Key Retirement Community. Steven Dietz creatively directs Sarah Rudinoff, Mark Anders, and Joan Porter Hollander – a talented and seasoned trio. Murderers comically examines the lives of Gerald, Lucy, and Minka – three people who committed crimes to, as they put it, serve justice.Each character takes the audience through the events leading up to their crime and its aftermath. Mark Anders plays Gerald, a young man who marries his girlfriend’s mother so that they can inherit her millions after her imminent death. Without revealing too much of the entertaining plot, suffice it to say that their marriage and life at Riddle Key holds many unexpected and hilarious twists. Joan Porter Hollander, as the foul-mouthed and senile Lucy, provides a bit of heart in her somewhat convoluted, yet ultimately touching and funny story of infidelity at an advanced age. Finally, Sarah Rudinoff, playing Minka, a Riddle Key employee, tells the tale of her obsession with murder novels placed on Broadway (such as “Pippin Must Die!”) and how their influence results in some homicides of her own.Presented in the smaller venue at the Rep – the Leo K. Theatre – Murderers is expertly lit by Rick Paulson and includes excellent sound design by Eric Chappelle. Susan E. Mickey’s costumes are appropriately simple. The set, designed by Carey Wong, is fashioned to look like a golf course, with a few tables and chairs here and there and multiple palm trees. Though it helps to transport the audience, the set is excessive and draws attention away from the performances.Mark Anders was convincing as Gerald and clearly had an aptitude for the more “performed” and theatrical bits of his piece. Jeffrey Hatcher’s writing can be convoluted and this element is the most visible in this first monologue. As Lucy, Joan Porter Hollander was enjoyable, but parts of her monologue subjected her to playing the stereotype of a crude older woman rather than a completely original character. Her piece visibly dragged and the story – while funny – was far-fetched. Finally, Sarah Rudinoff, my personal favorite, was hilarious and created an ease and rhythm with the audience that is crucial to stand-up comedy. Steven Dietz’s direction was well done – monologues are completely reliant on the performer and can become boring, but Dietz’s staging kept things moving.Be warned, Murderers has moments of very crass humor. It also may be better suited for older audiences since most of its jokes and content resonate with their generation. On opening night, the older audience was enthusiastic and seemed to enjoy the show very much. Applause and long moments of laughter were frequent, after the especially good jokes.Murderers is not for those people who do not enjoy raunchy humor, but is a delicious treat for lovers of a good mystery.Emma K.October 10th, 2007Note: This production contains coarse language.MurderersSeattle Repertory TheatreThrough November 4thMore 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!

Review of Les Samedis de la Danse by Jennifer K., age 17Photo by Michael ThatcherMost of us will never perform in a ballet. The closest we come is attending one or two performances of The Nutcracker. Watching a ballet is a magical experience, but behind the glittering costumes and ethereal movement is the intense, exhausting, and often painful practice of dancing. Les Samedis de la Danse gives audiences a peek into that practice.Walking into the “theater” at Dance Fremont! feels like entering an ordinary dance studio. There is no stage. Curtains hang on the sides of a spacious room to form narrow wings for eager dancers to peek out from behind. Wooden barres are mounted on the wall, ready for class. Yet this unassuming space houses a unique demonstration of the more honest side of dance.Les Samedis de la Danse (or “Saturdays of Dance”) is a program put on by Next Stage Dance Theatre and Dance Fremont! on the first Saturday of each month. Next Stage Dance Theatre is a fairly new company devoted to giving mature dancers opportunities to express themselves through movement. It also had programs for the Seattle Public Schools and local senior centers. Dance Fremont! is an academy of ballet and modern for dancers of all ages.October’s Les Samedis de la Danse contained a wide variety of performers. Some of these were Next Stage Dance Theatre’s dancers. In the loud, swaying “Discourse/Aside,” Erin Mitchell examined human conversation by speaking random syllables in rhythm throughout the piece. Kazuko Yamazaki’s “Etude” contained traditional Japanese dancing, including a fan. All of NSDT’s pieces were very unique. They reminded me of modern art, combining stark simplicity with unusual props to create an original story or mood.Dance Fremont!’s level III ballet and modern classes also performed. They were about 12 years old and provided a lovely contrast to the somewhat intense NSDT dances. Some members of Dance Fremont!’s Danceworks Company also performed. Their number channeled Audrey Hepburn. These young girls showed the enthusiasm vital to a career in dance. Looking into their faces, one could tell they loved to dance.The show’s most memorable numbers were the excerpts from “The Exile Project,” a musical to be premiered in March, 2008. Holly Eckert is both directing and choreographing this tale of a man released from prison after 20 years. The excerpts were from a dream sequence and the choreography was superb. Vocals from Selena Whitaker-Paquiet stole the show, and the ballroom danse-esque “Tango Dreams” was my personal favorite number.These Les Samedis de la Danse performances display multiple genres of dance, from classical ballet to modern to traditional Japanese. Because audience members are only a few feet away from the dancers, they experience a behind-the-scenes aura. They can hear shoes squeak and see the dancers’ eyes. They can even ask questions at the end of the show. Anyone wishing to know more about the dance world should definitely attend at least one of these “Saturdays of Dance.”Jennifer K.October 6th, 2007Les Samedis de la DanseNext Stage Dance TheatreNext Performance: Saturday, November 3rd @ 7 p.m. @ Dance Fremont!Fall Repertoire Performances: November 16th & 17th @ Velocity Main SpacePhone: 206-633-0812 x 3Web: http://www.nextstagedance.org/Note: There are no over-the-phone sales for NSTD shows, but it is expected that there will be plenty of tickets available at the door, and Teen Tix members are strongly encouraged to attend!Dance Fremont! is located at 4015 Stone Way N. (Fremont/Wallingford). It is served by buses 16, 26, 31, 45, 46, 74 and 82. For bus times: tripplanner.metrokc.gov

Review of Bat Boy: The Musical by Elisabeth S.Troy Wageman is Bat BoyPhoto by Matthew DurhamI've been living in a cave - but obviously not the same one as Bat Boy.If I had been, I would have known about his theatre debut, the spawn of a tabloid phenomena that has graced the shelves of grocery stores for years. The theatre production in his honor, however, has grabbed more attention for Bat Boy than any cheap gossip column ever could.After premiering on October 13, 1997 in Los Angeles, Bat Boy has been produced Off-Broadway, in London's West End, and in the Edinburgh Festival to name a few of the famous places that have embraced Bat Boy's eccentricity and flare for the dramatic.Sharing cult classic characteristics similar to The Rocky Horror Picture Show, Bat Boy is the story of a strange bat child discovered in a cave and then introduced into a thoroughly religious society of people who have trouble accepting him into their lives, no matter how hard he tries to become a human."It's a show that needs the intensity and intimacy of a fringe theater combined with the budget-based flourishes possible at a larger theater," said director Christopher Zinovitch.Zinovitch couldn't be more right. The musical is filled with epic numbers that are reminiscent of a huge stage in a big city. The actors fulfill the wish of every director: they use their whole bodies to move and cover every inch of the stage. The music is equally sweeping. It’s bigger than the tiny theatre, but then again so are the voices and the choreography.The play is all together stylish, fun, and sexy, with actors like Krystle Armstrong as Shelley Parker and Jimmy Scheider as Rick highlighting the vocal and dance talent of the whole cast, as well as showcasing their own characters’ immaturity and bubbly innocence turned upside down with hilarity and grace.The real treat comes from Troy Wageman as Bat Boy. He transitions from bat to boy smoothly, but his time as each character is equally believable. He is playful and animalistic in mannerism and voice as the bat, displaying almost gymnast-like qualities while trapped inside his cage, then awkward and silly as the refined Edgar later in the play.But what really holds this play together is the ensemble. Complete with three dumb farmers, a mayor clad in rubber boots, and a ridiculously enthusiastic mother, the ensemble proves their versatility and their role as comic relief. They work incredibly well together, interacting easily and creatively to make the Bat Boy experience a more funny and exciting one.For such a funny play, the plot is dark and scary, with sexual undertones that, at one point, move past innuendo and right into a blatant showcase that seems to forget the meaning of subtlety. One scene simulates an act on stage in such a crass, rude, and hilarious manner that it borders on offensive, while another scene describing Bat Boy's horrific origins is so disturbing and explicit, I felt bad laughing. In fact, towards the end, the play becomes so strange it practically turns into a messy fiasco, but the cast holds it together and finishes cleanly. This musical is surely not for children or the faint of heart, and should only be seen be the adventurous and open-minded.Bat Boy, complete with a thrilling plot twist, a dynamic cast, and a sensibility that screams Broadway, is bound for success and controversy. Anyone up for true originality shouldn't miss this musical or its hilarious, talented cast. Bat Boy offers something more to a theater-going audience: honesty and real drama, never washed out or sugar coated. And no matter how ridiculous it gets, Bat Boy holds its audience at attention, even, if not especially, when they want to look away.Elisabeth S.October 6th, 2007Note: This show contains mature themes, including sexuality, and on stage violence and gore. ArtsWest recommends the play for people ages 15 and up. For more information on content, please contact ArtsWest directly.Bat Boy: The MusicalArtsWestThrough November 10ArtsWest’s Ticket Office: 206-938-0339More info and show times: www.artswest.orgArtsWest is located at 4711 California Ave SW in West Seattle. It's served by buses 22, 37, 51, 53, 54, 55, 57, 128, and 560. For bus times: tripplanner.metrokc.gov

Photo by Chris BennionHigh School Musical fever has swept the nation. Since its first appearance in January, 2006, the Disney Channel Original Movie has enjoyed outrageous amounts of success. Maybe you love the movie, maybe you hate it, or perhaps you’ve never watched it. Whatever your position, Seattle Children’s Theatre is bringing you a stage-adaptation of the movie that has everyone singing. It’s directed by Linda Hartzell, choreographed by Kathryn Van Meter, and musically directed by Mark Rabe. It features about 30 talented actors, the largest cast Seattle Children’s Theater has ever used.The stage play has the same plot as the movie. Troy and Gabriella are from opposite ends of the high school spectrum. He’s the star of the basketball team; she’s the A+ student. A love of singing brings them together unexpectedly, and soon they find themselves auditioning for the school musical, much to the displeasure of the “popular” Sharpay Evans and her brother Ryan. These two do everything they can to stop Troy and Gabriella from breaking the status quo. In the end, however, the whole school learns the importance of doing what they love and breaking out of their stereotypes.For those who love the movie, this stage production has the catchy music, fun choreography, colorful set, and energetic cast. The song “Get’cha Head in the Game” has the basketball dance break, and the finale is just as exhilarating as the one on film. All the main characters are there with similar costumes and lines. This production includes favorite scenes from the movie like Troy and Gabriella’s cute karaoke meeting and Sharpay and Ryan’s hilariously over-the-top audition.What if you thought the movie was cheesy? Well, this show definitely tones that down. All the singing is real, with no computer tweaking or lip-syncing. Writers of the stage version transformed Gabriella’s music-video-esque “When There Was Me and You” into a subtle, sweet duet with Troy. A new character named Jack Scott gives humorous comments on characters’ actions throughout the show. Effective lighting and sets create a more whimsical, “this is theater, not a movie” environment.Jason Kappus’ performance as Troy and Khanh Doan’s portrayal of Sharpay were quite different from the movie. Kappus looked a bit old and Doan’s voice was lower than what I was expecting. They both lacked some of the energy displayed by the rest of the cast. Kasey Nusbickel gave a lovely performance as Gabriella. Don Darryl Rivera played Ryan Evans and was by far my favorite character. He stole the show with his hilarity and panache. Timothy Wilson also gave a standout performance as Zeke Baylor, the jock who confesses a love for baking. Though the leads are strong, make an effort to glance past them and you’ll see an incredible ensemble. This group of talented actors even includes some highschoolers. Throughout the show they hit every note and nail every dance step, all with huge, genuine smiles on their faces.Overall, the show was quite entertaining. Troy and Gabriella’s voices blended beautifully during their duets, and the ensemble songs were fun and energetic. As an audience member, prepare to encounter lots of small children, complete with high pitched “When’s it gonna start?” comments. Once the curtain opens, though, they make for an enthusiastic crowd. Also, the detention and audition scenes in Act I are a bit confusing. Other than those two moments, the show is a complete success. From the opening “Wildcat Cheer” to the finale “We’re All in This Together,” High School Musical will have your undivided attention. It will wake you up, cheer you up, and just might make you leave the theater dancing.Jennifer K., age 17September 28th, 2007Disney's High School MusicalSeattle Children's TheatreThrough November 24thMore info and show times: www.sct.orgSCT’s Ticket Office: 206-441-3322Ticket Office Hours: Friday 9 a.m. – show time, Saturday 10 a.m. – show time, Sunday noon – show timeNote: This extremely popular production is expected to sell out many performances. You are strongly encouraged to call the box office before going to theatre to ask whether or not they expect to have Teen Tix tickets available for the show that you wish to attend.Seattle 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.gov

Charity Parenzini as Gwendolen, Kevin Brady as John Worthing and Pam Nolte as Lady Bracknell in The Importance of Being Earnest. Photo by Matthew Lawrence.What do you get when you combine a beautifully detailed set, phenomenal actors, an evening full of laughs, and an over-all dazzling show? Say hello to Taproot Theatre Company’s newest production, The Importance of Being Earnest, directed by Karen Lund. Earnest was originally subtitled “a trivial comedy for serious people”, and that is exactly what TTC’s cast and crew’s combined efforts achieve. The Importance of Being Earnest, written by Oscar Wilde around 1895, is about two fashionable young gentlemen and their eventually successful courtship. The young ladies who have captured the gentlemen’s affections adore the name Earnest, and both are under the impression that their lover is named Earnest – which they are not! The story is full of mix-ups, absurd imaginations, and is, as TTC dubs it, “a delightful comic romp.”As soon as the house lights dimmed, and the applause died away, the audience was ushered into a beautiful 1900 London townhouse. It was interesting to watch the exquisite scene changes being made during both intermissions; it was obvious that the scenic designer, Mark Lund, put a lot of thought, time, and energy into the details of the set. Sarah Burch Gordon’s beautiful costume designs were befitting of both the time period and the characters – even Lady Bracknell’s hat in the first act enhanced her character!The cast was in no way a let-down either. Since Aaron Lamb (portraying Algernon) and Kevin Brady (portraying Jack) did speak somewhat fast at times to where it was a bit hard to catch everything, it was helpful being already familiar with the story. Charity Perenzini and Bethany Hudson absolutely sparkled in their roles of Gwendolyn and Cecily, and Bill Johns, a.k.a. Rev. Canon Chasuble, was a delight whenever he set foot on stage. Each of the actors has had loads of experience, and it was very apparent throughout the show. (At one point, part of the set unexpectedly fell, and the performers presently onstage were able to just go with it and play it for the biggest laugh of the show!)I’ve attended numerous Taproot productions in the past, and I haven’t ever been let down with what I’ve seen; Earnest was in no way an exception. The theatre was clean, the staff was helpful, and the audience was kept engaged and excited throughout the show. After the show, the audience was treated to era-appropriate lemonade, finger sandwiches, and cakes, which added a nice touch. Pre-teens and younger children probably wouldn’t get the adult humor, but it was delightful for a slightly older crowd. Each act built in excitement and entertainment, and the actors left the stage at the end of the show to thunderous, enthusiastic applause from the audience. When the house lights went up, there were smiles on every face, including mine. The Importance of Being Earnest was a very pleasant experience and a very charming show, and I’m excited to see what other masterpieces Taproot will dish up for Seattle in the future.Rachel N., age 15September 28th, 2007The Importance of Being EarnestTaproot Theatre CompanyThrough October 27thMore 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 us what you thought!

Since this is a popular show that might sell out, Intiman Theater is also selling reserved seat tickets for $10 to anyone under 25 years old. You can get them at the box office (in advance) or purchase at their website with a credit card.

Hi. Thanks for commenting (and actually reading the reviews!)I just wanted to say that the reviews are positive this week because the reviewers happened to like the shows that they saw. I'm sure that that won't always be the case, but I don't think it's accurate to say that there is no critique. Each of these reviewers give specific examples of what they liked, and they comment on how those elements fit into the overall vision behind the show (as they understood it). If they were just lavishing praise without providing examples, I would agree with you that that's not a very useful critique, but criticism can be serious without being negative. We asked the reviewers to give their honest opinion - good or bad - and they did. You're more than welcome, by the way, to use the comments to add your own thoughts about a show if you've seen it.- Holly (Teen Tix Program Manager)

Well, nevermind for this one anyway. I reread it and I must of skipped over the puking part.

This is just a general comment because I couldn't find another place to put it. Why are all these reviews so positive? Where's the balanced reporting in that? It doesn't help give you an idea of whether you'd want to see these shows if they're just overflowing and oozing with compliments and no critique.

Photo by Chris BennionAfter five years of not performing Shakespeare at the Seattle Repertory Theatre this performance of Twelfe Night leaves the audience wondering “Why not?” The combination of the set, scene changes, and a modern twist gave the appearance of modern day while still capturing Shakespeare’s language. “If music be the food of love play on.” This is one of Shakespeare’s most famous quotes from the Twelfe Night. This play at the Seattle Rep shows that there can be no excess of love - though there are other things that you can have excess of, including merriment at others expense, drink, and food.The title refers to the Feast of the Epiphany, which occurs on the twelfth night after Christmas. On this holiday, which is associated with the Roman festival of Saturnalia, you could do or be whatever you wanted, which normally led to excess. Twelfe Night is one of Shakespeare’s truest accounts of the persistence of love and how fate draws people together. These lovers will do anything to find each other’s arms. What do you expect when a woman dresses as a man and then falls in love with her master? It only gets worse when the person that she is courting for her master falls in love with her. Then on top of that her twin brother appears to return from the depths of the ocean. With all this comedic confusion who wouldn’t be laughing?Most of the performance was placed outside. This is a traditional element that complements Shakespeare’s work. The hill between upstage and downstage allowed for perfect transitions between scenes. Though I’m sure it must have presented a problem in rehearsals, it showed a lot about each character. How they approached this obstacle - either climbing and balancing on it, or clawing their way up - showed what kind of person they were. This treacherous walkway was accented in the middle by a door through which messages or people of importance presented themselves. It was astonishing how, although the set was filled with bright colors, they only caught the audience’s attention at the perfect moment each time. The lights seemed never to change and yet always be striking in the way they reflected the actors’ emotions. The use of a backdrop of sky with such vivid colors made it feel like you were watching this performance outside the way that Shakespeare was traditionally played, and yet it gave it its own flare.You could hear the slight intake of breath when Cheyenne Casebier, who plays Olivia, came flowing through the door with the masterpiece of a dress she wore. It seemed to flow around her like a liquid of exquisite color, almost taking up the entire stage, and yet she could move effortlessly. This was a stark contrast to the ridiculously bright yellow stockings with cross-gartering worn by Malvolio, played by Frank X, which didn’t leave a soul in the audience without laughter. The mixture of up-to-date clothing with classical style accented the character’s choices. The wardrobe for the incarnation of Marilyn Manson made his music come to life as if it were a character itself.Though the transitions follow Shakespeare classic format of having one scene smoothly transition to the next without a break, some other elements stuck out. In the beginning there were characters that had no purpose on stage that just seemed to distract from the people speaking on stage. Also certain events overlapped, including the time that Fabian, played by Nick Garrison, was puking off the side of the stage, where important dialogue was lost. These overlaps made the audience pay more attention to the comedic elements instead of the serious ones that were supposed to be the main focus.There was no doubt that most of the actors were professionally trained Shakespearians. David Pichette’s performance as Feste the clown bridged the modern elements with the old English to the point that Shakespeare poetry seemed to be the speech of everyday life. Though a couple of intentions were lost in the beginning, the audience was won by the end. It was uncanny the way that the actors could convey Shakespeare’s meaning to even the people least familiar with old English.Overall this was a wonderful performance of Twelfe Night. It stayed true to Shakespeare’s meaning while combining modern elements. Each piece of the production was put together amazingly to form a complete picture of the director’s vision. I would recommend this show to anyone that wants to laugh heartily and still go away with a deep message.Jenny B., age 189/25/2007Twelfe Night*, Or What You WillSeattle Repertory TheatreSeptember 13 – October 20More info and show times: www.seattlerep.orgSeattle Rep’s Ticket Office: 206-443-2222Ticket Office Hours: Daily, noon – performance timeNote: This production contains sexual undertones and brief nudity. For more information on content, please contact Seattle Rep directly.Seattle 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.gov*In case you wondered if we've lost our ability to spell, The Rep has decided to use Shakespeare's first folio spelling of Twelfe Night. Thanks for noticing!Did you see this show? Leave a comment and tell us what you thought!

Prodigal SonPhoto by Angela SterlingThe opening night of PNB’s All Balanchine Ballet, which is currently playing at McCaw Hall, consisted of three pieces of the famous choreographer George Balanchine’s work: Square Dance, Prodigal Son, and Ballet Imperial. Square Dance is a contemporary ballet with influences from 17th century court dance, American country dance, and classical ballet. Square Dance was staged by Peter Boal, and the two principal dancers were Jonathan Porretta and Noelani Pantastico. Prodigal Son tells the story of a young man lured away from his family by the promise of riches and a beautiful woman, only to find they were not what he had expected. Prodigal Son was staged by Richard Tanner and the son is performed by soloist Lucien Postlewaite, the siren is performed by principal dancer Ariana Lallone, and the father is performed by guest artist Otto Neubert. The last piece, Ballet Imperial is a stunning classical ballet with definite Russian Ballet influence. Ballet Imperial was staged by Francia Russel and the lead couple was performed by principal dancers Kaori Nakamura and Batkhurel Bold, with the second ballerina being performed by principal dancer Mara Vinson.The first piece of the night was Square Dance which was set to music by Antonia Vivaldi and Arcangelo Corelli. The piece was very light and fun, while stilling having lots of technical work that the dancers performed flawlessly. Noelani Pantastico seemed to effortlessly float across the stage, livening up the whole performance. While Jonathan Poretta had flawless technical work with powerful lifts and smooth jumps. The corps de ballets timing was impeccable and every single dancer knew all the right steps. All together it was a fresh ballet with very modern choreography, yet it somehow seemed to be reminiscent of classical ballet. The scenery and costumes were very simple but they seemed to add a certain air to the performance that could almost make you believe that the dancers just created the ballet while they were practicing.After a brief intermission, Prodigal Son began. Prodigal Son tells a story about a man who leaves his father and his family after being lured away by false friends. The friends lead him to a tent where a siren is waiting; she and her helpers strip the son of all of his belongings and leave him to find his own way back to his family. Prodigal Son provides and interesting mix of sultry duets, grotesque foot stomping performances, and angry solos. Ariana Lallone performed beautifully as the beautiful yet wicked siren, while Lucien Postlewaite performed flawless jump after flawless jump, never missing a single step. The scenery was beautifully painted and gave the audience the feeling of being right there in the same place as the dancers.The last piece of the night, Ballet Imperial was the most stunning of the three. The scenery transported you to the palaces and royal court of Europe centuries ago, and the costumes were magnificent, with sparkling tiaras and beautiful tutus. The corps de ballet performed the timing and choreography perfectly. While the lead couple seemed to be made for each other, they performed stunning duets, as well as dancing beautifully with the rest of the ensemble. The part of the second ballerina performed by Mara Vinson had very difficult technical work which Mara performed gracefully with seemingly no effort at all. Overall the Ballet Imperial is a gorgeous ballet that is sure to delight all audience members.From the moment the audience arrived in McCaw Hall the staff were always right there to help with whatever anyone needed, they were all very knowledgeable and helpful. McCaw Hall its self is a wonderful site to see, from the sparkling light curtains hanging outside, to the subtle water fountain that flows over the tiles, to the intricate sculpture hanging down over the staircase. The audience varied from young teenagers to middle-aged people. The attire of everyone attending varied from a simple jeans and a t-shirt, to the graceful floor length gowns of some of the patrons. The atmosphere was very relaxed and cheerful. The audience clapped for long periods of time as frequently as possible and the dancers appeared glow after their performances. Overall, The Pacific Northwest Ballet’s All Balanchine is a wonderful show and a must see for everyone, no matter how experienced you are with the arts.Delaney M., age 159/25/2007Rep I: All BalanchinePacific Northwest BalletSeptember 20 – 29More info and show times: www.pnb.orgPNB’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 us what you thought!

Photo by Chris BennionLast Wednesday I had the privilege of seeing To Kill a Mockingbird at the charming Intiman Theater. The play, adapted by Christopher Sergel, was based on the famous book by Harper Lee. This eye opening play was directed by Fracaswell Hyman and incorporates a set (designed by Alec Hammond) that helps send your mind into the sleepy southern town where the story takes place. The basic theme of “don’t judge a person till you’ve walked a mile in their shoes” is universal helping to bring in a diverse audience.To Kill a Mockingbird is set in a small, Southern town called Maycomb. The drowsy town at times doesn’t seem big enough for the narrator Scout Finch (played by Keaton Whittaker) and her brother Jem’s (Nick Robinson) constant antics. Their father Atticus (David Bishins) is a prominent lawyer who is suddenly facing consternation from the town when he agrees to defend Tom Robinson (Sean Phillips), a black man, in court. Tom has been wrongly convicted of raping a white woman and his odds of gaining a “not guilty” from the jury are slim.Technically speaking this play was very well done, especially in the area of sound. The play starts off with a slow, simple harmonica song that was the perfect touch to help ease my mind into the era and mindset of the time. Not long after the show began Calpurnia (Josephine Howell), the Finches’ black cook, breaks out into a beautiful gospel song (19th century hymn “Blessed Assurance") which only improves as she is joined by Reverend Sykes and Miss Maudie Atkinson. All three actors had beautiful voices and my only complaint is that there wasn’t more singing done by the trio! As in the opening of the show, harmonica music was used as the transition between scenes and I felt it was the perfect accompaniment. The other area that truly stood out to me was the set. I don’t know how Alec Hammond managed to fit three houses and a large tree onto one stage! There seemed to be several symbols included in the set, which I enjoyed attempting to decipher, such as chairs painted red hanging over the audience and the tree which was partially a deep crimson. As I found out later (mentioned in the program), the hanging chairs represented “the unseen citizens of the town.” I felt it was fabulous that the set evoked so many thoughts and questions in my mind, even before the show had begun!It has been a while since I have seen such a perfectly cast show. From the leads to the smallest part each actor had their character down to pat. One person who I feel did especially well was Liz Morton (Mayella Ewell) who played her part of an abused, lonely girl so convincingly, I was torn between feeling sorry for her and hating her for falsely accusing Tom of raping her. Russel Hodgkinson who played Bob Ewell performed his character so well that I was gripping the chair sending beams of hate towards him. It also appears that we are nurturing some considerably talented children here in Seattle. Keaton Whittaker (Scout), Nick Robinson (Jem), and my personal favorite Lino Marioni (Dill) all gave great performances in as the three child leads in the show. Not to be left out was is the actor who pulled the whole show together, David Bishins, who in the role of Atticus blew my mind away. Watching Bishins (as Atticus) attempt to fight segregation and the closed minds’ of the people in the town was, to say in the least, inspirational. I just want to acknowledge the entire cast of To Kill a Mockingbird for their dynamic performance and the way that they all work so hard together to bring about the essence of a town. There was not a person in the show who should not have been there. Thank you for sharing your talent.As a whole I enjoyed my trip to Intiman rather a lot. The venue is beautiful and I love the atmosphere they have created in the lobby. Five stars to anyone who helped with the lobby display! It was lovely and there was so much fun and useful information that I loved reading. Additionally, thank you to the staff at Intiman, as I felt very welcomed. Now down to the nitty gritty, would I recommend this play? Well the answer is YES! This show definitely has the “it” factor and the beautiful themes it leaves in your mind are irreplaceable. So go see To Kill a Mockingbird at Intiman theater, and soon!Renee A., 169/25/2007To Kill a MockingbirdINTIMAN TheatreSeptember 19 – November 3More info and show times: http://www.intiman.org/INTIMAN’s Ticket Office: 206-269-1900Ticket Office Hours: Tuesday – Sunday Noon – show timeNote: This extremely popular production is expected to sell out many performances. You are strongly encouraged to call the box office before going to theatre to ask whether or not they expect to have Teen Tix tickets available for the show that you wish to attend.INTIMAN 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.govCorrections: In the original version of this review, Walayn Sharples was mistakenly credited as playing the role of Tom Robinson. This role is actually played by Sean Phillips. Walayn Sharples plays the role of Mrs. Dubose. Also, in the original version of this review, Russell Hodgkinson's name was misspelled. Teen Tix regrets these errors. Did you see this show? Leave a comment and tell us what you thought!

Differences can bring problems, but can also bring love. Snow Falling on Cedars tells such a tale, filled with intrigue, romance, and history. The story of the Japanese Internment is told as a flashback during a trial, while a romance weaves its way through the years. The story takes place mainly in Washington State, helping the audience realize that the Internment was not actually so far from home as they might imagine. This play is the best rendition of the Japanese internment I have seen yet, and I recommend it to any high-school age student, or young adult in the city. Most everyone has learned of the plight of the Japanese Americans during World War II, but this play hits it home like no other. Touching on issues of prejudice, young love, and even murder, this play is a must-see for any Seattleite!The actors in this play were phenomenal. Jonah von Spreecken plays a young white boy who falls in love with a Japanese girl played by Mona Leach. Both actors must play two roles apiece (Child and adult), and they make the transition both instantly, and convincingly. My personal favorite actor was Eddie Levi Lee, who played the attorney of the accused. Overall, the play was fantastic, the acting was strong, and the message was close to home. I highly recommend this play, and I hope that you will see it at the Book-It Rep this month!Ori R., age 17Snow Falling on CedarsBook-It Repertory TheatreSeptember 18 – October 14More info and show times: www.book-it.orgBook-It’s Ticket Office: 206-216-0833Ticket Office Hours: Tuesday – Saturday 1 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: triplanner.metrokc.govDid you see this show? Leave a comment and tell us what you thought!

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