Seattle Blog

In 1912, Rutherford and Son, written by anonymous playwright K.G. Sowerby, was heralded as a masterpiece and placed on a list of the top 100 plays of the 20th century. When it was later revealed that the author was, in fact, the female writer Githa Sowerby, critics were shocked—yet the meaning of the piece became all the more profound.

Performed for the third time in the United States, the play is the thesis production of third year MFA (Masters of Fine Arts) directing student, Cody Holliday Haefner, and examines the life of a family overcoming obstacles in a sexist, classist, and racist society. John Rutherford (guest actor Brace Evans) is the patriarch of an upper class family on the brink of coming undone. As he desperately tries to save the family glassmaking business, he fails to recognize that his family has been torn apart by his actions and expectations.

“i hope the honesty of my searching and unknowing feels like a palpable thing a viewer could hold. because my experience, this sensation, is not unique. it is, sadly, so many of ours to share. and i hope we can sit here with it, here, in the quiet of this room, with this work’s embrace of its precarity and incompleteness—its recognition of its own insufficiency as an archival object—and know that maybe we, in our flawed unbelonging and unknowing diasporic selves, are also enough.” -Satpreet Kahlon

Over the last 15 years, TeenTix has devoted itself to radically empowering youth to take charge of their arts experiences, and every year we've grown our capacity to serve our constituents. There are big changes on the horizon for this lil' nonprofit, and YOU can be a part of our expansion!

TeenTix is now accepting applications for two paid internships. Read more below to see if one of them is a good fit for you!

Pretty much everything is best in moderation. Yet, from phones, to Starbucks, to binge watching a dozen Lifetime original movies at 2 AM , it seems you can’t go far without getting hooked on something. However, we here at TeenTix believe you can never have too much art! Being the professional art addicts we on the Teen Editorial Staff are, we’ve come up with some recommendations to satisfy your art cravings this February. For improv enthusiasts there’s Everybody, where all members of the cast are assigned a random role at the beginning of the show, and Boom Bap, which joins the worlds of improv and freestyle rap. For theater fiends there’s Fire Season, which takes a more literal and sobering look at addiction (it centers on a 12-year old’s overdose on Oxycontin) and M. Butterfly, which uses the context of a French diplomat falling for a Chinese opera star to explore themes of how cultures perceive each other. Finally, for dance devotees there’s CHOP SHOP: Bodies of Work, a contemporary dance festival, and for classical music maniacs there's Pergolesi's Stabat Mater, one of Pergolesi’s most well known works. With so many unique experiences this month, it’d be a crime to stick to the monotonous patterns of our shared societal smartphone sickness. So break out of your seasonal Netflix addiction and go see some art!

The Teen Editorial Staff is made up of 5 teens who curate the review portion of the TeenTix blog and manage the TeenTix Newsroom. More information about the Teen Editorial Staff can be found HERE.

The TeenTix Press Corps promotes critical thinking, communication, and information literacy through criticism and journalism practice for teens. For more information about the Press Corps program see HERE.

Wes Anderson, the filmmaker of notable movies like The Royal Tenenbaums and Moonrise Kingdom, inspired the team at Jet City Improv to design the show Yes Anderson—based off of a social media following of Anderson’s called “Accidentally Wes Anderson.” After hearing about the basis of this show, the questions that arose weren’t “How would Jet City Improv accomplish this?” or “What led them to attempt this challenge?” Rather, my initial thought was, “What is ‘Accidentally Wes Anderson’?” More commonly referred to as Accidental Anderson, as was revealed after a quick Google search, it’s a website where people post pictures of places that look like they could have been ripped straight out of an Anderson film.

Because I haven’t seen many of Wes Anderson’s works, I wondered if this show would prove applicable to an audience unfamiliar with the context, like myself. As the show began, I quickly realized it’s broadly relatable. From the beginning, the Anderson style wasn’t forced into the show and flowed well with the sudden, random changes in plot that improv provides.

Each year, The New Guard: Teen Arts Leadership Society invites representatives from our Arts Partners to come scope out what its constituents are most interested in, what makes them attend events, and how to get more teens through their doors. This year's meeting took place on January 23, 2019.

In a large, round-table discussion that started off the meeting, we discussed topics like social media use, trigger warnings, promotional ideas, and more - and everyone came away knowing more about our arts community! Then, we broke off into small groups so each Arts Partner could get a more personal look into the minds of youth in the Pacific Northwest. Lots of our Partners took this time to ask about specific programming they have coming up to get a better idea of how to invite teens into their space and create art that young people want to see.

We are excited to launch applications for the very first "Beyond the Review" Press Corps Intensive. The Beyond the Review Intensive is a deep-dive workshop into the craft of arts journalism. In this week-long immersive course, ten teens will work with professional arts journalists to learn how to interview artists, and write previews and features of art events. Teens will receive one-on-one mentorship on their writing, and, at the end of the program, their work will be published on the TeenTix blog!

The best part of it all? This program is FREE!

Sitting in an empty corner of The Henry Art Gallery is a small shack made from wooden slats no more than an inch thick. There are slivers of space between each board, and, despite the gallery's tall ceilings, the shack is hardly more than six feet tall. It seems almost like a relic of history, maybe the crowded house of a family on the frontier, or a shed containing hidden fugitives, but certainly not the exterior of "Library of Black Lies," one of the most thought provoking and unique pieces of modern art created by artist Edgar Arceneaux.

As you step inside the shack, you are greeted by a partially obscured mirror reflecting back an image of yourself. Shelves with books—some old, some wrapped in black tarps and tied together with string—create a labyrinth, one that is purposefully disorienting, but guides you to the center. As I walked through this labyrinth, the shack seemed to become larger, and my reflection peeked back at me, wondering where I would turn and where my path would lead. As I finally approached the center of the shack (shortcuts through the circuitous route are impossible), the books on display were no longer covered with drab tarps—instead, they sparkled, a warm yellow light glinting off the sugar crystals erupting from the pages.

Throughout the world, ancient languages are fading away at an alarming rate. Alonzo King’s Figures of Speech, performed by his LINES Ballet company, aimed to preserve these moribund dialects by conveying the struggle of maintaining each language’s culture. The ballet recently shared pieces of these dialects, which range from the provincial Hawai’ian language spoken by 27,200 people to the extinct Selk’nam language that has no known native speakers, with the Seattle community.

Bringing his San Francisco-based ballet ensemble to the UW’s Meany Hall, choreographer and artistic director Alonzo King collaborated with slam poet and linguistic advocate Bob Holman to present his latest pièce de résistance, Figures of Speech. The LINES Ballet explored the power behind lost languages, guiding the audience on a touching trek through the sound, movement, and shape of aboriginal languages.

Every year, MoPOP hosts Seattle's premier 21-and-under music showcase and competition called Sound Off! This local showcase supports the local music scene by giving artists of all backgrounds the opportunity to show off their original music on a large platform, connect with peers and industry professionals, and take the next step in their music careers.

This year, TeenTix Members can enter to win a pair of two tickets to one of the three semifinals! Just fill out this form to enter, and see the lineup here! We'll announce the winners of the raffle on February 1, 2019.

It's time for a fresh start, dontcha think? Try something new this year with these classes, workshops, and more from our partners. There are plenty of ways for teens to get involved in the arts this season!

DANCE

January. The first month of the new year and the perfect time for a new you. A clean slate. In other words: resolution time! If you want to read more or kick that procrastination habit, chances are you’re going to start this month. But here’s a secret: if your New Year’s resolution is to see more art—specifically art that celebrates new beginnings—the Teen Editorial Staff has got you covered. Interested in shows about youth? Check out the Children’s Film Festival at Northwest Film Forum. Want a show that was new over a hundred years ago? Go see UW Drama’s Rutherford and Son. And if you’re really craving shows that challenge societal stereotypes, we urge you to see Alonzo King LINES Ballet at Meany Center or Henry Art Gallery’s “Edgar Arceneaux: Library of Black Lies” exhibit. And if you’ve realized your resolution to run ten miles every day isn’t super realistic, you can always procrastinate by watching Yes Anderson at Jet City Improv or, to be honest, going to see any show in Seattle. Don’t worry, we won’t judge. We’ll probably be doing the same thing.

The Teen Editorial Staff is made up of 5 teens who curate the review portion of the TeenTix blog and manage the TeenTix Newsroom. More information about the Teen Editorial Staff can be found HERE.

The TeenTix Press Corps promotes critical thinking, communication, and information literacy through criticism and journalism practice for teens. For more information about the Press Corps program see HERE.

A Christmas Carol, written by Charles Dickens, is an already well known holiday story that makes its way around as a Christmas classic. Many are familiar with the ghosts of Christmas past, present, and future, teaching viewers about the values of being a good person through some funny characters, and of course, holiday cheer. Yet when A Christmas Carol turns into improv and Scrooge is the head of a meditation school, the story we know so well becomes much funnier, and maybe even better than before. The special thing about A(n improvised) Christmas Carol is that the audience are the ones who create the story. A half hour before the show, one of the actors came out to ask a series of questions that would impact how the rest of the night went. The audience got to choose things like the quirks of each character, such as playing with other people’s hair when stressed. He asked who was returning to see the show again. I watched from my seat as loud cheers and applause erupted from the crowd. More than half of the room, which was full, raised their hands with excitement and chatter. There was also us newcomers, silent at first, who also raised our hands, still excited for what was next. I loved that the audience had people of all ages. This made it a friendlier experience, which I appreciated since this was my first improv show. A favorite suggestion of mine from the audience was making Tiny Tim sick from laser eye disease. Later on this was incorporated into the show when we saw Tiny Tim walk out with huge goggles on his face to protect his eyes from lasering others. Some other suggestions that made it into the show that night included Scrooge living under the stairs, the Ghost of Christmas Past being a teletubbie, Scrooge having a stash of hidden gold bars, and Scrooge licking Cratchit’s toes. The ability each actor has to add their own special touch to a character is remarkable, incorporating the tiny quirks mentioned by the audience and adding their own ideas as well, such as how Scrooge liked to slam doors or the Ghost of Christmas Past liked to repeat “Your mom is dead!” and “Scrooge is sad!” over and over again. Even my own suggestion, taping pictures of people’s faces to a door to evoke joy, was incorporated multiple times into the show. I loved that feeling of accomplishment when your suggestion made people laugh.

Many families have a multitude of traditions during the holiday season: some bake cookies, go caroling, volunteer at charity, or go to church. But one tradition for many families is attending A Festival of Lessons & Carols, a concert performed by the Northwest Boychoir and Vocalpoint! Seattle. As divisions of Northwest Choirs, both groups aim to instill a passion for music and the arts in children and teens from the Pacific Northwest. These talented young men and women, between the ages of six and eighteen, perform alongside the Seattle Symphony in a classic Christmas service every year. This show is based on traditional Anglican worship services often held on Christmas Eve, and is a tradition that, this year, I participated in. The 90 minutes of readings, performances of traditional and modern Christmas carols, and heartwarming sing-alongs of classic Christmas favorites proved to be a jolly experience that exemplified the Christmas spirit.

The concert started with a luminous performance of “I Saw Three Ships,” which was followed by nine Bible readings, the titular lessons, and a varied and unique selection of carols. The ethereal voices of the Boychoir mixed well with the lower sounds of both male and female sections of Vocalpoint! Seattle, with an evident effort to enliven classic Christmas songs like “Silent Night” and “Hark The Herald.” Through new rhythms and consonant harmonies, these songs illustrated the diverse talents of the choir. Although some song choices were much more obscure than others, the songs included more modern arrangements and compositions, which helped to avoid the dreaded glaze of apathy which often covers an audience's eyes when faced with unfamiliar tunes. One particularly amusing performance was that of “Sweet Little Jesus Boy,” a Gospel song first written in the 1930s and arranged by the choir’s director Joseph Crnko; this song juxtaposed soaring, nearly incandescent melodies with upbeat, contemporary sounds. The female driven sing-alongs were less varied, more traditional carols, but had the same blend of expression, excellent sense of pitch, warm tonal quality, and crisp pronunciation.

Spotify Wrapped screenshots plaster social media as the year comes to end, users’ music tastes consolidated into neat consumable packages. It’s possible I’m just salty that they called me out for listening to 50+ hours of the same artist (love you Y La Bamba), but Spotify, Apple Music, and similar streaming services are changing the way we engage with music—digitizing, isolating, and directing our listening via depersonalized algorithms. Jack Straw Cultural Center’s collaboration with the Bushwick Book Club offers a different way to engage with art: genre-blending musical collaboration, in real time.

The 12 Jack Straw writers for 2018 have been producing and sharing work all year through the Jack Straw Cultural Center in the University District, an organization dedicated to providing writers and musicians with recording experience. For their annual end-of-the-year event, Jack Straw partners with Bushwick Book Club, a collective of musicians that draw their inspiration from literary works, and pairs each writer with a musician whose job it is to create a song inspired by their writer’s work. These 12 songs span a vast range of musical styles and themes, showing the meandering transformation of an idea filtered through a different consciousness and medium.

Human beings are constantly categorizing. “Polaroids: Personal, Private, Painterly" Photographs from the Collection of Robert E. Jackson, showcases a variety of Polaroids separated into the aforementioned categories. Out of the 13,000 photos in his collection, about 300 are Polaroids, 150 of which were selected and curated by Jackson in conjunction with Ben Heywood, chief curator at the Bellevue Arts Museum.

“Personal” refers to portraits. These images capture individuals, and the essence of who they are—the focus is on the photo’s subject rather than their actions or environment. There are certain parallels to be drawn between these portraits and selfies in our age of instant, digital cameras—they serve the same purpose. The importance doesn’t rest in what’s happening in the photo, but in the subject. However, when one thinks about photos as documents of history, even if they’re not depicting a well-known historical event, one can think about not just what’s going on inside the photo, but what’s going on in the world around that photo. Compiling photos from similar time periods can help you piece together foreign places. Social and political movements can cause people to make similar art and take similar photographs—the shared experiences of a group can influence a whole generation and their ways of thinking. Textbooks can easily miss out on depicting the way history has impacted individuals, but experiencing history through a lens makes the intangible, tangible, and the inaccessible, accessible. Conversely, capturing individuals in the context of different societies shows the universally human responses to situations, despite the circumstances. Two pieces framed together in this section portray two couples: one from the early 2000’s of a young pair posing by a fountain with flowers, and the other of a middle-aged couple posing on the beach, superimposed above the ocean. Although the individuals are from different worlds with different historical settings, they both display the same human response to being in love: a desire to capture their bond as couples.

And the show had begun. Four women on a stage. Crawling on the floor under a blanket. Furniture suspended from the ceiling. A layer of something called scrim. A topless woman. They are dancing. No, they are singing. No, they are talking. Are they sisters? Strangers? A mother and daughter? Wait, now it’s a show about Oprah. There is a pulsing noise in the background. Two scenes are happening at the same time. They are repeating an entire segment. From above, the furniture looks like a normal room. Some of the stage is flipped, so when actors are lying down and they are shown in a camera from above they look like they are sitting. They ripped the scrim. One of the women is wearing a glittery suit. They are playing with a light. The lights turn off and the show is over.

To say that Okwui Okpokwasili’s Poor People’s TV Room at On the Boards’ contemporary performance center was abstract may be an understatement; the show itself was a hypnotic, metaphoric emulsion of dance, song, monologue, and conversation. Describing the show is quite a burdensome task, as it was such a unique and shocking performance. The four women in the performance were made up of a multigenerational team of African and African American women. However, each performer was not a distinct character. Instead, the character each woman played fluctuated and changed until each woman was the other three women. Not only was the lack of distinct character a unique choice for the production, but the dancing was as well. The dancing was high energy and abstract, as some women danced alone and some danced with each other—though these partner and solo dances often happened at the same time of course.

People have a hard time forgetting firsts. You’re going to remember events like your first concert for many years after the fact. If you or a loved one are looking to experience a musical for the first time, there isn’t a better choice than the 5th Avenue Theatre’s production of Annie.

Annie was actually the first musical I ever saw—my sister loved the 1982 version and we’d seen it performed everywhere from Youth Theater Northwest to the Paramount. As a result, I went into this production with a more critical eye than usual. I wasn’t expecting anything awful, but I expected to walk away confident that my previous experiences would reign superior.

The Press Corps Intensive is a deep-dive workshop into arts writing and arts criticism. In this multi-week course, ten teens will get to work with professional critics and arts journalists to receive mentorship on their writing. And the best part, this program is FREE!

Applications for the Theater & Dance Press Corps Intensive are now open! This Intensive runs March 10 - April 14, 2019. This FREE four-week program focuses specifically on dance and theater criticism. In this program, 10 participants will attend two dance productions and two theater productions at TeenTix Arts Partners. Teens will be mentored by professional theater and dance critics who will help each participant hone their arts criticism and arts interpretation skills. APPLY NOW! HOW IT WORKS

Jimi Hendrix is a Seattle icon. Or so I'm told. Before going to see Bold as Love: Jimi Hendrix at Home at the Northwest African American Museum, I had never really gotten around to listening to his music. I'm also terrible at museums; I expect them to be stagnant and awkwardly informational. So the combination of a museum with a Seattle superstar I knew next to nothing about was mildly terrifying. I slunk into the exhibit with my head down, afraid all the fans would see the Hendrix-ignorance in my eyes, and prepared to be bombarded with trying-too-hard inspirational quotes.

The exhibit, guest curated by Jackie Peterson, is set up like a timeline, snaking chronologically around the edges of the room. Photographs and glass-encased objects—postcards, the sofa Hendrix slept on while home from tour, his grandmother's hats—drew me in with their quiet connection to this icon. I ended up learning about Hendrix's history almost accidentally: from Seattle, where he was born and spent his childhood, drawing comics and pretending to play guitar on a broom, to mid-60s London, where he almost immediately became a guitar star.