Seattle Blog

Review of Gogol Bordello: Non-Stop at Northwest Film Forum by Fanny L.Having recently discovered the music of Gogol Bordello, I jumped at the chance to screen Gogol Bordello: Non-Stop, a documentary chronicling the lives and times of the New York based gypsy punk band. With a label like that, it’s hard to remain indifferent and not become the slightest bit interested in what this group is all about.

Just by listening to their music, you know there is something special about the ensemble – the part musician, actor, dancer conglomeration that is Gogol Bordello stands out among the horde of often generic and uninspired musical groups today, which is perhaps exactly what they intended. While the film does not explicitly delve into the grand picture of Bordello’s purpose, you can get a glimpse of these underlying intentions through front man, group founder and “immigrant punk” Eugene Hütz.If there was a star in this show, Hütz would have to be it. The 37-year-old left Ukraine for the United States when he was just 17, arriving just after the U.S.S.R. had splintered apart. He brought with him his Roma heritage, musical talent and some trinkets to sell to American tourists; this he recalls somewhat fondly and bitterly, for Hütz does not seem to be one to dwell on the past. In fact, little is revealed of his youth, and what is shown is not meant to be sentimental or extract emotion from the audience. The purpose is to show the audience how Eugene Hütz, and consequently Gogol Bordello, came to be.The film is rather straightforward in its portrayal of Gogol Bordello, and this is what I feel makes Non-stop as a documentary so strong. Audience members are shown concert scenes, backstage footage, interviews with the members and fans; any emotion or sentiment invoked comes from the individuals themselves. The subject needs little dressing up or staging to captivate the audience. You cannot help but watch in amazement as the camera follows Bordello’s ascension to fame, beginning in a crowded, hectic, frenzied Bulgarian bar and ending on a concert stage with an audience in the thousands, with plenty of dancing and partying along the way.Yet while the band is often surrounded by this sort of lighthearted, carefree lifestyle of creating music and enjoying life, they offer a surprising number of valuable insights as well. In the last minutes of the film, Hütz reflects on what it means to “make it big.” He asks, “What is this, making it big?” for he had come to understand this as achieving what he already had – the opportunity to create music, represent himself and his people and give the gift of this knowledge and music to people.In case the above was too lengthy or incomprehensible, here are some reasons why you should go watch Gogol Bordello: Non-Stop:- It is a chance to listen to some of their music, or Hütz’s accent as he throws around the F-bomb like pieces of candy (both highly entertaining).- It will make you feel like dancing.- You get to witness some truly distinctive performances and musical talent.- You will laugh and have fun.All of this in 90 minutes or less! So head on over to the Northwest Film Forum on or before January 21st to catch this fine piece of documentary while it lasts and if you can’t make that, at least give their music a listen.- Fanny L.January 18th, 2010Gogol Bordello: Non-StopNorthwest Film ForumThrough January 21stSponsored by the Vera Project

Review of Electra at Seattle Shakespeare Company by Greer G.Before the ax is even brought out, Electra (Marya Sea Kaminski) has emasculated every man on stage. It would be erroneous to consider Electra as lacking a female empowerment agenda. The women of Greek tragedy cry for a heroine of their own, and Sophocles has bestowed courageous, fire-spitting Electra. For while the preceding triumphs of the Trojan War are distinctly masculine in nature, Electra is the story of “hero” Agamemnon’s daughter, left to grieve the remnants of domestic wreckage. For her father, upon returning victorious from Troy, is slain by wife Clytemnestra (Ellen Boyle) and her taken lover, Aegisthus (John Bogar). What results is a hurtling plunge into the bowels of female psychology.Marya Sea Kaminski as Electra and Ellen Boyle as Clytemnestra. Photo by John Ulman.While Electra mourns for her murdered father, the tension of the play derives from her frustration with the society in which she finds herself. This combination, while a debilitating one for Electra, proves a triumphant one for Kaminski. The beauty of Kaminski's portrayal hangs in that treacherous median of Electra. Kaminski swings (not without labored exertion) between the character's polar natures of devastated child and enraged woman. As a character, Electra has little emotional arch. She does not grow to rage or resentment-- she is smoldering as the play begins. When she is calmed at the blood-splattered conclusion of the play, it is not due to her maturing as a women, but because fury has been quenched by external events. Yet this in and of itself is the crux of Electra's dilemma: she is forever a victim of circumstance. Her grief derives from her doomed lineage; her rage stems from her inability to exact her own revenge. When she laments, “the world has turned bad and so have I” it is an attempt to justify her uncharacteristic wrath. Accordingly, Kaminski is at her most effective with her enactment of grief. Clutching with bruised fingers at her belly, she moans and rocks, as though to sweat out the fever of grief. Kaminski seems perpetually on the verge of regurgitation, as though her Electra could be physically purged of her inherited agony.If there be such a disease, it is an infectious one. One sees Electra’s digression from her true nature in her sister, Chrysothemis (Susannah Millonzi). It is said that children are often the most potent reflection of a dysfunctional household; the daughters of the House of Atreus exorcise their anguish with distinction. Susannah Millonzi’s portrayal of daughter Chrysothemis is marked by the character’s girlish delusion. Whereas Electra furiously pounds the floor with her fists, Chrysothemis is careful (and perhaps content) to tread as a servant in her own house.Director Sheila Daniels exhibits brilliant control of paradox with her casting of darling mums and step-dad, Ellen Boyle and John Bogar, respectively. While daughters Electra and Chrysothemis represent the crudity (and ugly reality) of mourning, Clytemnestra and Aegisthus dress and act as though disgruntled hosts at spoilt Noël Coward dinner party. Their soiree attire is grossly out of place with their heinous murder, furthering audience sympathy for Electra’s plight. When John Bogar’s Aegisthus skips into the last act of the play in a white linen suit, cheerfully nibbling a red apple, you wish the swine a crashing sword to the skull. Thankfully, he receives just that, courtesy of Electra’s brother Orestes (Darragh Kennan).In a tragedy wrought with carnage, it is a considerable relief that the Seattle Shakespeare Company’s production of Electra comes as a swift bullet to the brain. Aided in no small part by Frank McGuinness’ slick adaptation of the Sophocles' play, the dialogue has been stripped of all embellishment. The result is 90 minutes of family drama with little to no-reprieve. While there is no intermission, it seems somehow inappropriate that one would ponder purchasing chocolates while a woman laments depravity onstage. And when you return to your home after the performance, I sincerely hope you will find your family life a little less gruesome in comparison.- Greer G.January 10th, 2010ElectraSeattle Shakespeare CompanyThrough January 31st

Review of 3Seasons/Olivier Wevers' Whim W'him at On the Boards by Atanis K.Danger. Mystery. Unpredictability. These are the ideas at the heart of Olivier Wevers’ 3Seasons, a modern take on Vivaldi’s Four Seasons performed by Wevers’ own dance company, Whim W’Him. Wevers states that he was inspired by the changing weather. He found himself wondering, one year when it rained throughout the whole summer, “where did the summer go?” This idea developed into the innovation that sets 3Seasons apart from other contemporary ballets. Earlier on in the day of the performance, a season is randomly chosen. The recording of that season is dropped and replaced by Byron Au Yong’s modern take on that season, performed live by incredible musicians situated around the stage. The switch, which is not known until the day of the performance, creates a feeling of danger for the performers, who must dance their choreography to completely different music than they have practiced with. Photo by Marc VonborstelWevers hopes that this music will evoke feelings from the viewers as well, whether they love the change or they hate it and want to go back to Vivaldi. I personally fall under the category that loved it. In the performance I attended, the missing season was Vivaldi’s Summer, replaced by Byron’s chaotic modern sounds of oppressive heat. The music had a radically different feel to it than Vivaldi, and it really changed the way the section was performed, compared to the rest of the seasons. The dancers quite literally relied on the sounds of each other’s breathing more than they relied on the music. Visually, this created the kind of genuine closeness and chemistry seen at the very highest levels of dance. But while the altered section is where this was most easily visible, the dancing was superb throughout the entire performance, easily rivaling any of the more established dance companies in the area. Wevers’ choreography was outstanding. It was just the right amount of breathtaking lifts and humorous tidbits interspaced with thoughtful reflections on our society, which ranged from ballerinas stuffing their costumes with plastic bags to a man dancing a woman’s part and vice versa to literally discarding a ballerina in a trash can.Wevers has certainly gone above and beyond with his dance company’s first performance. His creative choreography and the talented people who dance it have me eagerly awaiting to see more of Whim W’Him.- Atanis K.January 16th, 20103Seasons is closed. Next up at On the Boards: Brazilian street dance with Grupo de Rua, January 28-30. More info at ontheboards.org

Review of Perô at Seattle Children's Theatre by Emma M.Perô is an enchanting boys vs. girls story imported straight from the Netherlands. The girls, Colombina and Sun, are sunny and cheerful, whereas the boys, Perô and Moon, are shy and moony. Perô is a floury baker and Colombina is the pretty girl next door. She’s a washerwoman who likes her whites sparkling. Trouble ensues when the painter Palentino comes to town and Colombina is dazzled by his bright colors. They run off together, and meanwhile poor Perô, who is in love with Colombina, closes his bakery “due to a broken heart”. But Colombina’s romance isn’t all that it’s cracked up to be. When her lover bullies her, she realizes her mistake and returns home to Perô.Perô comes to Seattle Children’s Theatre all the way from Speeltheater Holland in the Netherlands. The actors however are all local. The whole cast shines: Matt Wolfe as Perô, Jennifer Sue Johnson as Colombina, Corinna Lapid Munter as Sun, and Mark Rabe as Moon. The troupe sings, dances, puppeteers and captures the avant-garde feel of Perô so well.Directed and designed by Onny Huisink co-founder of Speeltheater Holland, Perô has a very playful feel. The sets and puppets are very imaginative, they fold out, light up, stretch out, and roll around. The two houses where Perô and Colombina live feel almost like doll houses, and are simple on the outside but are full of surprises.Younger kids will love the play’s sweetness, such as the little mice that live with Perô and Colombina. But as Moon says, “Sweet? Sweet? Where does that get me?” The older audience members will relate to the more complex emotions portrayed, such as heartbreak, infatuation, passion, loyalty, and love. When Colombina is pushed around by the painter Palentino, and has to cook him tons of pasta, the kids will laugh at Palentino gulping down pasta. But the adults can appreciate Colombina’s struggle to make the choice to leave Palentino and return to her home.Four actors and a lively smattering of puppets and musical instruments, Perô is a beautifully crafted European treat that everyone will love!- Emma M.January 16th, 2010PerôSeattle Children's TheatreThrough February 14th

EEEEEE!!!! It's finally here. Our first ever Crush-of-the-Month, wherein we profile a local artist whose talent, charm, and face make our hearts go pitter patter.This month's crush could not be more crush-worthy. His name is Justin Huertas, and he is currently starring as Solomon in Seattle Rep's Speech & Debate, opening January 15th. Justin is humbled and honored to be our first-ever Crush-of-the-Month. We love you, Justin! Photo by Tristan Morris.Sweet Justin took the time to sit down with our reporter, Isabella F, to answer a few questions. Take it away Isabella!Teen reporter Isabella F and Crush-of-the-Month Justin Huertas talk high school, cellos, and Build-A-Bear WorkshopAfter a few jokes and the introductions, Justin Huertas leans back on the chair and takes off his jacket to look more casual. He responds to each comment about his interview with a large grin, laughing about compliments that characterize him as a professional actor. Currently rehearsing the role of Solomon in Speech and Debate at Seattle Repertory Theater, he relates to his character as an average high school teenager.Justin tells Isabella what he was geekiest for in high schoolFor his costume, Huertas will sport a pair of khakis and white tennis shoes, something he would have worn when he attended Kamiak High in Mukilteo. He has been into performing since he was young, aspiring to be a cellist “just like Yo-Yo Ma.” Surprisingly, he discovered his love of the stage when he was cast in the musical at his high school senior year. Currently, he is making a living off of acting, but worked three jobs at the mall last summer to fill in the gap. Apparently, outside of acting, he is just his normal, sunshine self, working at the Vans store, and the Build A Bear workshop! Who would have known? Huertas even used to put the hearts into the bears, which would express his kind and adorable personality.To describe himself, he uses the word “scrumtulescent,” mimicking a Saturday Night Live routine where Will Ferrell came up with the word. To him, it means “nice, artistic, and expressive,” which goes along with my original impression of him. Illustrating his point, Justin makes a typical Will Ferrell face, and acts out the scene. Go figure. Continuing with his casual personality, he describes his favorite restaurants as being “very chill, so you can just relax, so that you don’t have drink tea with your pinky up,” demonstrating the gesture while laughing. Among the favorites are Purple and The Pink Door.ScrumptulescentPhoto by Jared Michael BrownIf he isn’t relaxing in casual restaurants, Huertas loves just walking around the streets of the city: “There are so many places to see and favorite places to go.” At times he enjoys writing plays and songs, but the two didn’t mix well for him when he tried to write a musical. As far as plans for the future, Huertas hopes to continue performing, whether it is acting or playing cello.See Justin in Speech & Debate at Seattle Repertory Theatre January 15th - February 21st. There are still a few tickets left for Extemporaneous Commentary, the Teen Tix art party at Speech & Debate on January 17th. For more info about that, go here.

Nice Monet!

They went, they saw, they won. Here's what the lucky winners of our first-ever Passport to the Arts contest had to say about their art-filled year:"Most major shows in Seattle have tickets out of my price range. Yet at least once a month I go see something, usually with a friend. How? Teen Tix! This summer I saw Othello at the Intiman after reading rave reviews for it in The New York Times a few months prior. My favorite show of the six on my passport was Emma at Book-It. I'd never been to that theater before and I'd just started reading the book. With barely more than five props, they immersed the audience in Regency England, doing Jane Austen justice. For $5 I get culture, a few hours with my friends and it's a parent-approved way to get out of homework."- MarieClaire S."This contest actually got me going with TeenTix- it was an awesome way to try new stuff and get myself out there- I saw films, dance, theatre, all sorts of different things. I think TeenTix is the best thing since sliced bread and one of the best ideas in Seattle. You should do it!"- Tucker C."I don't have a lot of money (I mean hey my mom still says I'm a kid in her eyes); but the fact that I am still able to have the luxury of sitting in the front row of a huge opera house able to see the sweat glisten off the actors face as they please the audience, makes me thankful to actually be a 'kid'. I love having this opportunity and I thank all those who make it possible."- Alice E. Passport to the Arts is a contest where Teen Tix members can win money (up to $250!) by seeing art. Collect stamps on your passport all year long: the more art you see, the more money you can win. Our next Passport to the Arts contest starts in February, 2010.

Yeah, 39 Steps and Merchant of Venice. Also Peter Pan @ SCT! And the Nutcracker of course. Oh and Taming of the Shrew that Wooden O did this summer!

Mecca... I forget who did it. Seattle Rep?

Young American's Theatre Company's Past Curfew!!

Compiled by Teen Tix members and staffLucas M. loved A Tale of Two Cities at Seattle Children's Theatre.Joseph P. loved Tchaikovsky's Violin Concerto with Leonidas Kavakos at Seattle Symphony.Leonidas Kavakos rockedBrook W. loved Titus and A Cure for Pain both at Washington Ensemble Theatre.Madeleine D. loved Merchant of Venice at Book-It Repertory Theatre.Washington Ensemble Theatre makes really good plays (and pies)Beth R. loved Mysterious Gifts at Seattle Children's Theatre and The Mistakes Madeline Made at Washington Ensemble Theatre.Tucker C. loved Roméo et Juliette at Pacific Northwest Ballet.Roméo et Juliette: oui, c'etais magnifiqueHolly B. loved The 39 Steps at Seattle Rep.Daniel S. loved Walt and El Grupo at SIFF Cinema.Rachel K. loved The Seafarer at Seattle Rep.Tessa, Josh G., Rachel K., and Fiona B. all loved Equivocation at Seattle Rep.Equivocation: why don't you marry it?Our friends over at ACT Theatre loved the Michaelangelo exhibit at SAM.Here at Teen Tix HQ, we love everything of course, but this year we especially swooned for The Shipment by Young Jean Lee's Theatre Company at On the Boards, Target Practice at Seattle Art Museum, and the Mapplethorpe Polaroids at Henry Art Gallery.Mapplethorpe. Mapplethorpe. Mapplethorpe. We just like saying the name.Did you love something that we missed? Tell us!The art at the top "If you see anything interesting, please let someone know" is by Mads Linerup.

The Mighty Marya Sea Kaminski (you may remember her as Rachel in MY Name is Rachel Corrie at Seattle Rep, to name just one of her dozens of lauded local performances) gives us a little taste of her ElectraElectra starts previews January 5th @ Seattle Shakespeare Company

Check out the rival's video that Shorecrest challenged them to make. It was shot BACKWARDS.http://www.youtube.com/watch?v=T7TI-AJi2O8

What? Art making, cake eating, theatre watchingWhen? Sunday, December 17thWhere? Seattle Repertory TheatreHow much? $5.00 for you, $5.00 for your guestMore please: Teen Tix and Seattle Rep are pleased to invite you to Extemporaneous Commentary, a party that will include art-making (specifically: artworks created on old-fashioned cafeteria trays), cake-eating (specifically: delicious), and theatre watching (specifically: Seattle Rep’s hotly anticipated production of Speech & Debate).The art-making starts at 5:00 pm in the Rep’s scene shop. Artworks will be created, hung in the Rep’s lobby, and the gallery opened all in two hours! Invite your friends and family to come and see what you’ve created – the gallery opening party starts at 6:30. There will be cake! Then at 7:30, the special sneak-preview performance ofSpeech & Debate begins. The artworks that are created will be shown in the Rep’s lobby during the run of Speech & Debate.5:00 – 6:30 = art-making 6:30 – 7:30 = gallery opening/cake-eating 7:30 – 9:30 = show watchingSmall print: this party is open to Teen Tix members and their guests only. Teen artists who wish to participate in the art-making portion of the evening must RSVP as space and materials are limited. Just like eating cake and watching art? Come to the party and the show! Your $5.00 Teen Tix ticket gets you into the pre-show gallery reception.FAQsCan adults come to the art-making part? Nope. The art-making portion of the evening is just for teen artists. But if you’d like to bring an adult as your guest for the party and show, you can leave a ticket for them at the box office.What if I just want to see the show (and eat cake)? Come at 6:30 for the gallery opening party and preview performance. Tickets are 2 for $10, so bring a guest!Can I take my art home with me? The artworks that are created will be displayed in Seattle Rep’s lobby during the run of Speech & Debate (a great opportunity to have your work exhibited publicly). After the show closes on February 21st, 2010, you can come and collect your art.Can I reserve my tickets just for the party and show? Yes! In fact, we encourage you to do so, as the show is expected to sell out.To RSVP, send an email to [email protected] with your full name and phone number. Please let us know how many tickets you are reserving (1 or 2) and whether you are reserving for just the party and show, or for the art-making, too!Learn more about Speech & Debate on our facebook page.Extemporaneous Commentary is a Teen Tix special event hosted by the Teen Tix Teen Steering Committee and Seattle Repertory Theatre. seattlecenter.com/teentixseattlerep.org

Note: Speech & Debate is recommended for ages 14 and above for mild profanity, teens engaged in discussions of sex, drinking and drug abuse.

Review of Handel's Messiah at Seattle Symphony by Monet C.

Handel’s Messiah premiered on April 13, 1742 as a charitable benefit, raising 400 pounds and freeing 142 men from debtor’s prison. A year later, Handel staged it in London. Controversy emanating from the Church of England continued to plague Handel, yet the King of England attended the performance and, as the first notes of the triumphant Hallelujah Chorus rang out, the king rose. Following the royal protocol, the entire audience stood too, initiating a tradition that has lasted more than two centuries, up to today.

Georg Frederick Handel

New blog feature! On the fifteenth(ish) of every month, we will publish a look ahead at the arts events that we're most psyched about for the upcoming month. Know of something coming up at one of our participating organizations that you think should be in the datebook? Let us know!JANUARY, 2010

visual artThe Telephone Project by Stray at Henry Art GalleryIt started with a poem. One artist interpreted it into an artwork. The next artist took that artwork and made it into a poem. The next artist turned that poem into an artwork, which the next turned into a poem. And they did it over and over again until all 25 artists (UW student members of the poetry collective, Stray) had made a poem or an artwork. Come see their work and hear them talk (or maybe whisper into the ear of the person sitting next to you) about what they did.Thursday, January 14th 7:00 - 8:45 FREE henryart.orgNew New: Recent Acquisitions in Contemporary Asian Art at Seattle Asian Art Museum

Spencer T. on the "Dark Side of Oz" phenomenon Drugs inspire you to do weird things. Just ask Pink Floyd. Their 1973 rock classic, The Dark Side of the Moon, is rumored to have been created to sync with the visuals from a classic of a different vein: The Wizard of Oz, starring Judy Garland. It is unknown where this story came from, but since the theory took off in the 90s, the internet has been inundated with lists of hundreds of instances where the music synchronizes the movie. People theorize the album is a tribute to Garland among other things. The album is played approximately 2 1/2 times during the course of the film and contains such moments as Dorothy being chased by the tornado only to have the song comfort her, singing, “Don’t be afraid!”. Then, when she steps into brilliant technicolor, the first cash register from the song “Money” rings. Later, the Cowardly lion appears to be dancing perfectly in tune to the soundtrack. For a (much) longer list, check out this website: http://thepinksync.tripod.com/ The evidence may sound a little underwhelming, and so the big question remains: is the so-called “Dark Side of Oz” real or a hoax?Vocab word of the day: apopheniaDefinition: The brain’s tendency to attempt to recognize patterns in chaos; to create order where there is none.Pink Floyd has repeatedly denied any intention on the part of the band to create this “alternate soundtrack”, leading most people to believe the similarities are just happenstance. But hey, even if it wasn’t intentional, why can’t we enjoy a good coincidence?Judge for yourself. “The Dark Side of Oz” is playing at SIFF Cinema Friday, December 18, at 7:30

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The kids of A Christmas Carol @ ACT Theatre talk to actor Brandon Whitehead (Mr. Fezziwig) about the show:There are five more Teen Tix-eligible performances of A Christmas Carol:Friday, December 11th at 6:00Tuesday, December 15th at 6:00 and 8:30Wednesday, December 16th at 6:00 and 8:30Please note that there are NO companion (2 for $10) tickets available for any of these performances.Our reviewer, Jenny S. says "Once one allows high school enforced reading prejudices to fall away, Dickens’ words, bright and polished as sleigh bells, really do fulfill the great expectations one has of the literary giant...I’ll be the first to admit that Tiny Tim’s travails actually had my eyes welling up. So stock up on peppermint humbugs, Kleenex, and good cheer, and bear witness to a show that was captivating theater-goers when your parents still believed in Santa." Read Jenny's whole review here.For more information about the show, visit acttheatre.org

Review of Twelfth Night (Or What You Will) at Seattle Shakespeare Company by Yvette J.It doesn’t matter whether you’re a Shakespeare expert or a newbie to his work, Twelfth Night (Or What You Will) is a great play to watch Shakespeare’s work come to life. All of the characters seem to have jumped right out of the pages and onto the stage with no extra flourishes, add-ons or anything taken out of the characters. Director Stephanie Shine stayed true to each character, enhancing certain characteristics within the role to better display the type of person Shakespeare imagined his characters to be. Twelfth Night is full of confusing love triangles, complicated plans and misleading identities; it’s a story too complicated to forget and a play that will only pique your interest until the very last act.José A. Rufino as Duke Orsino and Chris Ensweiler as Feste in Twelfth Night at Seattle Shakespeare Company. Photo by Erik Stuhaug.Twelfth Night was written by William Shakespeare and first published in 1623. The story takes place in mythical Illyria, a kingdom that is home to Duke Orsino and Lady Olivia. The audience first becomes acquainted with a woman named Viola who is believed to have lost her twin brother in a storm. Viola, who stumbles upon Illyria, needs to find work and decides to work for Duke Orsino, but disguises herself as a man named Cesario. Orsino is madly in love with Olivia and one of Cesario’s tasks is to deliver love messages from Orsino to Olivia. While completing the task, Olivia falls for Cesario, but is really Viola. But Viola has fallen in love with her master, Orsino, but remember…she’s really a woman dressed up as a man. And don’t forget about Orsino, who is still in love with Olivia. Confused yet?As complicated as the storyline seems, the director and the actors do a great job in making the storyline simple and easy-to-follow. There are just so many characters involved in the love triangle and the confusion only heightens when we involve Viola’s not-actually-dead twin, Sebastian, a butler, a maid, and a drunken uncle. The story moves fast, as it was naturally written by Shakespeare, but it’s not hard to catch up if you missed anything. Each actor captures the essence of their characters perfectly. Suzanna Milonzi (Viola/Cesario) plays a convincing male and she manages to sweep a woman off her feet; you can feel your heart ache as José Rufino (Duke Orsino) never manages to get the girl he wants until the very end, and Chris Ensweiler plays a lovingly enchanting, yet still mischievous fool. Twelfth Night is the perfect sort of entertainment you and your friends may seek on a cold, wintery night. What else could be better than love triangles and a little bit of mischief just to complicated things even more? Exactly: nothing else could be better.- Yvette J.Friday, December 4thTwelfth Night (Or What You Will) runs through December 27thMore info and show times at seattleshakespeare.org