Seattle Blog Previews

Made for teens to connect with other like-minded youth and write about art, the TeenTix Newsroom is a place for teen arts lovers to practice their writing skills! The TeenTix Newsroom is led by the Teen Editorial Staff - 5 teens who curate the review portion of the TeenTix blog. Editorial Staff members decide which art events to cover each month, then assign teen writers to review them. How It Works:

Along with a teen editor, who will then edit their work, teen writers will attend an arts event for free. Afterwards, they’ll write a review that will be published on the TeenTix blog - so this is your chance to share your opinion on Seattle arts! For each review, writers will work individually with an editor on the Teen Editorial Staff to polish their writing for publication. Teen writers can pop in to the monthly newsroom gatherings to meet with the Teen Editorial Staff, receive side-by-side editing, and learn more about the craft of arts writing. Plus, there are snacks! This is YOUR CHANCE to join this fun, supportive environment, and become a published writer! Also, teen writers are eligible to receive a stipend of up to $20 per review. Apply to be part of the TeenTix Newsroom TODAY!

The opening scene in the theatrical adaptation of A Thousand Splendid Suns, by Ursula Rani Sarma, contrasts the entire play with the eerie stillness it sets the audience in. By piercing the quiet atmosphere with sharp, lingering notes, this scene stills the air and makes the audience pause for breath. From the next scene onwards, the audience is kept in silence not by the moving musical accompaniment, but by the paralyzing horror with which the play unfolds. The first scene wraps around the audience with the unnervingly gentle, yet strong, sound of David Coulter’s original score performed live. As he is slowly pulled across the stage on a lengthy sheet of fabric, we are introduced to the sole man who effectively ties novel instruments—including a violin, thunder sheets, and even a saw—to the emotional landscape that the characters traverse. We first meet one of the main characters, Laila (a role that is passionately performed by Rinabeth Apostol), with her father (performed thoughtfully by John Farrage) as they read poetry together. This innocent scene does nothing to prepare the audience for the further torment Laila will endure. For the time being though, it beautifully shows the deep connection between the father, Babi, and his daughter. Their connection contrasts the future of ruins with the perfect present, and its perfection hints at a greater danger to come. As the two characters read poems of Kabul, they not only sing the praises of their beautiful city but intertwine their love with profound anguish. Their pain stems from the loss of their city, the very place they hold dear, due to the dangers of a war-torn country that forces them to leave.

Art has one true purpose, to evoke feeling, to cause a reaction within someone.

The enigmatic art exhibit entitled "Between Bodies" conjures up complex, even contradictory, responses. At times the immersive installations made me feel as if I was both in our recognizable world and beyond it, leading me to reconsider ideas about representation, humanity, and the environment.

Imagine you’re standing in a dark room with mirrors scattered across it. TV screens hang from the walls and bubbles come across them every couple seconds. On one screen, a fisherman talks about his tradition of fishing. It’s very trippy, like you could be in "The Matrix." This mind-numbing experience is a work of art, “Glistening Troubles” by Susanne M. Winterling, just one part of the exhibition “Between Bodies” at the Henry Art Gallery.

The entirety of the exhibit felt like this. It didn’t seem to fit with other art exhibits. It stood out for its differences, mostly because of its tackling of environmental, social, economic and political issues from a perspective we don’t always see get a voice. Many of the artists use their experiences as members of LGBTQ communities to present these global issues in alternative ways, ways that promote collaboration and unity. It left the viewer thinking long after seeing it, trying to figure it out.

Lucia and Abel don’t meet-cute: she’s a struggling T.V. writer; he’s the janitor for her office building. Their first interaction is when she thanks him for cleaning her room while scrolling through her phone.

Lucia, a compulsive, lonely oversharer in the new city of L.A. quickly spills her life story and problems to Abel. At first Abel, played with gentle firmness by Marco Adiak Voli, is resistant to participate in these conversations. Yet, you can tell from his crinkly-eyed smile that he enjoys her company.

“Oh my god,” I said, turning in my seat. “Oh my god.” Such was my reaction at the end of FADE, a small production by Seattle Public Theater at the Bathhouse Theatre. The show used two actors, and one set. FADE is an unapologetically Latinx play about how people bond and change over time.

Lucia (Pronounced Loo-see-uh, never loo-sha) arrives late at night, and meets after-hours custodian Abel (A-bell, not able). When Abel arrives to clean, Lucia ignores him, that is until she needs help. Yet, Lucia needs more than someone to fix her shelving. She needs someone to whom she can vent to. Lucia tells Abel that the straight, white, cis, male writing staff sees her merely as a token, and her boss sees her as a translator for when he needs to scold his Latina maid. From the beginning she knows she’s on shaky ground. Her writing resume is thin, having only written one novel. She looks down on the show she’s writing for, which from the snippets heard is more like a program from another era. After she softens her spoiled and entitled attitude, she and Abel banter. They discuss who is more Mexican, the correct usage of Hispanic and Latino, and indignities suffered on them by the culturally uninformed and the resentment of being seen as a stereotype—while making plenty of assumptions and generalities about others, and each other.

The Atlas Theatre, where ComedySportz performs, creates a quirky and fun atmosphere by placing paintings by local artists (one depicts Edward Scissorhands giving Chewbacca a haircut) and odd trinkets, such as a ventriloquist dummy that stares down at the audience, around the theater. These purposefully placed objects effectively add a unique vibe to the already unusual space.

The referee, who controls the game and gives out points, comes onto the stage to begin the game. The chairs in the back are already full and the murmur of soft conversation was serving as background noise long before I walked into the room. People are relaxed before the referee begins his introduction, and the easy mood of the room sets the tone of the evening.

I have never been one for cliché expressions, but the phrase “a picture is worth a thousand words” has never been so applicable as when I had the opportunity to experience the photographic chronicle of President Obama’s time in office. With our current administration, it may be easy to lose the hope that we may ever have a leader capable of respect, empathy, and an unwavering resolve to make the world better for the people who inhabit it. But Pete Souza, official White House Photographer for Presidents Obama and Reagan, decided to remind us of the kind of leader we are capable of electing.

I had the pleasure of attending Pete Souza’s lecture on his newest book, "Shade: A Tale of Two Presidents" at Seattle’s Benaroya Hall. After a quick musical performance, Souza was introduced and started at the end, so to speak, by detailing his experience from the conclusion of Obama’s presidency up until the proceedings at Trump’s (or as Souza referred to him, “[President] 46 minus 1”) inauguration. This shade makes this lecture one that is best suitable for an audience whose beliefs align more with that of the Obama administration. The lecture itself had an undeniable political bias. Still, throughout his lecture, Souza kept pushing the people to vote for the leaders they thought capable of filling such a position.

“I think all women should feel free. Our bodies are vessels: it’s how we move through the world.”

“I think all women should feel free. Our bodies are vessels: it’s how we move through the world.”

In the mood for some holiday cheer? Our friends at Seattle Men's Chorus are offering THREE HUNDRED complimentary tickets to TeenTix Members for their concert, Jingle All The Way, on December 20th!

All you've gotta do is sign up below with the requested information to claim your FREE tickets to this event. Don't want to fill it out on our blog? Visit this link to directly fill out the form.

"White Rabbit" centers around Sophia, a Korean American queer woman who immigrated to the US when she was seven and lives in Koreatown, Los Angeles. She is a performance artist who often speaks at significant places where Koreans and Korean Americans gather. As someone who lived in Koreantown, I recognized many of the locations where scenes of the movie were filmed such as the Koreatown Plaza, making use of authentic locations.

As a Korean American I was able to understand many of the cultural insights and I felt this special connection to the movie. I really enjoyed it. There were also parts of the movie that were in Korean. For every movie, there’s different levels of understanding and this is one of the reasons why I got to a deeper connection than other films I’ve seen.

The show 14/48:HS consisted of seven premier shows all written, produced, memorized, and performed in 24 hours, the next night they do it all again. All productions put on are by teenagers, and everything from the set design to the writing and even the band are all done in under 24 hours. I saw the first seven shows that the company was putting on throughout the weekend-long event and the drive and passion shown was astonishing.

The shows were created in teams and reached through several genres and topics. Some plays were comedies, such as “Finishing The Block” or the show “Spiral” which included a multitude of hilarious metaphors to describe the ridiculous plot of one of the characters not being able to stop spinning in circles. Others were mysterious or serious, such as “Onto the Carousel” that never quite gave an answer to the audience's questions about the story. The shows were focused on different topics and the writing style varied from writer to writer, but all shows had an element of comedy unique to each piece that enhanced the production such as situational irony or a hint of sarcasm in the dialogue. This was used quite often in an amusing play about twins called “Identical.” The plays also had a deeper hidden message, whether it was evident through the words and body language like the show “Deja Vu,” or hidden behind jokes and clever repartee. Two shows performed, “This Dance” and “Try This On For Size,” are brilliant examples of this doctrine; both began with a series of comical actions before coming to a profound ending that gave the show a strong moral philosophy. The writing of the shows was way above the standard for teenage writing, which further highlights the incredible dedication that the students participating have.

There is a reason teens don’t review grown up music, it makes us sleepy.

The church-like Fremont Abbey was beautiful on Friday, October 12, with its blue and green lighting and soft stained glass windows. Lighting was calming to watch the music. It was peaceful and so quiet.

As the flannel-clad audience slowly trickled into the Fremont Abbey Arts Center, it was immediately obvious what kind of show we were in for.

The concert-goers, mainly white couples over thirty who seem to have forgotten that most of us left being “hipster” in 2015, chatted under pretty string lights that zigzagged under the former church’s high ceilings. A lone pair of house speakers played indie rock, folk, and country music that gave further hints to the overall energy of the show to come.

This WILDLY popular, highly-anticipated musical is approaching, and our fantastic, generous friends at Seattle Repertory Theatre are offering a HECKUVA DEAL.

The 2018 Fall Press Corps Intensive was a five-week arts-going and criticism practice workshop that ran from October 10-November 19, 2018. Nine teens saw and wrote reviews of five art events at different TeenTix Arts Partners. The group was mentored by three professional critics who helped each teen hone their arts criticism skills. Stay tuned on the blog for reviews of each event!

As all you old school TeenTixers know, Pacific Northwest Ballet's wildly popular Nutcracker ballet is the ONLY PNB show ALL YEAR that is NOT TeenTix eligible.

HOWEVER, because they love us so much, PNB always puts aside a little stash of TeenTix tickets for one day of Nutcracker each year. It is an AMAZING, annual tradition that draws teens from far and wide. YOU WON'T WANT TO MISS IT!!

If you’ve lived in Seattle long enough, at some point, you might have seen a poster for Twisted Flicks and wondered what Jet City Improv’s on-the-spot movie redubbing entails. The premise for the show is simple: an obscure black and white movie is played in its entirety while improv performers and musicians reimagine the dialogue and score. It’s been happening with a new film every month ever since the 1997 original, but, on October 25th, I saw the opening night performance of Ed Wood’s Bride of the Monster.

I immediately loved the mood of the venue from the moment I walked in. A large amount of attendees who seemed to be regulars were already seated and mingling with the cast, who were roaming the theater for suggestions. This atmosphere made the space feel like it hosted a community of people who cared about each other—comedians who love to perform and an audience eager to support them. Even with an established fan base, the environment was nothing but welcoming and not exclusionary in any capacity.

Moments of brilliance abound in Night Parade, the latest offering from Pork Filled Productions and REBATEnsemble, but the play suffers from a convoluted storyline. Though it stands out for its engaging stagecraft and costuming, Night Parade simply has too many ideas.

After arriving at an undisclosed location, the audience is ushered into a cramped lobby, where tea is served and Japanese music sets an ominous tone. Posters on the minimal wall space bear information pertaining to such Japanese folktales as the “Nine-Tailed Fox,” “The Tale of the Shutan Doji,” and the play’s primary inspiration, “The Night Parade of a Hundred Demons,” an ancient legend surrounding the procession of supernatural creatures. Viewers of this parade perish upon sight. Then, we are led into an immersive gallery space, displaying the works of tragic, deceased, and fictitious Japanese artist Shunkuno Arashi (an excellent Aimee Decker). The gallery is run by the tightly wound curator Herald Stass (Andrew Forrest), an exploitative art-hound with skeletons in his closet. He is accompanied by his assistant (Buddy Todd), who is tasked with the tiresome comic gag of handing out tiny pencils to the audience, and the mysterious Nurari (Season Qiu), a sharply dressed man who claims to have known Arashi.