The Holdovers

A review of The Holdovers

Written by TeenTix Newsroom Writer Koreb Tadesse and edited by Teen Editorial Staff Member Kyle Gerstel

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The genre of the holiday movie is tried and true; from Home Alone to Elf, Frosty the Snowman to A Charlie Brown Christmas, Christmas movies have been done before, and they’ve been done well. As Thanksgiving rolls around, viewers observe the tradition of watching their favorite characters celebrating the festive time of the year. This makes 2023’s The Holdovers even more of a triumph as a worthy addition to the holiday canon for years to come.

Director Alexander Payne had the task of adding something new to the holiday genre and creating a film that could hold its own outside of the holiday season. Helped by the incredible talents of Payne’s Sideways collaborator Paul Giamatti, seasoned actress Da’Vine Joy Randolph, and rising star Dominic Sessa, The Holdovers is bound to become a modern classic.

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The Gift of the Persistence of Life

Review of Joy Harjo at Seattle Arts & Lectures

Written by TeenTix Newsroom Writer Keona Tang and edited by Teen Editorial Staff Member Aamina Mughal

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On February 27, Seattle Arts & Lectures hosted Joy Harjo, who performed a breathtaking blend of song, poem, and musing followed by a Q&A session with Arianne True, the current Washington State Poet Laureate.

The event began with a reading of “Dear Spanish” by Seattle’s Youth Poet Laureate Mateo Acuña. His poem reflected the frustrations and struggles of multicultural people like himself. The poem artfully moves from a bitter tone to an unending longing and desire to understand Spanish, to reconnect with what he loves and his Peruvian roots. His words and reading truly spoke to my experience as an American-born Chinese person, specifically with his reflections on accent, demonstrating a unique command of the poetic form. Acuña’s reading immediately set up a more intimate, almost conversational atmosphere, like he was sharing secrets that could either resonate with the audience or prime them with a mindset of understanding.

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A Stunning Musical Depiction of Civil Rights History’s Most Complex Man

Review of X: The Life and Times of Malcolm X at Seattle Opera

Written by TeenTix Newsroom Writer Sophia Hu and edited by Teen Editorial Staff Member Kyle Gerstel


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“We are a nation trapped inside a nation. We are a nation dying to be born,” Malcolm X sings, and thus begins a tale of freedom, hatred, and martyrdom, all performed by the talented and dynamic performers of Seattle Opera at McCaw Hall. X: The Life and Times of Malcolm X is a three-hour-long journey, taking audiences through the 1900s from the perspective of the marginalized Black community, facing crushing oppression and horrific violence. It stars Kenneth Kellogg in the titular role of a complex leader during the Civil Rights Movement. The opera tells an intricate story that everybody needs to hear.

Act one opens with the characters waiting for Reverend Earl Little, Malcolm’s father. While they wait under high stress, the characters inform us of their constant fears of violence and murder by white supremacist groups as the names of people who had to pay for this hatred and racism with their lives are projected on the ceiling, scrolling quickly to showcase the immense scale of this tragedy with a powerful impact. In this act, Leah Hawkins, who plays Malcolm’s mother, Louise, is featured in a stunning aria about the haunting attacks she fears. After this, it is revealed that Earl Little was killed, leading to the mental ruination of Louise. Malcolm is subsequently brought to Boston by his older sister, where he gets involved in a robbery and is arrested.

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The Lower Depths

Review of The Lower Depths at The Initiman + Seagull Project

Written by TeenTix Newsroom Writer Joelle Walworth and edited by Teen Editorial Staff Member Anna Melomed

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“Who are we to pity the dead? We don’t even pity the living.” The Seagull Project and Intiman’s production of Maxim Gorky’s The Lower Depths highlight the disregard for human life and the tendency to separate ourselves from struggle. Its' raw portrayal of poverty seeks to challenge the viewer to see beyond themselves to ignore issues in society.

This discomfort begins immediately. As the lights fade in, cramped bunk beds and trash are seen littering the stage as the flophouse inhabitants live in semi-darkness. Illness, death, and hopelessness call this basement a home more so than the characters. The play attempts to welcome the audience in, to fully immerse in this nightmarish housing, empathizing with those who have spent their entire lives in such poverty. The majority of the play is set in this one-room home. I quickly grew weary of the littered and cramped set, and I craved something to bring me out of the horrific storyline. For me, the despair it evoked demonstrated that the play was dedicated to sharing the life-long experiences of mistreatment and poverty.

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They Will Sing Forever: Musical Immersion at Positive Frequencies

Review of Positive Frequencies at Northwest African American Museum

Written by TeenTix Newsroom Writer Callaghan Crook and edited by Teen Editorial Staff Member Aamina Mughal

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How many museums not only tell grounded stories with honesty and celebration but welcome their visitors with a community living room and a book vending machine? The Northwest African American Museum is advertised as a “museum that uses Black heritage to cultivate healing and hope for all,” and I sensed that as soon as I walked in. In the main exhibit, screens flash with students and community members naming their heroes, claiming the museum as “ours,” and offering it to all as “yours.” Plaques, posters, and art document Black Americans’ victories, setbacks, injustices, pain, joy, and resilience with respect and love. NAAM is a welcoming, celebratory, healing space, and the art and artists of the exhibit Positive Frequencies embody that.

Positive Frequencies features “iconic Neo-POP artist” C. Bennett, along with local artists Eric D. Salisbury, Myron Curry, and Samuel Blackwell. Bennett’s mixed media pieces line half the gallery, while paintings by Salisbury, Curry, and Blackwell line the other half. Music by artists like Aretha Franklin, Ray Charles, and Nina Simone plays, immersing the viewer in the exhibit’s thesis: music can heal by “transcending societal and cultural boundaries.” All four featured visual artists approached that theme differently, but when all the pieces are viewed as a collection, with the music they sought to capture and elevate playing around them, their connection and power are deep and palpable. Photo courtesy of Elite Collective

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Inspired by Gamelan, and A Unique Approach to Musical Presentation.

Review of Inspired by Gamelan at Emerald City Music

Written by TeenTix Newsroom Writer Mickey Fontaine and edited by Teen Editorial Staff Member Anna Melomed

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In the many centuries it has existed, Western classical music has taken on a set of firm conventions that permeate mainstream classical culture. This is what makes classical music intimidating for inexperienced listeners. They are expected to act in a way that they are not accustomed to, keeping them from engaging with it. This strict culture hasn’t always been the norm, and it doesn’t have to be today. There is an increasing prevalence of classical venues that seek to establish a more open and inclusive environment.

I got to experience this when I saw Inspired by Gamelan, a unique collection of modern classical music that draws inspiration from Indonesian gamelan, at Emerald City Music. ECM is a non-profit chamber music organization that presents an eclectic range of classical music in a laid-back, intimate environment.

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Discovering the Beauty of Czech Baroque Music

Review of Party Bohemienne at Early Music Seattle

Written by TeenTix Newsroom Writer Harlan Liu and edited by Teen Editorial Staff Member Audrey Gray

Nate Helgeson photo courtesy Early Music Seattle

The Kingdom of Bohemia, now known as Czechia, was located in central Europe for more than a millennium and was a melting pot of cultural influences. Musicians would travel to and through this land-locked country, bringing with them musical influences from other countries such as Italy and Germany where Vivaldi and Bach reigned. Party Bohemienne, presented by Early Music Seattle and featuring the Seattle Baroque Orchestra, seeks to spotlight the compositions that came out of this rich musical society. Nate Hegelson, the director and bassoonist in the event, describes the musical event’s aim to highlight lesser-known Czech composers from the Baroque period. The pieces Hegelson chose for this event contain several elements typical of the classic Baroque style, but they elaborate on all of these elements to create a unique, truly Bohemian style.

The performance I attended was at the Bastyr University Chapel, a gorgeous chapel with tiled mosaics on the walls and a St. Petersburg-reminiscent frieze at the altar. The weathered wooden paneling created a gothic aesthetic and also lent a hand to mimic the original sound of Baroque Era performances, in great halls and estates. The chapel’s uncomfortable pews added a layer of authenticity to the performance. Looking at the program, I didn’t recognize any of the names there—the director was right about the little-known status of the composers.

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The Mundane Made Holy

Review of Raúl de Nieves: A window to the see, a spirit star chiming in the wind of wonder… at Henry Art Gallery

Written by TeenTix Newsroom Writer Sylvia Jarman and edited by Teen Editorial Staff Member Aamina Mughal

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“A window to the see, a spirit star chiming in the wind of wonder as you crown me with your iron, aid me on my flight…” it began. It felt like eavesdropping as I listened to the poem be read aloud by the artist himself, Raúl de Nieves, just as I had wandered into the gallery. It was a perfect illustration of de Nieves’ theology: an eclectic blend of spiritualism, Catholicism, self-expression, the cycle of rebirth, life, and death, and the belief that there is wonder to be found in the everyday. I was entirely enchanted by the small fragment that I had seen of de Nieves’ world, enamored by how exuberant it all seemed. The gallery demands that you see it in its entirety for you to see “a glimpse of infinity,” the “foliage of the light,” and “the unreality of the unseen” as the poem outlines.

A Window to the See prompts you to walk through the gallery circularly. Following the 21 stanzas lining the walls leads you in a full circle encompassing the gallery, past each of the three sculptures, beneath the arches of stained glass, with the final stanza leading back into the first seamlessly. The way that the curation plays into the themes becomes even more clear when considering the placement of the three sculptures. Following the poems in order takes you past “Deaths of the Everyday” first, followed by “The Gift” in the middle and “Celebration (Mother)” on the opposite end, nearing the last stanza. The three sculptures are representative of the three stages of life that de Nieves has identified: rebirth, life, and death, and they are presented in that order. This is yet another subversion of commonly held beliefs in Western canon. De Nieves skews this idea by presenting a nonlinear journey through the stages of life, beginning with rebirth and ending in death. Raúl de Nieves: A window to the see, a spirit star chiming in the wind of wonder… [Installation view, Henry Art Gallery, University of Washington, Seattle. 2023]. Photo: Jonathan Vanderweit.

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The Show Must Go On: Queen Rocks Montreal in IMAX Worldwide

Review of Queen Rock Montreal IMAX at Pacific Science Center

Written by TeenTix Newsroom Writer Juliana Agudelo Ariza and edited by Teen Editorial Staff Member Daphne Bunker

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Let me welcome you, ladies and gentlemen, I would like to say hello, Are you ready for some entertainment? Are you ready for a show?

The screen is dark. A faint glow stretches from the corner of the screen.

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Less of a Play, More of a Performance

Review of A Thick Description of Harry Smith (Vol. 1) at UW Drama

Written by TeenTix Newsroom Writer Lorelei Schwarz and edited by Teen Editorial Staff Member Kyle Gerstel

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When second-year UW graduate student Nick O’Leary pitched a show for the UW School of Drama’s 2023-2024 ticketed season almost a year ago, he was looking for a play with a unique form and relationship between performers and audience, and he found that in A Thick Description of Harry Smith (Vol. 1). To explain the show, O’Leary quotes the notes of playwright Carlos Murillo, with whom the cast was able to work during the first week of rehearsals: “This is less of a play, and more of a performance.” The play—or, rather, performance—is part of Murillo’s trilogy of Javier Plays, three scripts that draw from the work of little-known Colombian-American playwright Javier C.

The show, which incorporates live music and a chaotic, omni-surprising set, is difficult to describe, says O’Leary. “This script has its own rules, and Carlos has not followed any kind of template.” To bring a semblance of unity to this inherently unstructured show, he took inspiration from the medium of collage. When watching, audience members get the sense that there is no real end, and new pieces are added on, complicating the image.Photos by Sunny Martini, permission granted to use by the University of Washington, School of Drama.

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The Vivid and Horrifying Films of Tsai Ming-liang

Review of Rebels of the Neon God and The Hole directed by Tsai Ming-liang at Northwest Film Forum

Written by TeenTix Newsroom Writer Milo Miller and edited by Teen Editorial Staff Member Daphne Bunker

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Tsai Ming-liang has a knack for filmmaking. The Taiwanese film director knows just where to place the camera to get the perfect frame. He knows when to cut a clip to achieve the maximum effect of its weight and emotion. But most of all, he understands how to craft a compelling story with engrossing characters and little to no dialogue or music. He sets his films to a backdrop of ambient rain and city noises, achieving a feeling that is sometimes calming and sometimes tense the whole way through.

Rebels of the Neon God, which screened at Northwest Film Forum from January 10 to January 14, has some of the best-composed shots of the past few decades. It is both minimalist in its plot, characters, and sound design, and complex in its depiction of the ambiance of the city. The title of the film translated means: “Adolescent Nezha,” referring to the Chinese deity. At the beginning of the film, young student Hsaio Kang’s mother decides that her son is a reincarnation of Nezha, the “Neon God.” Throughout the film, we see Hsaio Kang through the lens of his relationship with this deity. Hsaio Kang, portrayed by the talented Lee Kang-sheng, does not think quite so highly of himself. Instead, after quitting cram school to collect the refund, he slinks around the city, stalking the petty crimes and romances of Ah Tze and his friend Ping. He never directly intervenes with any of the people he is trailing, but their interactions (either subtle or overt) leave lasting emotional effects on him. Still from Tsai Ming-liang's Rebels of the Neon God (1992), courtesy of Big World Pictures.

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We Can Do Together

Review of Black Nativity at Intiman Theatre
Written by TeenTix Newsroom Writer Karli Kooi and edited by Teen Editorial Staff Member Kyle Grestel

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At the end of each year from 1998 to 2012, a staging of Black Nativity by playwright Langston Hughes was produced by Intiman Theatre, captivating Seattle audiences with a poetic celebration of Black joy and talent. Despite Black Nativity’s 10-year hiatus, fans inquired about tickets to the show each winter. This past December, director Valerie Curtis-Newton answered prayers for a Seattle revival with a reimagined production, adding a new act that embraces Black Gospel culture to bring warmth, exultation, and connection to Seattle audiences. The 2023 production also features choreography by Vania C. Bynam and music direction by Sam L. Townsend Jr. It is presented in partnership with The Hansberry Project, a professional African American theater lab “dedicated to the artistic exploration of African American life, history, and culture” led by Curtis-Newton. Founded in 2004, The Hansberry Project aims to provide the community with “consistent access to African American artistic voice… rooted in the convictions that black artists should be at the center of the artistic process, that the community deserves excellence in its art, and that theatre’s fundamental function is to put people in relationship to one another.” Their motto, “Where ART meets SOUL!”, is magnificently reflected in Black Nativity.

The show was first produced off-Broadway in 1961 with a cast of over 160. Since 1970, it has been performed yearly as a cherished tradition in Boston and continues to move and delight audiences nationwide. The show includes an all-Black cast and features design elements that incorporate African and African-American culture. The play, written as one act, is divided into two acts in this reignited production. The first part follows the Christian nativity story of Mary giving birth to Baby Jesus. Black Nativity adapts the classic tale with humor and regard. An incredibly talented gospel choir accompanies soloists from the group as well as a featured cast of five. The choir is clad in classic choral robes, sits around a lively band. Both choreography and choir-ography by Bynam accompany the production. The dancers move in individual spirit; their movements aren’t synchronized, but they’re aligned in their verve and emotion. Solos and duets enhance both sung and spoken passages, and technical vocal talent connects strong feelings with expressive dancing. The costumes by Dannielle Nieves, worn by dancers, featured characters, the five-person cast, and the onstage music director, provide vibrant texture and color to the show. Highlights include a pleated gold cape on an angel, beaded and frilled headpieces, and a blue, tie-dyed wrapped dress around the dancer Mary. Radiant lighting, by designer Robert Aguillar and assistant designer Chih-Hung Shao, masterfully shifts in tones with the story’s spirit. The set, designed by Jennifer Zeyl, consists of stained glass windows hanging above the stage. An upper platform allows for engaging cast movement that enhances this first act. Choir and Dancers, Photo by Joe Moore 2023

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Stories of colonial Latin America, for 21st-century Seattle

Review of ¡Navidad! The Mystery of Mary at Pacific Musicworks
Written by TeenTix Newsroom Writer Reagan Ricker and edited by Teen Editorial Staff Member Audrey Gray

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With little candles atop wooden coffee tables and the soft murmur of voices from people, as they filed in, Town Hall Seattle was the perfect place to spend a cold December night. But as the audience settled into their seats to see ¡Navidad! The Mystery of Mary, the room was transformed from the streets of Seattle into the rainforests of Latin America with the sounds of various rain shakers and whistlers.

Hosted by Pacific Musicworks, ¡Navidad! The Mystery of Mary is a collection of music entirely dedicated to the “Feminine Divine” of an otherwise predominantly patriarchal church, Mother Mary, by focusing on the bodies of art, poetry, and music that blossomed from Marian traditions on both sides of the Atlantic. This ambitious goal manifested itself in 15 songs, split into 4 respective sections. The show’s program acknowledges this: “These works explore truths far too universal to limit to one creed: the humanity and wonder of motherhood, the desire for comfort in difficult times, and our hope for redemption and healing in a broken world.”

The Mystery of Mary, which sought to showcase the “dynamic blending of European, African, and Indigenous beliefs that characterized Christianity in colonial Latin America,” ultimately accomplished their goal in a way that didn’t comprise the authenticity of any one period or style. Part of their success in doing so came from the compositions themselves, constructing a story chronologically: the audience wasn’t simply observing a musical ensemble but taking part in a series of stories with instruments as the method of narration. Like most stories do, The Mystery of Mary starts at the beginning. Mezzo-soprano Cecilia Duarte, spotlighted in the center of the black stage, sets us up for the performance to come not with singing, but by describing the 1531 Marian apparition of the Virgin de Guadalupe in Mexico City. As the Virgin Mary appeared to Juan Diego on the Hill of Tepeyac to ask him to construct a church in her honor, Cecilia posed to her audience the same question Juan Diego wondered a little over 500 years ago: “Am I worthy of what I’m hearing?”

As the doors of Town Hall finally closed, the rest of the musical ensemble’s eight members readied themselves on the small stage. As Stephen Stubbs turned to the Baroque guitar, Maxine Elainder to the harp, and Antonio Gomez to percussion, the rest of the ensemble picked up on the storyline where Cecilia left off. As we saw a change from polyphonic choral compositions to more homophonic and expressive pieces, we were experiencing in real-time the changes that the music world encountered as it shifted from the Renaissance Era to the Baroque period, and the focus from “exquisite Renaissance motets to boisterous folk dances” that took place in Mexico, Cuba, Guatemala, Brazil, and Peru. As the guitar grew from playful and lilting in one piece to a sorrowful and slowed tune in another, the four acts—Rosa Mistica, Made de Dios, Estrella de Mar, and Reina del Cielo—held our hands as we walked through the changes in historical events and Marian apparitions that accompanied each piece. Throughout each piece, the beauty that emerged from the clarity and power of Duarte’s voice and the ensemble’s playing was undeniable. As I looked around to the rest of the audience who now sat spellbound in their seats, I knew we were all asking ourselves the same question Juan Diego did back in 1531: Am I worthy of what I’m hearing?

Many of the pieces performed, having emerged from the mixing between indigenous, African, and European identities in 18th-century colonial Latin America, were most likely never imagined to be played in 21st-century Washington state. The Mystery of Mary certainly achieved their dedication to past stories and history through traditional percussional elements and the use of the recitative and aria in Duarte’s opera, both defining characteristic features of the Baroque age. Nevertheless, what I found more impressive was how much The Mystery of Mary felt relevant, and most importantly close, even though the pieces were written so long ago.

Part of this was due to the feeling that by the time intermission rolled around, there was no longer an unspoken barrier between the edges of the front row seats and the stage: nothing was separating the storyteller and audience members. We laughed alongside Henry Lebedinsky when he took a break from Harpsichord to unveil a tambourine and mirrored the expressions shared between Baroque violinists Cynthia Black and Tekla Cunningham after each intimate and vulnerable number. There was no music played during intermission but there is something to be said about the artistic nature of the community I found myself fortunate to observe that night. Through commendable storytelling and interaction both in and out of their playing, the audience was not only able to learn about the often under-shown history of colonial Latin America but experience and physically listen to the changes of time through depictions of the Virgin Mary as well.

Perhaps the point of the composition wasn’t meant to force us to question our worth like Juan Diego did in 1531, but instead to appreciate the opportunity to listen to history and acknowledge the beauty and the role of the Virgin Mary in Latin America together one cold December night. image credit: Pacific Musicworks

Lead Photo Credit: Cecilia Duarte, courtesy of Pacific Musicworks

The TeenTix Newsroom is a group of teen writers led by the Teen Editorial Staff. For each review, Newsroom writers work individually with a teen editor to polish their writing for publication. The Teen Editorial Staff is made up of 5 teens who curate the review portion of the TeenTix blog. 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.

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Elegance in Aluminum

Review of Steinunn Þórarinsdóttir: Wayfinders at National Nordic Museum
Written by TeenTix Newsroom Writer Eme Graunke and edited by Teen Editorial Staff Member Daphne Bunker

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Steinunn Þórarinsdóttir: Wayfinders, showing at the National Nordic Museum until January 28, is an abstract exhibition about humankind's connection with nature. It features aluminum humanoid statues scattered throughout the museum; some are on the second-floor bridges, surveying the entrance like sentries. Some are worked into other exhibitions, hidden in plain sight; others are secreted away in alcoves, and others still are out in the open or bracing themselves on the wall, waiting for viewers to notice them.

The exhibition also includes a collection of rough watercolors and the artist's summary of what these figures are meant to show. This summary and the watercolors add crucial context; without the information in the overview, the sculptures would still be beautiful, but their intended message wouldn't be as clear. The watercolors depict the statues interacting with invisible forces of nature. photo credit: @photobakery

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De/Reconstruction - How Positive Fragmentation Challenges High Art

Review of Positive Fragmentation at Bellevue Art Museum
Written by TeenTix Newsroom Writer Sylvia Jarman and edited by Teen Editorial Staff Member Aamina Mughal

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The concept of “positive fragmentation” existed long before the exhibition at the Bellevue Art Museum. The term was coined by the feminist art critic Lucy Lippard, in her 1978 essay, Making Something from Nothing. Lippard’s essay dissects the disparity in male and female representation in high art. Lippard notes that art produced by women tends to be labeled as hobbyist and nothing more by those discussing high art. She goes on to state that the same can be said for certain art mediums, specifically printmaking, as it is seen as replicable and, thus, less rare or valuable. With Lippard’s idea here in mind, there is a clear intersection for female artists whose primary medium is printmaking, who have gone almost entirely overlooked because of this. Enter “positive fragmentation,” a term Lippard uses to describe the aesthetic of these artists and what their work accomplishes. “Positive fragmentation” is described as eclectic, bombastic, the “collage aesthetic,” and Lippard posits that it lends itself incredibly well to marginalized artists because of its inherent willingness to deconstruct and then reconstruct the notions of high and low art. The exhibit Positive Fragmentation, bearing the same name as Lippard’s theory, aims to the ideas she had outlined, showcasing over 200 prints by 21 contemporary women printmakers that demonstrate the sheer power of the medium, totally averting the preconceived notion that prints are incapable of being expressive and unique.

The exhibition is found on the third floor of the Bellevue Art Museum (BAM), a sprawling space lined wall-to-wall with prints from remarkable artists such as Betye Saar, Wendy Red Star, Louise Bourgeois, and many more. Exhibiting so many pieces in a relatively small space is a difficult task. For many other gallery spaces, the exhibition would have felt confusing and hectic, yet the BAM handles it incredibly well. There is a good flow to the gallery, with the pieces displayed in groups of several smaller subcategories: time, bodies, art history, meaning, subtext, and critique. With this method of display, the viewer feels a sense of cohesion, and it makes the task of displaying such a sheer number of pieces much less daunting. BAM is a smaller space, but this is by no means a negative quality. To an exhibition such as Positive Fragmentation, such a small and intimate setting lends itself well. It makes the exhibition feel all the more personal like the viewer has a greater opportunity to connect with the art, and it neatly avoids the hollow or empty feeling that certain larger spaces often have. Photo courtesy of Coco Allred

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Little Women: A Modern Retelling

Review of Little Women at Seattle Rep
Written by TeenTix Newsroom Writer Prisha Sharma and edited by Teen Editorial Staff Member Anna Melomed

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Upon entering Seattle Rep, the first thing that caught my eye was the small fireplace on the stage, plumes of smoke coming out from the top. Feeling like I was almost at home on an early Christmas morning, a soft flurry of snow descended upon the stage, delicately pirouetting in the air as the sisters called out for one another without being seen. Like cracking open a book, Seattle Rep's rendition of Little Women created an atmospheric marvel and a sincere retelling of the beloved story.

Through its many variations, I have fallen in love with the purity and innocence of Little Women, with its characters, setting, and timeless meaning. Rebecca Court, playing Amy, and Amelio García, playing Jo, both portray their characters flawlessly, captivating the entire audience. Their onstage chemistry is a testament to the intricate relationship between Jo and Amy, the constant bickering mirroring many sibling relationships. Being a focal point of the play, relationships, and connections are prioritized, yet the spotlight that was put on the sisters' relationships far outshined the one placed on Jo’s and Laurie’s intricate romance. Without any discernible connection between Laurie and Jo, it was difficult to feel any sort of actual heartache upon seeing her reject him. Their connection was more than just fleeting, and their knowing each other since childhood should have been something more time was spent on. This moment was to display a loss of innocence, and the stark reality Jo had to face in the ‘real world,’ where love did exist, where she had to make decisions concerning these issues. Katie Peabody, Rebecca Cort, Cy Paolantonio, and Amelio García in LIttle Women. Photo by Bronwen Houck.

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Go Beyond the Great Wave: Hokusai, History, and the Art of Curation

Review of Hokusai: Inspiration and Influence at Seattle Art Museum
Written by TeenTix Newsroom Writer Kaylee Yu and edited by Teen Editorial Staff Members Anna Melomed and Kyle Grestel

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Katsuhika Hokusai’s The Great Wave off Kanagawa (known more widely as The Great Wave) is an instantly recognizable icon of pop culture. Everyone knows the deep Prussian blue waves, crested with curling white seafoam, standing stark against a tan-tinted sky. In the nearly 200 years since the 1830-‘31 production of the piece, it has been studied, recreated, and studied again, with The Wall Street Journal even calling it “possibly the most reproduced image in the history of all art.”

But there is infinitely more to Hokusai’s legacy than this 10-by-15-inch woodblock print. Katsushika Hokusai, Under the Wave off Kanagawa(Kanagawa-oki nami-ura), also known as theGreat Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjûrokkei), about1830–31 (Tenpô 1–2)Museum of Fine Arts, Boston, William Sturgis Bigelow Collection, 11.17652Woodblock print (nishiki-e); ink and color on paper

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Irving Berlin’s White Christmas: Nostalgic, If Not Timeless

Review of Irving Berlin’s White Christmas at Fifth Avenue Theater

Written by TeenTix Newsroom Writer Lorelei Schwarz and edited by Teen Editorial Staff Member Kyle Gerstel

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When the faux snowflakes drift into the audience during the finale of Irving Berlin’s White Christmas from the 5th Avenue Theatre, it’s impossible to deny the magic of this show, the cable-knit sweater coziness of it all. Unfortunately, the chances of it snowing outside are slim to none, but you walk out of the theater convinced that life leans toward the magical, expecting a blanket of white to cover the city streets.

White Christmas, a stage adaptation of the 1954 movie musical of the same name, features holiday classics and angsty love songs alike. In the show, World War II veterans-turned-star singing duo Bob Wallace and Phil Davis decide (well, Phil decides and Bob is reluctantly dragged along) to follow another singing duo, the Haynes sisters, to Vermont.

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LINEAJES: Unifying Cultural Identities Through Music

Review of Antonio M. Gómez: LINEAJES at Frye Art Musuem
Written by TeenTix Newsroom Writer Juliana Agudelo Ariza and edited by Teen Editorial Staff Member Daphne Bunker

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Amid the sublime paintings of Frye Salon, instruments wait in the middle of the room. They cast a poignant presence on viewers, the silence of the room awaiting the cacophony of their mellifluous sounds. Until March 10, 2024, visitors coming to the Frye Art Museum will get to experience LINEAJES, an exhibit focused on the dynamic histories and rhythms of these instruments around the world, taken directly from the collection of Antonio M. Gómez. The exhibit juxtaposes the past and the present, and how the upholding of timeless methods continues to evolve and influence how those instruments are played today. LINEAJES brings to light the artistry behind the design of the instruments, their undeniable impact on the unification of cultural traditions, and the distinctive sounds that have become part of our own identities.

Frye Salon is an ideal setting for the art found within. This venue consists of white walls that are adorned with beautiful paintings, mostly by European artists. These artworks cast a golden shine with their elaborately-crafted frames.

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Fall Film Reviews

Review of films screened at TeenTix Partners this fall

Written by TeenTix teens as part of a Film Writing Challenge and edited by Press Corps teaching artist Jas Keimig

War Games Sheedy and Broderick on computer 750x430

A Classic Game of Chess

Review of WarGames screened at SIFFWritten by Teen Editorial Staff member Daphne Bunker

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