TeenTix Blog Reviews

Like snow adorning balconies, or the familiar smell of cinnamon cookies wafting through your house, the Christmas spirit is afoot wherever you may be. This little spirit has also waltzed into Benaroya Hall, where the Seattle Symphony plays alongside a showing of the classic Christmas film Home Alone. 

My night began in the plush seating, where I gazed up at the stage, glowing in shades of green and red. People walked in with reindeer headbands, Santa hats,  and sweaters christened with quotes and characters from beloved movies. As the symphony took their seats and the conductor, Sunny Xia, took the stage, a slight hush fell over the room, with excited murmurs filling the gaps in the silence. “This is not like your usual symphony,” we were warned, a statement that existed throughout the show. Xia explained that we were free to cheer, and unlike other movie screenings, we were more than welcome to stay through the end credits since the symphony shone “all the way through.”

The 5th Avenue Theatre’s production of the childhood classic Mary Poppins is “Practically Perfect” in every way. Running from November 21 to December 25, The 5th Avenue Theatre in the heart of Seattle has put forth their take on the beloved musical adaptation of the P. Travers books and 1964 film. Showcasing detailed set pieces and special effects, dramatic lighting and costumes, and fantastic actors, the work is able to fully immerse the audience into the world of magic while simultaneously pushing those watching to reflect on both personal and political issues. 

Set in England in 1910, Mary Poppins depicts the story of the Banks family, consisting of parents George and Winifred Banks, and their two young children, Jane and Michael. Jane and Michael consistently drive off any nanny that comes to their household, leaving their parents at a loss for what to do with them. In a twist of luck, or perhaps fate, the magical Mary Poppins winds up at the Banks household, offering to take on the role of their nanny. Will her whimsical ways be enough to bring this family back together?Mallory Cooney King and Danny Gardner in Disney and Cameron Mackintosh’s Mary Poppins. Photo Credit: Mark Kitaoka. Courtesy of The 5th Avenue Theatre.

Before November 23rd, I had never been to a professional improv show. So when I walked into the Market Theater on Post Alley, (tucked in across from the iconic Pike Place Market Gum Wall) for an Agatha-Christie-inspired murder mystery improv show, I was not sure what to expect. My inner introvert was telling me to sit in the middle, where I wouldn’t be a target of unexpected calls for audience participation. However, as soon as I arrived, I instantly felt a sense of community in the theater. I had a feeling that Unexpected Productions’ performance of Murder in the Market: An Improvised Agatha Christie was going to be worth my time.  And it was. Murder in the Market is a fun, suspenseful show that incorporates Christie's traditional style with the actors’ improvised humor and wit to create a delightfully murderous show that appeals to fans and nonfans alike. 

As a fan myself, I was excited to see how the Queen of Crime’s style would be adapted into an improv show. Agatha Christie, a British mystery novelist and author of many famous who-dun-its including Murder on the Orient Express, And Then There Were None, and Death on the Nile, is beloved for her unique style, brilliant plotlines, iconic characters, and instantly recognizable story elements, which the team at Unexpected Production recreated in new ways each show. Photo by Bill Grinnell, courtesy of Unexpected Productions.

To celebrate the 125th anniversary of Duke Ellington's life, the Seattle Repertory Jazz Orchestra took on one of his most storied records: Far East Suite, a sprawling concept album born from Ellington's grueling tour of the Middle East. Ellington described the 11-week, state-sponsored journey that inspired this record as “one of the most unusual and adventurous trips [his orchestra] had ever undertaken”. It was high praise, considering his orchestra had been touring relentlessly on and off for three decades. So, after thirteen vaccinations, he, alongside longtime compositional partner Billy Strayhorn and their orchestra, embarked on a musical odyssey that would take them through 22 cities in ten countries. They faced shortages in food, frantic traveling, intestinal flu, and even an attempted coup. Still, through this pain and hardship, they brought home a timeless musical artifact born from cultural collision: the Far East Suite.  

Borrowing from foreign cultures has always been a trope in music, but Far East Suite uses this musical mimicry in a different sense. It doesn’t only borrow or emulate foreign conventions; it places you in Ellington's shoes as he went through that 11-week tour. Far East Suite is a collection of vignettes that vividly guide the listener through a myriad of exotic new places, half-remembered and made mystical by the culture shock Ellington himself experienced.  

The Pomegranate Tree, created and directed by Suz Pontillo and Ayla Wren Wallace, is nothing short of a fun time. The experience is part play, part party, and part choose-your-own-adventure game. The best part is that you can choose exactly what you want it to be at any given time. 

The experience invites you, mortals, to be a guest at the wedding of Hades and Persephone along with gods and heroes of Greek myth. Audience members were given a coin upon entering the waiting area. For those unfamiliar with Greek mythology, in ancient Greece, people were buried with coins under their tongues to serve as payment for their passage to the afterlife. Details in the show are consistently accurate to the original myths. We were then led into the main room and introduced to the story by Kharon, the ferryman, and Hecate, the goddess of magic. The area consisted of a small stage at the front with two thrones, a grove with a pomegranate tree, a bar in the back, and several tables towards the sides of the room. The design was relatively simple yet well-crafted and thought out. It served the purposes of the show well.

Why should you go to a piano concert? 

Aren’t those for old people? Wouldn't it be boring, to just sit there and stare? Those are all common misconceptions that I never once questioned, until I experienced Yullianna Aveeda’s captivating performance at Benaroya Hall. 

The brilliant Japanese Shibuya-kei, city pop, and jazz band Lamp came to Seattle for the first time on October 3rd at Showbox SoDo. Lamp’s music is often regarded as its own genre, combining elements of bossa nova, jazz, pop, and electronic music. They use various instruments to corroborate these genres: the guitar being electronic, the melodies being pop, the vocals being jazz, and the saxophones being bossa nova.  It was their first time touring across America on the FUTURE BEHIND ME tour since their debut in 2003. 

They elated the audience with melodic, soothing, and smooth performances, playing various hit songs. You may have heard their music on media platforms such as TikTok since their rise to popularity in 2021. Though they’ve been a group for twenty years, their recent virality enticed them to tour across America. They are now known and praised by larger Western audiences and are loved for their spectacular discography. It felt novel to be one of the first audiences in America to view the greatness of Lamp. 

Do you remember how you saw the world as a kid? For me and my overactive imagination, the world was so big and full of possibility—yet things were so much simpler. As soon as I walked into Seattle Children’s Theatre (SCT) with my family, TheaterWorksUSA’s musical adaptation of Cat Kid Comic Club took me back to that vibrant simplicity.

When I was around six years old, my favorite book series was Captain Underpants. Upon first discovery, the memorable characters, irreverent humor, and innovative page-flipping fight scenes had me captivated, and after begging my parents to buy it for me, I read the book cover-to-cover… and then I immediately reread it two more times.

Whether you know it or not, you’ve certainly seen Keith Haring’s art. From being plastered on the subways of New York in the ‘80s to the classic motifs of his featured on brands like Converse and Uniqlo today, it’s no doubt that Haring is a household name, despite the tragic brevity of his career; Haring unfortunately passed away at 30 from complications due to AIDS, only 10 years into his career. The Museum of Pop Culture recently presented a special exhibition called Keith Haring: A Radiant Legacy, with over 240 pieces of his artwork on display, as well as selections from Haring’s personal art collection and work from his close friend and inspiration Angel Ortiz. The exhibit is a thorough, comprehensive overview of the artist’s life, if sometimes improperly structured. 

The first room acts as a landing depot, transporting you straight into the ‘80s.  Cyndi Lauper plays as you walk around the first room and read about Haring in his childhood, early career and life as an art student. Haring’s work is famously recognized for its iconic lexicons, so it’s no surprise that the exhibits start with the early forms of his classic figures, such as his Smiling Face, an iconic early piece which appears in many iterations throughout the gallery. The first room provides context needed to appreciate the rest of his featured work, and elaborates on his signature styles through the three sections of the gallery. Keith Haring: A Radiant Legacy. Photo courtesy of MoPOP.

As the daughter of a murder mystery fanatic, I’ve grown up learning how to guess the killer. Inevitably, some piece of dialogue or strategically placed object gives the culprit away. After all, the author always knows who their villain is, even as they try to hide it from us. Suppose, though, that there is a mystery story in which the author does not know the killer. Neither does the director or lights crew or cast. Not even the killer knows who they are until the story has begun.

Such is the case with Emerald City Slasher. This Jet City Improv production in the intimate West of Lenin theater transports audiences to the very familiar, coffee-addicted, and perpetually rainy Emerald City. The improvised murder mystery follows eight friends who are struck by tragedy once one of them falls victim to a gruesome murder. As friends are picked off one by one, they race to find the culprit before they themselves are slashed. In the first scene of the show, actors pick up cards. These cards describe characters created by audience members just moments before. The card also tells them whether they are a survivor, a victim, or… the Emerald City Slasher! No one in the cast nor crew knows anyone’s true identities until the final scene where the slasher is uncovered. My cast included characters such as Danielle, a timid zoo keeper with a fascination for mysticism; Bobby, a failed beer brewer who loves a good laugh; and John, a gruff man opposed to change, working as a window wiper at the Amazon Spheres.  The improv nature of the show gives a unique authenticity to the mystery, but unfortunately makes for an unsteady first act.The cast of Emerald City Slasher at Jet City Improv. Photo by Stephen Anunson.

Take 1: By Anna Melomed

How to get away with a murder? Hit Man feels like an exploration into that twisted yet universal fantasy. The film gives the audience plenty to think about as they enter the main character’s, Gary Johnston’s, world of philosophy, psychology, and justice. 

This review contains spoilers.

Fat Ham is a radiant phoenix soaring through the ashes of Hamlet’s tragedy. With a lively set and explosive characters, this show is a sweet to the sweet.

We follow the story mainly from Juicy, a Queer Black man who struggles with the recent union of his mother, Tedra, and his uncle, Rev. The couple, who married shortly after the death of Juicy’s father, hosts a barbecue party to celebrate. While Juicy helps set up the backyard for the party, the ghost of his dead father visits him and orders him to kill Rev, revealing he was the one that killed him. From there, the story spirals into chaos including musical performances and questionable monologues, while introducing us to the reimagined versions of Hamlet’s characters. Giving a fresh adaptation that branches out from the original play, we see how a story of a woeful prince of Denmark becomes a tasteful tale for the modern age.

Fat Ham is a theatrical feast. It’s a pork-fectly captivating performance full of outstanding success, from the language to the dance party in the end, this production is a must-see. Don’t miss out on this flavorful ride!

Fat Ham, written by James Ijames is a Hamlet-inspired play that made its successful debut at the Public Theater in New York City on May 12, 2022. This production has been generating excitement for its strong exploration of identity through the idea of toxic masculinity, vulnerability and building community. Its recent show on May 9, 2024 in Seattle highlighted the importance of being yourself and accepting who you are. Unlike Hamlet, Fat Ham is mostly focused on finding yourself and not much on seeking revenge. The story revolves around Juicy, a young Queer African American man, who is confronted by the ghost of his dad during a barbecue in the backyard of his modern-day American house, with his contemporary Southern family.

Subverting expectations is the name of the game with this play. Fat Ham is a loose adaptation of Shakespeare’s titular play Hamlet. This play written by James Ijames is a wonderful example of subversion that deserves recognition. It truly feels like a modern take on the works of Shakespeare, who, bear in mind, actually wrote a large amount of comedies. The humor and tragedy are blended so finely that it will leave you in both kinds of tears.

Its intentional focus on Hamlet isn’t just superficial or simply the base in the blend of a story, but the core of which the whole story sits on, allowing the reflection of Shakespeare's work to be visible throughout this play. The values of this story flipped on its head as the story asks, “Why must it be this way?” creating comedy in the face of would-be tragedy. With the focus character of this play being Juicy, our Hamlet counterpart focuses on why one should be allowed to be soft combined with the hardships one would face as one strives for it. This perfectly compliments Larry, the Laertes counterpart which at first seems to coincide with Laertes much more than Juicy with Hamlet, with how he served in the military and even more so with him being an honor-bound yes-man. But if you look closer you see an inner softness that wants to escape the pressure put on him that is practically restraining him to that version of him that other people want him to be.

Fat Ham at the Seattle Rep is a wonderful performance that creates a conversation with the audience about self expression, identity, expectations, and above all else takes immense joy in having fun with the audience. From the set work to the actors’ physical performance, a sense of excitement and festivity is present through the entire play. Although it is very different from its source material of Shakespeare’s tragedy Hamlet, Fat Ham does keep a condensed form of the original’s structure, using it to orient the audience and smoothly establish the play’s characters, plot, and where it differs. The play opens with Juicy (the analog to prince Hamlet) and Tio (the analog to Horatio and Juicy’s cousin) decorating for the party celebrating the marriage of Juicy’s mother, Tedra to his uncle, Rev, which will be the setting for the rest of the play.

Throughout the performance, the cast and especially Juicy, will address or acknowledge the audience, the Shakespearean origins of the play, and the expectations the audience has from those origins. Early on, Juicy will quote lines from Hamlet to demonstrate how he is more studied and introspective than those around him and this evolves later into one of multiple fourth wall breaks, where Juicy stops the play and quotes one of Hamlet’s famous soliloquies in its entirety to the audience. This element of the play can be seen as clunky or gratuitous, but it’s a functional way to integrate Hamlet into its shortened structure and lighter self-referential tone.

Backyard barbeques aren’t your typical setting for tragedies—especially not a Shakespearean tragedy. And yet, the Pulitzer prize-winning interpretation of Hamlet, called Fat Ham, takes place in a suburban backyard. Playwright James Ijames reimagined Hamlet, a story of death, tragedy, and revenge, to be retold by a Southern African American family. Hamlet himself is represented by a queer Black man named Juicy, tackling the challenges of generational trauma and self-identity. The characters themselves struggle with modern problems in a modern-day setting, attributing to the play's biggest strength—its relatability. James Ijames took advantage of the universality of Shakespeare’s themes and effectively translated them into a Southern context. Much like Hamlet, Fat Ham begins with the celebration of Juicy’s mother marrying his Uncle, Rev. However, unlike Elsinore, their wedding cookout takes place in Juicy’s backyard, shortly after the death of Juicy’s father, Pap. Pap later returns in a ghostly form and demands that Juicy avenge him, as it was Rev who was responsible for Pap's murder. This event serves as a foundation for Ijames to introduce themes of mental health, violence, and generational trauma within Black communities. Fat Ham serves as a successful adaptation of Hamlet due to its representation of conflicts within Black communities and breaking those cycles.

While Fat Ham does showcase the darker side of African American trauma, it shows those patterns being broken and resolved. An example of this is with Pap. Ijames strategically paints him out to be an abusive father, to represent violence within Black communities in the play. This message is conveyed through aggressive, argumentative dialogue to engage the audience with captivating, evoking verbal conflicts. During Pap’s visit from beyond the grave, they argued, violent words being thrown at each other at bone-rattling volumes. As someone who has heard such conflicts many times before in my own family on similar topics, I found the disagreements to be very relatable. It feels raw, using commonly used phrases many teens hear these days coming from parents, which is something that many fights in entertainment tend to overlook. You can tell Ijames and other writers had done their research when skillfully writing what real quarrels sound like. The dialogue continues to be this play's strong suit to also convey themes of mental health to both characters and directly to the audience.

James Ijames serves a sizzling feast of social commentary with a glaze of comedy, all wrapped in the stage play, Fat Ham. In Fat Ham, we follow a Hamlet-like character, Juicy, and his struggles with his newfound family dynamic; after his father, Pap, was killed in prison, his Uncle Rev, married his mom, Tedra. At the beginning of the play, while Juicy leaves his best friend/cousin Tio in the yard, Pap's ghost appears. With flickering porch lights and a red sky, Pap, draped in white sheets, shuffles through the yard in search of Juicy as thunder cracks off stage. The same scene is repeated when Juicy is now left alone, mirroring the same sequence in the original Hamlet, yet instead of Juicy bravely seeking after his father’s ghost, he cowers in fear, freaking out as the spirit surges towards him. Pap then urges Juicy to seek revenge once he calms down, encouraging him to gut his uncle like a pig in a display of toxic masculine ideals of violence. Throughout the play, Juicy struggles with the idea of killing Rev, not wanting to follow his fathers footsteps.

Juicy, (portrayed by Taj E.M. Burroughs), is an angsty, brooding, thoughtful character; much like his Shakespearean counterpart, Hamlet. His story similarly follows Hamlet's, with the exception of the family dynamics. Though Juicy struggles with his fathers, Pap’s, (played by Reginald André Jackson), death, it’s for different reasons. Juicy isn’t super comfortable with grieving his father, seeing as they didn’t have the best relationship; he recounts a time when Pap destroyed his favorite doll because he viewed it as unmanly. His mom, Tedra, (Jasmine Lomax), also recounts how Pap would hit her, “in the tit!”, as she said. Another difference between our modern Hamlet and the original is that he doesn’t actually want to kill his uncle Rev, (also played by Jackson), because his father wants him to. He doesn’t like him, that much is the same, but Juicy dislikes him because he pressures Juicy to be more manly, even encouraging him to fight and be angry, much like Pap. Plus the fact that Juicy recognizes how fast Rev married his mom, and how harmful Rev’s behavior can be to her. Tedra still sees this as an improvement from Pap, though, because even if Rev is mean and toxic, he’s a step up from Pap, and Tedra is scared of being alone, as she states when talking to Juicy about his problems with his uncle.

Accepting a legacy is never as simple as it sounds, whether it be the weight of a crown or a sizzling hot grill. It’s considered an honor to carry what your forefathers have passed down—or at least it should be. Seattle Rep presents a modern adaptation of Shakespeare’s Hamlet called Fat Ham, written by James Ijames. It follows the story of Juicy, an aspiring HR manager, as he battles expectations creeping in from every corner and staying true to himself as a queer and Black man in the rural South. Having so much piled on his plate, Juicy’s various troubles and even that of those around him echo the many realities of swaying in contradiction. It’s hard to know where to start. Through its characters’ struggles, Fat Ham beautifully portrays the struggle of being authentic towards yourself in an environment that doesn’t nurture it.

The play opens by showing off preparations to celebrate Tedra’s (Juicy’s mom) remarriage to Juicy’s uncle, Rev. Juicy is then visited by an anguished spirit in need of revenge: his own father. With the pressure on and a blade thrust into his hands, Juicy’s subjected to countless reminders of his upbringing and is faced with an ultimatum he’s not sure he can carry out, as it goes against his core beliefs. Torn between continuing a toxic cycle and challenging expectations for the men in his family, Juicy sets himself down a path of trial and error.

Day in Day Out is a three day indie music festival at Fischer Pavilion in the Seattle Center. This year, hundreds of people flocked out to see their favourite artists while withstanding some seriously hot weather, with temperatures hovering around the mid 80s over the weekend. The crowd was trending younger, with many people taking refuge from the sun sitting on a grassy slope looking out at the stage that was completely covered in people the whole time I was there. Photo courtesy of Day In Day Out Fest

There were food trucks and various booths giving out free energy drinks, breath mints, protein shakes, and the like as some sort of giveaway marketing campaign. The Celsius booth was particularly intriguing, with a bizarre silver ball sculpture in the middle of their tent that was reminiscent of videos I’ve seen of liquid mercury. Unclear how liquid mercury relates to energy drinks but it was kind of cool I guess in a waste of resources kind of way. All their reps were wearing matching all black outfits, matching Celsius tees, and matching fake tans. I shouldn’t be too judgmental though, as I did partake in the free Celsius. The festival setup was simple, with a mainstage, and in the 21+ section a DJ booth that had mostly local acts playing music in between sets. Philadelphia indie punk band Mannequin Pussy were fantastic performers, with guitarist and lead singer “Missy” Dabice oscillating between a breathless baby girl lilt and hoarse full throated screaming, both while singing and talking to the audience. She railed against the harmful heavy metals and toxins found in tampons in between songs, and many lyricshad a political message to them. Photo courtesy of Day In Day Out Fest