TeenTix Blog Reviews

I Am Not Your Perfect Mexican Daughter is an exceptional play. It showed angst, delight, and a roller coaster of emotions. Along with a beautiful set and a hand on the back with the stage crew.

I Am Not Your Perfect Mexican Daughter is a play put on by the Seattle Repertory Theatre, it puts you in the shoes of 15-year-old Julia Reyes, who is dealing with the death of her sister Olga and the pressure to be "the perfect Mexican daughter." A brilliant interpretation of a Mexican household and an emotionally strong play.

From drama and comedy to real-life issues. A rebellious daughter and an obedient one (or so it seemed). The beauty and sadness of it all. The play adaptation of the novel I Am Not Your Perfect Mexican Daughter by Erika L. Sanchez has it all and more. Brought to you by Seattle Repertory Theatre and playwright Issac Gomez, we explore the life of Julia Reyes, a Mexican American 15-year-old teen, as she navigates life after the tragic death of her older sister, Olga. Dealing with her grief, school, life at home, and more, she soon discovers that Olga might not be the perfect saint daughter we all thought she was. This magnificent, well-written play leaves the audience wanting more and at the edge of their seat with the actors, beautiful art, and wonderful portrayal of the story.

The play succeeded in making fans die of laughter, gasp from all the drama, and tear up with sadness. Actress Karen Rodriguez, who played the main character Julia Reyes, did absolutely amazing in portraying the emotional wreck and thought process of a normal 15-year-old Mexican American girl dealing with depression and anxiety. Throughout the play, Rodriguez never fails to stutter or forget her lines. She makes you feel empathy and sadness for Julia throughout the play and never once breaks character. She sure puts on a great show for the audience, making the audience in their seats feel the need to want to understand Julia as a character and person. Rodriguez has many lines and choreography to learn not only as the main character/narrator but in fact, performed flawlessly on stage. Sofía Raquel Sánchez, who plays Julia's older sister Olga, follows Julia in bits and pieces of the show, constantly showing up in the background of scenes. The rest of the main characters: Amá (Jazmín Corona), Apá (Eddie Martinez), Lorena (Leslie Sophia Pérez), and Juanga (Marco Antonio Tzunux) gave their raw emotions and effort to make this project truly come to life. At times, the show became so surreal that you forget you're even watching a play.

How do you cope when your perfect sister gets hit by a semi truck? And what are you supposed to do when you find out about the double life she was living? How can you ever tell your parents that their perception of their perfect daughter was totally wrong and now you have to carry the burden of a secret that will eventually eat you up inside? And eventually have to navigate through life and plans that come with the hardships of being a young adult, who wants nothing more than to be independent and to live a lifelong dream of being a writer? The truth is no one knows except for Julia Reyes, from the book and play titled I Am Not Your Perfect Mexican Daughter by “Erika Sánchez”. Julia is a young person of color, which was something many people in the audience could relate to.

The story follows Julia after her older sister, Olga, passed away. Julia and everyone around her saw Olga as the perfect Mexican daughter, who was hardworking, pure of heart, and dutiful to her parents. That's what Julia thought until she found out Olga's secrets after snooping in her bedroom. The depiction of family and friend relationships and hardships were so realistic that it felt like people in the audience were watching real people go through real problems, the acting especially of Julia’s mother played by Jazmín Corona, struck the audience by capturing the strong emotions Julia's mother had to go through with Julia, Amá resonated with many people because of the accurate representation of many mothers everywhere. Another audience favorite was the friendship between Lorena and Juanga, played by Marco Antonio Tzunux and Leslie Sophia Pérez. Their friendship and how they showed they cared for each other and Julia was realistic and relatable, it enthralled the audience because it showed such a fun and dynamic friendship you can see young adults have, in one scene where they became friends after a compliment made by Juanga to Lorena because of her boots, which led to them finding out other interests they shared and becoming best friends.

You walk into the theater and immediately are captivated. Your eyes are lured to a woman in her casket, front, and center stage. The lights beaming directly on her face, smirking.

Humor, tragedy, romance, family, friends, a heartwarming coming-of-age theater masterpiece written by Isaac Gomez based on the novel I Am Not Your Perfect Mexican Daughter by Erika L. Sanchez. The lighting, the simple props, the effects, the turntable, and the actors all come together to take you to Chicago and make you feel like you're living everything with them. Karen Rodriguez who plays the main character Julia Reyes does a mind-blowing, amazing job of portraying a bookworm Latina daughter dealing with a family loss. Issac Gomez’s play does a fantastic job of showing us the ups and downs of a teenage girl dealing with death, immigrant parents, mental health, and self-discovery.

The play production of I Am Not Your Perfect Mexican Daughter was spectacular, featuring exceptional actors and compelling storytelling. The story follows a Mexican American girl named Julia Reyes who had to shoulder the death of her sister, Olga, who died in an accident. This pushed her parents to expect Julia to be just as perfect of a Mexican daughter as Olga was when she was alive, as a way of coping with their grief. This story showcases the struggles of family expectations, and grief, and how they can impact your relationships with others. Although it’s an entertaining, beautiful production, fans of the book will feel a lack of character development and rushed plotlines in comparison to the book.

The play came alive with wonderfully used music such as trendy pop songs at the party scenes and Hispanic songs during family event scenes, such as the quinceanera. Music and sound effects punctuated transitions setting the scene and tone for every moment and discovery.

The struggles of a not-so-average teenager are crafted phenomenally in the I Am Not Your Perfect Mexican Daughter play. IANYPMD tells the story of 15-year-old Julia, who is a high school student in Chicago. Both of her parents immigrated to the United States from Mexico, making her a first-generation Mexican-American. She recently lost her older sister Olga, who was considered the “golden child.” Her parents adored her for how easy of a daughter she was to raise, unlike Julia. The play follows Julia’s school life, home life, and mental health struggles as she grows not only in age, but in maturity. Throughout this rocky odyssey, the play was able to effectively depict not only Julia, but how other teens with immigrant parents manage cultural differences within western society.

Julia’s relationship with her mom is noteworthy because it shows how the conflicts in their relationship stem from the different cultural environments they grew up in. Her mom did not support Julia having any interaction with boys, nor did she like the idea of her going far away for college. Instead, she wanted her to be just like her older sister, Olga, taking classes at their local community college and working a humble office job. Julia’s mom was raised in Mexico and suffered many traumas when crossing the border. Nevertheless, she worked as a housekeeper, cleaning rich people’s houses, to raise Julia and her sister. Julia, however, is set on creating a future for herself that is more than just being a slave to capitalism. She wants to travel the world and pursue a career as a writer. The play shows Julia’s inner thoughts through frequent asides, helping the audience to better comprehend the feelings Julia had about her mom’s aspirations and how they contrasted with her own hopes and dreams. The anger and betrayal Julia felt when her mom went through her things and disapproved of her journals were vividly characterized through her expressions.

The curtain rose to reveal an unlit stage. Fifteen bells hung at varied lengths from the ceiling, and three shallow pools of water were dispersed, mimicking the famous Ganges River. A dancer silently pushed out candles into the water, unhurriedly lighting the stage with a serene atmosphere. This opening set the mood for Ragamala Dance Company’s phenomenal performance.

Founded in 1992 by South Indian-American dancers Ranee Ramaswamy and Aparna Ramaswamy, the Ragamala Dance Company aims to connect the past and present through Hindu tradition and cultural expression. The dance company has toured all around the United States, India, and abroad, with the dance form Bharatanatyam, a prominent South Indian dance form originating from Tamil Nadu. As an art form, Bharatanatyam transports the audience through a spiritual experience informed by Hindu principles and mythology. At the Meany Center for Performing Arts, the dancers performed Fires of Varanasi: Dance of the Eternal Pilgrim, choreographed by acclaimed dancer Alarmél Valli. The show centers around the dancers embarking on a pilgrimage, built on the belief of reincarnation.

An Incomplete List of Everything I’m Going to Miss When the World Is No Longer begins long before the house lights of the Theater Off Jackson start to dim. The musical, written by Dante Green and directed by Nansi Dwendi was performed by Dacha Theatre through February 11. The show kicks off silently, when the first character walks onto a corner of the stage. Their presence is an imperceptible change to the environment as the band plays behind them and the audience chatters in front of them, all while the doors in the back are still propped open for patrons to trickle in. They set down a tray of glassware and watch the audience with mild curiosity, until another character bounds on stage, still under the glare of the house lights, to speak to the first character about how excited they are for this party. More performers appear on stage, talking to each other, catching up, and giving hugs. They start interacting with the audience, too, walking up and down the aisle, introducing themselves, giving compliments, offering a pen and slip of paper to write down charades prompts, and asking audience members how they heard about the party and what they’re planning to do with their last day on Earth.

This is the essence of An Incomplete List: chaos and spirit as the show recounts the interlocking lives of an ensemble cast, told against the backdrop of the end of the world. The narratives start out knotted, told through facial expressions and exchanges that are drowned out by the din of the audience and cast. Once the lights dim and voices quiet, Micah, played by Tessa Jo, and Karina, played by Mariesa Genzale, give formal introductions, and the story begins to ricochet back and forth between the party in the present moment and fragments of the characters’ memories. The large cast and the multiple storylines means these vignettes of memory are short, usually composed of a conversation and a quick melody, and some scenes have a few different storylines sharing the stage at once, while others have one character’s dialogue overlap with another’s. Green uses this nonlinear, criss-crossing structure to contrast the relationships between characters, a variety of close friends, divorcees, mutual crushes, partners, and parents and children, against one another, and though this format makes the details of any given scene difficult to decipher, it spotlights the similarities and divergences in each character, building a picture of who each one is by comparison. Even if a scene is a mere few seconds, it will end having given the audience a greater understanding of the cast. It all amounts to a fascinating and emotional collage of scenes that slowly but surely untangle what these characters mean to one another and effectively develop the story as it gets closer and closer to the end of the world. The cast of Dacha Theatre's An Incomplete List of All the Things I'm Going to Miss When the World is No Longer. Photo credit: Brett Love.

Into the Woods is one of the most popular and critically acclaimed musicals of all time, and for good reason: Stephen Sondheim’s intricate lyricism and James Lapine’s witty book tickle audiences of all ages and appeal to both the heart and head. The 5th Avenue Theatre’s rendition of the show allows audiences to appreciate the text’s ingenuity, but some of the magic is unfortunately lost.

Into the Woods is a sophisticated musical comedy that intertwines fairytales to explore the grim realities that follow supposed happy endings. The text manages to balance spectacle and intimacy with its playfully subversive plot and mature themes, but The 5th’s production does not quite succeed on either account. Much of the staging is unimaginative, mostly repeating choices made by many other renditions of the show. With that said, I have also seen productions of the show that have nowhere near as firm of a grasp of its unique tone and dense score, which is a feat for The 5th’s team in and of itself.

Comedic, a bit awkward, and heartwarmingly cathartic. Just a few words to describe an experience of Seattle Repertory Theater’s interpretation of I Am Not Your Perfect Mexican Daughter.

This is a story about coming of age. We are taken along by Julia Reyes (Karen Rodriguez) through all the changes, and ups and downs, she faces in her life. One of the most prominent is that of her older sister Olga (played by Sofia Raquel Sanchez) who died from a traffic accident.

Losing a loved one can break you. I Am Not Your Perfect Mexican Daughter is a stunning portrayal of grief, love, and family.

I Am Not Your Perfect Mexican Daughter was a play doomed from its conception. The original novel, written by Erika L. Sánchez, boasts one of the most narcissistic and unlikable protagonists in its genre, Julia Reyes. Following her life after her sister’s death and her mission to prove that she wasn’t as perfect as her controlling and old-fashioned parents seemed to think she was. The novel flounders its pacing with too many poorly timed climaxes and a long, droning first act, along with many extremely on-the-nose lines. I appreciate their attempts to portray characters that were already lacking in depth and cutting scenes that deserved to be cut. However, playwright Isaac Gomez and director Juliette Carrillo overshadow the few moments of clarity and well-written scenes by the sheer crudeness and immaturity of the rest of the production. However, the creative team certainly succeeded in making this mess of a story genuinely a sight to behold with its accurate costumes, excellent sound design, minimal stage and props, some genuinely impressive and creative directional choices, and beautiful lighting.

The talented cast aptly captures each character, so much so that one can almost believe they are truly that insufferable in their day-to-day lives. Vocal coach Kate Myre did a fantastic job in guiding Karen Rodriguez’s voice to be as crass and annoying as possible, making Julia sound more like a caricature of a high school girl rather than a real person. Which is accurate to the novel, to be frank. Her monologues are especially irritating. And this sometimes leads to sad or serious moments coming across as more comedic than anything, such as any moments where Julia is crying. Each “joke” from Julia’s mouth is delivered with an embarrassingly screechy tone. Most of the time, the punchline is simply a curse word or a crude phrase, and sometimes not even words but just a juvenile scream.

The Reorient: Journeys through Art and Healing display at the Wing Luke Museum features four Asian artists who use their different mediums as ways of telling their stories of immigration and finding purpose. These artists are able to express their gratitude, nostalgia, and defiance through dyed fabric, sculptures, ink-wash paintings, using color and unorthodox shapes to suggest the tone or emotion of a work and appeal to audiences.

First entering the exhibit, there is plenty of blank wall space, wherein only after you turn in either direction can you see the paintings of Victor Wang. His style of art holds a strong influence from his time spent working at a photography studio, as most of his pieces were made using pen ink on photographic paper later blended together with solvent, a liquid used to develop photographs. His use of unconventional materials in his paintings reflect his background as a photo color-corrector and almost makes it look like Wang pulled the art out of the canvas.

The lights dimmed in McCaw Hall's massive theater, filled to the brim with people of all ages, eagerly anticipating the overture of a bittersweet romance and haunting tragedy. There was a distant sound of tuning in the orchestra pit, barely heard over the clamor of excited viewers. Suddenly, a moment of stillness. Then, the thrilling first note of Giselle’s opening theme—an upbeat melody that didn’t prepare the audience for the devastating story that lay ahead. Before the hushed audience, the performers of Pacific Northwest Ballet (PNB) waited behind the curtains to present a unique perspective on the famous ballet for the company’s first production since 2014.

The story of Giselle dates back to the 19th century, first performed at the Ballet du Théâtre de l'Académie Royal de Musique in Paris. Theophile Gautier, the original creator of the celebrated ballet, devised the art after reading two old ghost stories: “Phantoms,” by Victor Hugo, and On Germany, by Heinrich Heine. Essentially, the ballet is about a naive peasant girl’s child-like passion for dancing, and a series of tragic events that sentence her to an eternal existence between life and death.

Seattle Opera’s A Very Drunken Christmas Carol is a festive and chaotic journey through the world of opera. The audience follows the Drunken Tenor, a talented and recognized singer who’s fallen into the bad habit of arriving to shows unprepared, stressing out his duet partners, and drowning himself in alcohol. After yet another messy performance, the opera star is called on by a mysterious voice and thrust into the classic trials of the Christmas Carol. Though an appealing concept, the opera suffers greatly from poor plot development and mediocre comedy, leaving audiences with a heaving pile of disappointment.

The Christmas Carol archetypes of past, present, and future underpin a widely underwhelming story which does nothing to grip the audience. Jumping into the past we meet an innocent Tenor who enters the opera scene under questionable guidance from his mentor and partner, the Baritone. The Baritone passes on his dubious habits of carrying a flask at all times, offering sips before performances for extra confidence, and entering duets wholly unprepared. This easily predictable storyline carries no energy, simply serving as an unsatisfying and unoriginal plot point. The lack of chemistry and heavy-handed dialogue between the tenor and the Baritone further weakens the story. The Drunken Tenor (Robert McPherson) in A Very Drunken Christmas Carol. Photo courtesy of Seattle Opera.

Before the show begins, sitting in the audience of Thank You For Coming: Space is like being surrounded by an immersive “I Spy” game. The stage is a white rectangle, with two rows of audience chairs around the perimeter, a raised set of tables on one end, and an opening in the seats on the other. Ropes crisscross in the air, tied to chair legs and slung high above on overhead bars. There’s a lemon suspended in the air, microphones, a bundle of leaves, and a bell too, all hanging over people’s heads as theatergoers trickle in from the lobby. A block of clay sits on a corner, and a pair of Doc Martens with wires duct taped to them lie resting on the floor.

Thank You For Coming: Space, created and performed by Faye Driscoll, is an experimental and participatory theater piece that seeks to explore the relationship between an artist and their audience. Driscoll begins the piece by walking into the space and speaking to the audience. What unfolds from there is an abstract, visceral, and deliberately constructed portrait of an artist’s inner thoughts.

Holly Black establishes herself as the ultimate advocate for all “monster girls, girls who have lived wild, girls who are strange.” This theme provides the pulsing heart of her works, most explicitly divulged in How the King of Elfhame Learned to Hate with, “You don’t think monster girls and wicked boys deserve love?”

Black poses this same question in her newest addition to the intoxicating world of Faerie. In the outskirts of the suburbs, where the boundary blurs the Folk and mortal realms, The Stolen Heir introduces Suren. Unloved and unwanted, Suren remains caught on the margins, neither place willing to claim her as their own. Paired in an uneasy allyship with Oak, the heir to the ruling High Court of Faerie, Suren sets off to reclaim her identity and possibly her birthright as the leader of the Court of Teeth. A triumphant return to the familiar world, The Stolen Heir incorporates the gritty, biting tension of Black’s previous works while developing a unique investigation into the meaning of acceptance.

Sitting in the pews of Town Hall Seattle, it felt as if I could physically breathe in the sound of the jazz quintet, Jovino Santos Neto Quinteto. The venue’s dim lighting and warm atmosphere complemented the quintet’s style well, and the open seating encouraged a sense of community within the audience, a vital aspect of the personal nature of the quintet’s music. The pieces Jovino Santos Neto Quinteto composes and performs are their own language; combining jazz and traditional Brazilian music, each instrument is simultaneously percussion and melody. By the end of the set, the audience felt comfortable in the space the quintet created, creating a distinctive musical atmosphere and reminding us of the joys of human connection.

With Mark Ivester on drums, Ben Thomas on vibraphone and bandoneon, Freddy Fuego on trombone and flute, Alex Dyring on bass, and Jovino Santos Neto on piano, the quintet’s music is tight without losing its laidback and personal feel. The style plays with 7/4 time signatures and beautifully syncopated rhythms, and each note is packed with emotion. The bouncy syncopation of Brazilian folk music, blended with the soothing groove of jazz, makes for a unique and captivating experience. However, beyond the technical complexity, the nature of the Quineto’s music is such that for it to be fully understood, the musicians must pour their entire soul into the song. While beautiful when interpreted as notes on a page, the real music comes from the performers.

Patti Lee Smith is recognized as a legend in the music community. She made her musical debut in the mid-1970s in New York City with her first album Horses. Smith’s first major recognition came when she was featured on the cover of Rolling Stone. She came to Town Hall Seattle on December 2 as part of her book tour for A Book of Days, which came out on November 15. She gave a captivating performance as she alternated between different media. In her presentation, she told entertaining anecdotes alongside a slideshow, answered prepared questions from notecards, and performed a few songs with her guitarist. Smith’s innate sense of humor just added to the evening’s entertainment.

Her slideshow displayed pinnacle moments of her life through photographs that are featured in her recently released book. She told stories about meeting other recognized artists, traveling the world, and of her cherished relationships throughout her career. For example, the necklace exchanged between herself and Robert Mapplethorpe, which she mentioned in a previous memoir, Just Kids, was a fun inclusion. It was sweet to see her reminisce about their time together and put an image to the fabled artifact of her life. Another significant image was of Alice Augusta Ball, a Black woman who produced the original cure for leprosy. Ball sadly passed away at the young age of 24 in a laboratory accident, and it was only a matter of time until her work was stolen by a man. Smith paid tribute to her story and ended with “Hail Alice Augusta Ball.” Though that wording landed weirdly, it is always a good thing for another woman of color’s story to be shared. Smith never explicitly responded to the controversy around her use of the N-word, in her song Rock N Roll N*****, released in 1978. The song was silently retired off streaming services sometime in 2022. She may be using her platform to promote marginalized people to demonstrate remorse. However, without first taking accountability for performing the N-word up until 2019, her use of Ball in her presentation felt performative. Nevertheless, Smith recognizes she is a public figure who is privileged to have a platform and uses it to advocate for and give voice to underappreciated people. Patti Smith's book cover for A Book of Days

Amidst 1840s London, a man hurries through the streets trying to figure out the plot of his next book, which will come to be known as A Christmas Carol. In the world premiere of the play based off of a novel by the same name, Seattle Repertory Theatre brings us a compelling story of Charles Dickens struggling to write a Christmas-themed book in order to save his finances. The show has many timely messages about how we overlook relationships for currency and material items when we are asked to do something that is stressful or mentally draining. The show has many good parts but some issues with the narrative execution.