Back in School, Back in Business

Teen Editorial Staff September 2021 Editorial

Written by Teen Editorial Staff Members Disha Cattamanchi and Lucia McLaren

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While 2021 renews the all-too-familiar challenges of last year, it also brings something a bit more hopeful: a fall season full of new opportunities. The pandemic may not be defeated, but we are learning to adapt and minimize its spread, which means (you guessed it!) in-person events are returning. So as students pack their bags for the semester and the weather gets cooler, look to see what art we’re reviewing this September.

If starting school again makes you want to get on your feet and dance, then going to an in-person dance event may be just for you. Let ‘im Move You: This is a Formation, a contemporary dance performance at On the Boards utilizes themes of Black Femme and queerness to tell a vivid portrayal through dance. Whim W’Him is also presenting exciting performances with Fall 21 to get your spirits running high and ready for school. If dance isn’t what you’re looking for, you’re in luck. TeenTix LA has recently expanded to LA, and we will be are featuring the TeenTix LA staff to learn about the arts landscape in LA and what it’s been like to open a new branch of TeenTix.

Or are you feeling more like the vibrant energy of a celebration? Intiman Theatre has you handled with their two-day HOMECOMING Performing Arts Festival, where more than one hundred artists will be showing their talents outdoors in the Seattle area. Staying at home is, of course, still a safe and helpful option for many people. Never Gonna Snow Again at SIFF will offer you a mesmerizing story of magical realism intertwined with real-world issues, all from the comfort of your couch or bed. Northwest Film Forum is also showcasing the magic of films with the Local Sightings Film Festival, with everything from animated shorts to art and activism there for viewing.

So that’s it, folks—let’s welcome the new beginnings that September has to offer. After a year and a half sheltering behind our screens during class, let’s accept the normality of in-person events with all of our favorite local arts organizations. Grab your TeenTix Pass and hit the streets after school with your friends, and procrastinate doing your homework by basking in the Seattle art glory. Because baby, we are back in business.

Lead photo credit: Photo by Mark Duncan for Unsplash.

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 6 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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When Social Media, Spanglish, and Shakespeare Meet, Romeo y Julieta is the Result

Review of Romeo y Julieta, presented by Seattle Shakespeare

Written by Teen Writer Katherine Kang and edited by Teen Editor Lily Williamson

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Romeo and Juliet is a classic play that almost every student is familiar with. But what if the script was modernized to include trends that Gen Z-ers are familiar with, such as Instagram, TikTok, and even masks?

Seattle Shakespeare did just that with its production of Romeo y Julieta, a multilingual adaptation of the famous and bitter love story of Romeo and Juliet. With a gender-bent and diverse cast, the production was a perfect way to begin Pride Month. From the allusions to queer culture to a Spanish, English, and Spanglish script, this show was a celebration full of love, drama, and emotion.

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Bringing Joy In June

Teen Editorial Staff June 2021 Editorial

Written by Teen Editorial Staff Members Eleanor Cenname and Triona Suiter

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Take a deep breath. We’ll do it with you: in… and out. You have made it to June, and we are so proud of you. Whether you are a student and are nearing summer break or are working, take a moment this month to step back and breathe. When we think about summer, we might associate it with the beach or the pool. Proximity to water has been shown to reduce cortisol (a stress hormone) levels. This is called the Blue Mind Theory. So as we enjoy this warmer and sunnier month, we can take a moment to let the water that surrounds us here in Seattle carry away a bit of our stress. Another way that we can take breaks this month is through art. We have an exciting list of events for June that we hope will bring as much joy to you as they do to us.

Tune in on the 10th for a virtual presentation from Dr. Temple Grandin at Town Hall, discussing science, curiosity, and her new book. Check out Seattle Shakespeare’s Romeo y Julieta, a multilingual adaptation of the classic star-crossed lovers story. Spend some time exploring Seattle Public Theater’s HUE festival, a celebration of women playwrights of color and their creations. Tackle the truly absurd with The Doll Pit at Washington Ensemble Theatre, where Jody Kuehner spends an hour talking to herself--or rather, her iconic character Cherdonna Shinatra. Or, if you’re looking for something more visual, why not check out MoPOP’s Heroes and Villains exhibit, featuring over 70 iconic Disney costumes?

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Let Yourself Listen in on Someone’s Innermost Soul at Long Last With STARFISH Project’s 2020 Vision: Through Our Eyes

Review of 2020 Vision: Through Our Eyes, presented by STARFISH Project

Written by Teen Writer Rosemary Sissel and edited by Teen Editor Lucia McLaren

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A face, speaking directly to the video camera. Alone. It’s almost overwhelmingly intimate. To stare into someone’s eyes—eight people’s eyes—as they share their pandemic stories. Their insecurities, anxieties, quiet hopes, and innermost dreams. It’s terrifying—and everything we need. STARFISH Project’s 2020 Vision: Through Our Eyes allows us the long-lost luxury (and necessity) of hearing others open up their souls.

The hour-long recording begins with one person, alone in a Zoom call. More people join, but no one speaks. The scene cuts to a poet, writing alone, dramatically lit so that her writer’s block broadcasts against a backdrop of utter darkness. She grabs a piece of paper inscribed with the words “I can do this,” crumples it up, and throws it away.

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Sci-Fi Meets History in Book-It’s The Effluent Engine

Review of The Effluent Engine, presented by Book-It Repertory Theatre

Written by Teen Writer Valentine Wulf and edited by Teen Editor Lucia McLaren

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Steampunk is a subgenre of science fiction, usually set in the Victorian era, which imagines an alternate reality of steam-powered technology. Beyond the specific literary definition, it’s also a more general term used to describe a certain aesthetic: a futuristic and romanticized vision of the 1800s—almost always revolving around Europe, Victorian England specifically.

Book-It Repertory Theatre’s audio play adaptation of The Effluent Engine, originally a short story by N.K. Jemisin, is a refreshing exception to the overwhelmingly European genre. The Effluent Engine follows the story of Jessaline Dumonde, a spy trying to stop France from recapturing Haiti in the aftermath of the Haitian revolution.

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A Memorable May

Teen Editorial Staff May 2021 Editorial

Written by Teen Editorial Staff Members Lily Williamson and Mila Borowski

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The month of May has already provided both rainpours and blue skies, and in spirit with a month that really drives home the diversity of Seattle weather, we have a diverse array of art events to check out while hunkering down from seasonal showers. From a story about strong and dystopian heroines to an event highlighting the future of the music industry, the Newsroom will be reviewing events this month for every art enthusiast.

Curl up and listen to The Effluent Engine if you are in the mood to dive into a steampunk short story, read dramatically by Book-It Repertory Theater’s cast. Or, rather than hear about a fictional heroine, you can learn about Ellen Ripley’s feminist journey as evaluated through her roles in film at What The Femme: The Evolution of Ellen Ripley, a virtual class provided by SIFF.

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Bringing an Italian Crime Scene to Life on Screen!

Review of Accidental Death of an Anarchist, presented by UW School of Drama

Written by Teen Writer Nour Gajial and edited by Teen Editor Triona Suiter


Although the pandemic has been restricting to many, it has not stopped the UW drama department from curating a professional show. Last weekend, I had the privilege of viewing Accidental Death of an Anarchist performed by the UW School of Drama. Through an online livestream, the performance reached a broad audience while respecting safety precautions during the pandemic. The show was two hours long with a ten-minute intermission—perfect for a lazy Sunday evening! The livestream started promptly and the actors took their spots on screen.

Accidental Death of an Anarchist is a story written by playwright Dario Fo based on real-life events in Italy in 1969. In the first scene, we jump into an interrogation of the protagonist called the Maniac. Throughout the show, we follow the Maniac as he conjures up new plans to figure out who killed the anarchist. Although the Maniac is portrayed as a male character in the main storyline, the UW drama team decided to have a female lead play this character. The actress playing the Maniac was full of energy and stayed immersed in her role. As a viewer, the character’s expressions kept me engaged and brought a lot of excitement to the performance. In my opinion, the character’s demeanor could have been enhanced if the background of the actors’ screens were unique to the setting in the story. That being said, through costume changes, the group was still able to portray time changes during the show. Unlike many other shows, Accidental Death of an Anarchist ends with a question posed to the audience where the viewers decide what happens next. Although this is not a conventional conclusion to a performance, it left the audience to form their own opinion about the plot which felt very engaging and left me thinking about the performance even after it had ended. Accidental Death of an Anarchist. Photo courtesy of UW School of Drama.

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April’s Showers and Flowers

Teen Editorial Staff April 2021 Editorial

Written by Teen Editorial Staff Members Anya Shulka and Lucia McLaren

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As vaccination rates rise, we can see the tail end of the pandemic on the horizon (knock on wood!). In this uncertainty-filled year, it's a huge relief to see improving conditions, though exercising caution is more important than ever. Still, warmer weather is peeking around the corner, and there's plenty of art and media for you to explore this month—no matter what you're looking for.

It’s no secret that the news has gotten everyone thinking about what comes next. For those interested in what life might look like in the future, look no further than Unexpected Productions’ Seattle Theatresports, a now in-person improv show. For those who prefer to see what teens envision the coming years to look like, check out SIFF’s Futurewave, an exciting lineup of movies and shorts curated for youth audiences.

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Dacha Theater Invites Everyone into an Ingenious Zoom Celebration of Enduring Friendship

Review of Secret Admirer, presented by Dacha Theater

Written by Teen Writer Rosemary Sissel and edited by Teen Editor Triona Suiter

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We have all, at this point, had that one quarantine experience. I will title it the Zoom Quest of Trying to Have an Online Conversation and Awkwardly Failing, or ZQoTtHaOCaAF, for short. Dacha Theater’s latest brilliant creation, Secret Admirer, invites watchers to journey through every possible Zoom adventure, from ZQoTtHaOCaAF to EFRtBTEaORC (Estranged Friends Reunite to Battle Their Evil and Outdated Robot Consciousnesses), in a heartwarming, inclusive, and hilarious test of the limits of virtual—and interactive—theater.

In a positively perfect ode to 90s-era kitsch, Secret Admirer centers around an answering machine board game in which a group of four friends compete to discover which cute dude is their fated prom date. The dudes, played delightfully stereotypically by four live performers, drop clues in the form of strange, but touching, in-game messages.

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Charting Uncharted Waters

Review of Uncharted Waters presented by Cornish College of the Arts, the University of Washington, and Seattle University

Written by Teen Editor Lucia McLaren and edited by TeenTix Teaching Artist Misha Berson

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Artists of all walks of life have taken quarantine’s challenges and made them into opportunities, not limitations. But community acts can seem distant online, an echo of their pre-COVID counterparts, serving as nothing more than a solemn reminder of a year gone by in isolation. Is it possible to cultivate a sense of genuine togetherness when health guidelines keep us apart? Uncharted Waters, a three-way theatre collaboration between Cornish College of the Arts, the University of Washington, and Seattle University, aims to bring to light what social intimacy 2020’s various crises have endangered.

Uncharted Waters begins with a production of Twelfth Night, a well-known Shakespearian comedy. Directed by Seattle University professor Rosa Joshi, the play follows the misadventures of Viola, a shipwrecked young lady who disguises herself as a man and throws the whole island of Illyria into cheerful chaos.

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Nod When You’ve Got It

Review of A Thousand Ways (Part Two): An Encounter, presented by On the Boards

Written by Teen Writer Kyle Gerstel and edited by Teen Editor Lily Williamson

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“The truth is rarely pure and never simple.” - Oscar Wilde

A man sits alone in a barren theater, awaiting my arrival. Upon the table before him lies a stack of index cards bursting with inquiries and fantasies to guide participants, a script to be performed for no one but one another. I take a seat.

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Announcing the Mentorship for Teen Artists of Color Summer Cohort!

Applications are now open!

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TeenTix, in partnership with The Colorization Collective (a teen-run organization that promotes diversity in the arts) is excited to announce our 2021 Summer Cohort of our Mentorship for Teen Artists of Color (M-TAC) program. This program will specifically allow teen artists of color to hone their artwork under the guidance of professional mentors. This is a great way for teens to better their craft, build connections in the arts community, and present their art!

This mentorship is for teens interested in visual arts (painting, drawing, sculpture, etc.) and performing arts (musical theater, acting, etc.). Teens will be put into either a visual arts or performing arts cohort, and each group will be paired with a professional artist/mentor of color to create or workshop a piece specifically for the program showcase.SCHEDULE

The Summer M-TAC program will meet for 5 weeks (July 7-August 6), every Wednesday from 2-5 PM PST. The meetings dates are: July 7, 14, 21, 28, and August 4. There will also be a one-hour showcase the week of August 9 (exact time TBD).

Teens in the M-TAC program will also have the opportunity to participate in workshops during the school year, as well as present their finished work during the TeenTix Teen Arts and Opportunities Fair in June of 2022.

Applications are open now and close at 12 AM (midnight) PST on May 31, 2021. APPLY HERE!

Applicants must be ages 13-19 and a current TeenTix member to participate. (Not a TeenTix member yet? Don't worry - sign up for free right here!)

If you need assistance filling out this application, please contact Anya Shukla at [email protected]

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Virtual Teen Nights with TeenTix!

Announcing a series of Virtual Teen Nights featuring local performances and discussions led by teens!

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Join TeenTix for a series of Virtual Teen Nights this March and April! Each Virtual Teen Night includes a screening of a performance from a local arts organization and a facilitated conversation and reflection activity on what you just saw. The post-screening discussion will be led by teens from TeenTix programs. Each Virtual Teen Night will focus on a different genre of art including film, dance, and theater, and we have events for both high schoolers and middle schoolers! Did we mention the best part? They’re all FREE! Sign up below to experience amazing local performances and connect with other arts-loving teens!

Each event will be hosted by TeenTix teaching artist Alethea Alexander and two teen facilitators from TeenTix programs. These events are produced in partnership with the Creative Advantage and Seattle Parks Department. All events will be hosted on the Webex platform. A link to Webex for the class will be sent to your email, two days prior to class.

Teen Nights with NFFTY Films

Saturday, March 13, 7-8:30 PM - High School (ages 14-19) - SIGN UP HERE

Saturday, March 20, 7-8:30 PM - Middle School (ages 11-14) - SIGN UP HERE

The NFFTY films that will be screened are:

Joychild by Aurora Brachman - A young child tells their mother "I'm not a girl" for the first time.

Yellow Cards of Equal Pay by Maia Vota - Members of the Burlington, VT High School girls soccer team recount the launch of their viral #EqualPay movement, inspired by Megan Rapinoe and the U.S. women's national soccer team, from its humble beginnings to national media coverage.

GHAZAAL by Ragini Bhasin - A 13-year-old feisty Afghan refugee hustles around in a refugee camp as she experiences her period without having access to any sanitary napkins.

Teen Nights with On the Boards Dance Performance

Saturday, March 27, 7-8:30 PM - High School (ages 14-19) - SIGN UP HERE

Saturday, April 3, 7-8:30 PM - Middle School (ages 11-14) -SIGN UP HERE

The dance performance screening will be of When the Wolves Came In by Kyle Abraham/Abraham In Motion at On the Boards. The performance, by award-winning choreographer and performer Kyle Abraham, presents a new work inspired by jazz great Max Roach’s "We Insist Freedom Now." Watch the trailer here.

Teen Nights with Macha Theatre Works Plays

Saturday, April 10, 7-8:30 PM - High School (ages 14-19) - SIGN UP HERE

Saturday, April 17, 7-8:30 PM - Middle School (ages 11-14) - SIGN UP HERE

We will screen two, 17 Minute Plays from Macha Theatre Works. The two plays are:

Ancestral Trauma and Healing for Dummies, Co-written by Maddy Nibble and Christine O'Connor performed by Maddy Nibble: A tragicomic trauma-romp through the ages exploring the consequences of White Supremacy and Internalized Capitalism on a perfectly well intentioned, deeply abusive Irish-Italian immigrant family. Co-writers Maddy and their actual real-life mom, Christine O'Connor, travel across time and space to delve deep into the origins of false ideologies, shame-based addictions, and other bewildering heirlooms — and all in just 17 minutes!

In the Crosshairs, Written and performed by Roz Cornejo. The story of a mixed chick untangling her relationships with her hair, her skin, and her identity.

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One Year Later

Teen Editorial Staff March 2021 Editorial

Written by Teen Editorial Staff Members Triona Suiter and Eleanor Cenname

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Congratulations, everyone! We have made it to March 367th, or maybe 370-something by the time you read this. In any case, March is the longest month of the year. Well, not literally, but it sure does feel like it sometimes. Perhaps it is because March is both too cold for shorts, yet also allergy-inducing, or maybe it is because the powers that be deprive us of an hour of sleep. In any case, the great news is that once we are done with March, we will have turned a corner. Down this new street, the signs in storefronts advertise longer days, a little more sunlight, and maybe a bit of optimism. But until we reach these brighter times, we at TeenTix have the art to get you through the one year anniversary of March.

If you’re craving some lighthearted fun, why not check out So Bad It’s Good at MoPOP for a collection of failed movies to watch and laugh at? Or if you’re wanting something a little more serious, SIFF Cinema’s Night of Kings is sure to be captivating (note that this movie is rated R, watch at your own discretion). For those of you looking to learn something this month, Seattle Art Museum is hosting a virtual presentation on March 6, to discuss how historical genocides in Java, Indonesia impact the dance scene there today. Or if you’re truly desiring the absurd, Dacha Theatre’s board-game-inspired, 90’s-themed, interactive zoom show, Secret Admirer, could be just the thing for you.

Keep your eyes out on the blog to catch teen coverage of these events, as well as a small anthology of Heathers reviews from some of our Newsroom writers. And don’t forget to check out the TeenTix Arts Podcast, with new episodes released every month!

However you decide to get through March, we hope you’re staying safe and healthy, and please, wear your mask.

Lead photo credit: Photo by Sid Sun for Unsplash.

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 6 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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Ser o No Ser: Opening the Narrative of Shakespeare

Review of house of sueños, presented by Seattle Shakespeare Company

Written by Teen Writer Esha Potharaju and edited by Teen Editor Triona Suiter

House of suenos recording photo courtesy of Seattle Shakespeare Company

I’m brown, a girl, and rather opinionated. Shakespeare’s words were never meant for me; I recognized that early on. Sure, I’ve acted out a few lines for English at school. I took some reading comprehension tests on why a midsummer’s night wasn’t much to do about nothing, or something like that. But it’s not like I could ever relate to them. If Shakespeare’s narratives don’t reflect me, like stories are meant to, why must I consider them classics? Out of all the real, beautiful stories from around the world, from the Mahabarat to the Genji Monogatari, why must Hamlet be the only one universally recognized as a shining gem?

In Seattle Shakespeare's new podcast house of sueños, playwright Meme García retells Hamlet in their own Salvadorian-American voice, nuanced by intergenerational and personal trauma, to ultimately ground the play in a narrative that, for once, isn’t just for white people. house of sueños is an audio drama about two sisters investigating their father’s mysterious disappearance in the wake of their mother’s wedding. house of dreams in Spanish, the drama explores Latinx identity, colonialism, and trauma.

"I think that one of my things that I'm most excited about house of sueños is that you take this classic—quote unquote ‘classic’ story, right, 'cuz white supremacy's told us this is a classic story. And you're like how—I'm not pulling myself up to that story. Rather, I'm forcibly dragging that play to meet my life. And that I can use these words to kind of talk about things I've had to sit with for most of my life,” García says in a bonus episode, a conversation about their play.

García’s use of language is a central pillar of the play, something the play’s audio format allows it to focus on. The story is spun purely through words and voices. Actors make excellent use of the medium, seeming to have poured their souls into this work. Characters’ personalities are conveyed through tone and speech patterns alone. Emotion is raw in the actors’ voices, which are complemented by an eerie yet beautiful soundtrack composed by Coby Gray. García's poetic writing, heavy with surreal imagery, only serves to enhance the experience of this play. “It is an old place. And it sits like a bug caught in amber. Floating in time.” How beautiful is that?

While the majority of the play is original dialogue, during particularly intense scenes, its Shakespearian roots surface in the form of Hamlet lines retold in a combination of Spanish and English. García reframes these dialogues into contexts completely different from how they were used in Hamlet. Yet, they do it in a way that the weight of the lines still rings clear, if not clearer, because García is allowing these lines to resonate with a wider range of people, specifically Spanish-speaking Latin-Americans.

Hamlet is a play that tackles mental health and suicide, issues that anyone of any background can experience. “The speech, ‘to be or not to be,’ has just kind of haunted me most of my life,” García says in the bonus episode.

In house of sueños, the line “ser o no ser” is uttered by older sister Rina, a seventeen-year-old deadset on finding her papi and rejecting societal norms. Rina’s character brings up colonization and its inflictions on generations of her community. Seen as “rebellious” and “unstable” by her mother, who believes assimilating to the white mindset is what’s best, Rina is rejected by the members of her own family. This line, meaning “to be or not to be” in Spanish, opens an iconic and meaningful line in Hamlet—a line carrying the heaviness of suicide and contemplation—to groups of people with experiences that will cause them to interpret the line in a way vastly different than the white perspective it has always been looked at.

By opening up the narrative of Hamlet, García provides a space for Spanish-speaking BIPOC who have similar experiences to feel a sense of belonging. “Belonging is protection,” therapist Marlene H. Kenny says in the conversation with García. In a world where the white narrative is pervasive, works like house of sueños that turn pieces over-glorified by whiteness into real-life cultural experiences are extremely important.

Shakespeare’s words may not be meant for me, but house of sueños has taught me that I can pull those words down and look them right in the eye by telling a narrative of my own.

house of sueños runs from January 27 to March 17, 2021, and is available on Rough Magic, Seattle Shakespeare Company's podcast. For more information see here.

Lead photo credit: house of sueños recording photo. Courtesy of Seattle Shakespeare Company

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 6 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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You’ve Come To The Right Place

Review of A Thousand Ways (Part One): A Phone Call, presented by On the Boards

Written by Teen Writer Kyle Gerstel and edited by Teen Editor Lily Williamson


“I regard theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being.” - Oscar Wilde

My cellphone illuminates a face as I sit alone in my bedroom. With every answer to the AI bot’s line of prompts and questions, her figure strengthens. What is something you walk around with? A hand appears. Can you speak more on that? A limb. She sits on the carpet, rolled up in a ball. We gaze at one another, hypnotized by the strange sense of intimacy. This is more than interactive theater—it’s theatrical interaction.

When first given the opportunity to review A Thousand Ways (Part One): A Phone Call, I was slightly nervous—there’s a social stigma around experimental theater and I wasn’t sure if it would be too “artsy” for me to appreciate. At the beginning of my journey, an unsettling voice emerged, like a cross between Alexa and Hal from 2001: A Space Odyssey: “You’ve come to the right place.” Had I?

That depends: did I wish to be challenged, touched, and transcended in space through the power of voice alone? In my interview with the creators of A Thousand Ways, Abigail Browde and Michael Silverstone (known collectively as 600 Highwaymen), they expressed that the show was about “two people trying to imagine one another across this distance, but also about two people trying to create something together.” These ideas make the piece particularly resonant at this time of isolation without ever feeling nauseatingly relevant.

Questions, prompts, and bits of narrative are delivered by an AI bot to facilitate the conversation, establishing place and context in order to unlock less tangible details and create the possibility that audience members might be able to not only visualize each other, but gain a deeper understanding of their own character in the process.

I admit that it did feel awkward at the start, but as Silverstone said, “Awkwardness is useful—once you pass through it, you arrive at a place of poetics and comfort, you’ve accomplished something.” To engage in a shared experience at this time when there are so few was incredibly refreshing, even if it was with a stranger and an AI bot.

The show originated before the pandemic as a commissioned project for an art gallery regarding listening. “Oftentimes, we find that our first idea is not so great,” they told me, “and this idea of listening wasn’t so exciting. What was more exciting was the idea of making yourself visible and holding one another in the stillness and the darkness of this moment.” Thus, A Thousand Ways was born.

“It just started with me getting on a conference call with two people who didn’t know each other and asking them questions, giving them prompts,” Browde shared. “We would listen to how they responded, what gave people permission to expand upon things, and what sort of questions elicited reactions that we were interested in as makers. Sometimes it was the more pedestrian or simple things that felt the most meaningful.”

Silverstone added, “Early on, when we were working on this project, it always seemed like people were having a miserable time, and it took a while to get comfortable with the idea that they’re not miserable, they’re just having an experience, and even though they’re not performing enjoyment, that doesn’t mean they don’t like it.” Removing the “performance” aspect of performing arts made the experience even more provocative for me—I felt comfortable letting my guard down, which allowed me to fully participate in and enjoy the project.

Despite the immense vulnerability and active imagination required to fully participate in the piece, it’s both highly entertaining and rewarding to reflect upon. 600 Highwaymen achieved this by building the show on principles of gaming: “The audience is behaving in a way where there are incremental steps forward and a built vocabulary over time, always reaching for the thing right in front of you instead of focusing on the show as a whole.” This task-based approach makes it much more accessible than what is felt after the fact.

By requiring a “rigor to your presence as an audience member to show up, both for yourself and the other person,” A Thousand Ways fosters a connection between theatergoers that other pandemic art has failed to pull off. However, these are only fragments. “It is experienced by the participants on the call; all we’ve done is make the invitation.”

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New Hope?

Teen Editorial Staff February 2021 Editorial

Written by Teen Editorial Staff Members Lily Williamson and Triona Suiter


It’s finally February, and while 2021 has been more like 2020 than we’ve hoped, things may be starting to look up. Spring is coming, Washington is in Tier 1 of the vaccine rollout plan, and you can even see art in-person at museums now. With all that, we’ve decided to bring you art this month that is, in some sense, optimistic, including new and unconventional works from Seattle Shakespeare Company and On the Boards, and events in celebration of Black History Month.

This month, On the Boards continues their optimistic pandemic project, A Thousand Ways. The unconventional performance begins in February in the form of a phone call with a stranger—two members of an unseen audience following a set of directions for conversation. Though the dates are not yet set for parts two or three, On the Boards hopes to be able to gradually progress to in-person performances over the next several months, starting with small audiences and growing larger as restrictions begin to lift.

Unfortunately, that may still be a long way away. So in the meantime, why not check out Seattle Shakespeare Company’s modern retelling of Hamlet in the form of the multilingual podcast, house of sueños? Or maybe tune in on February 9, to Seattle Arts and Lectures to hear Pulitzer Prize winner Lawrence Wright talk about his new pandemic-inspired thriller novel, The End of October. In addition, you can see the Henry Art Gallery’s Set in Motion, which is presented on sixty public buses throughout the Seattle area.

Or, better yet, enjoy art about, by, and for Black people in honor of Black History Month. At The Frye, experience Anastacia-Reneé’s work addressing the struggles of her character, Alice Metropolis, as she fights her way through everything from white supremacy to cancer. And, visit the Northwest African American Museum to see Iconic Black Women: Ain’t I A Woman, a visual celebration of influential Black women through portraits.

Although COVID-19 is far from over, and we’re still not close to experiencing art normally again, we have reason to be optimistic. This month, be inspired, be hopeful, and see art!

Lead photo credit: Photo by Faris Mohammed for Unsplash.

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 6 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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14/48:HS: Adapting Youth Theater to a Modern Pandemic

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Written by Teen Writer Audrey Liepsna Gray and edited by Teen Editor Eleanor Cenname

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Back in March, the COVID-19 pandemic introduced challenges that no one could have predicted just a few months earlier. For artistic communities nationwide, these hardships took shape in the accessibility of art; venues for creative exhibition and exploration closed, groups could no longer meet safely, and artists began to struggle under the challenges of just staying afloat. Organizations like 14/48:HS, a local community-oriented youth theatre group, were pushed into a virtual platform, their resources and activities stifled by quarantine. Even inspiration suffered under the toll of the pandemic. Days began to blend together into a surreal quarantine landscape, and the sudden depression of social distancing pushed many artists’ creativity into a background hum. Financial instability, social isolation, and the stress of self-sufficiency in a country that seemed to be collapsing were common issues among adults. But what about teens?

For teenagers all across the country, school and extracurriculars spelled out an escape from tumultuous relationships and home lives. Now, home life is all we know. Even school, something that used to be a welcome time for stimulation and friendships, is one hundred percent virtual and isolated. Most extracurriculars were postponed indefinitely or forced to move to an online format, including groups that promoted artistic expression through their activities. One such group is 14/48:HS. They’re dedicated to producing their student theater festival and being a supportive artistic community that fosters the creative growth of members in various artistic mediums. Their community is so strong, they’ve won the Teeny Award for Best Youth Engagement Program— twice. Since quarantine began, they’ve been trying to continue their group online. Finding solutions to the challenges that plague artistic communities during the pandemic hasn’t been easy. The inability to come back to a physical theater space has left a 2020 14/48:HS festival impossible, and they’ve struggled with engagement and creative work over a virtual medium. But 14/48:HS is overcoming these challenges, and they’re doing it in a fashion befitting their mission as a youth-led, directed, and produced organization.

Since the beginning of the pandemic, organizations have had to adapt to online meetings and employ creative problem-solving. 14/48:HS is a great example of how groups of young artists can use online tools at their disposal to explore their creativity and serve their community. I attended one of the 14/48:HS meetings and found an open, friendly community. Creative ideas seemed to bounce off every member and the atmosphere was relaxed. During the quarantine, they’ve been unable to meet in person and do many of the things that they normally do as a theater group, so they’ve changed up their mission and began focusing more on their community. Being a safe space to let members focus more on themselves and the social issues plaguing our community was important for them. However, they’re now beginning to get back to the artistic aspect of their organization and planning to use the internet, the one reliable tool at their disposal, for creating. Photo courtesy of 14/48:HS.

Social media may serve to be the most important tool in 14/48:HS’s shift back into theater during the pandemic. Community engagement has always been an important aspect of their organization, but during the quarantine, their artistic endeavors have suffered. A way to get back to creation whilst honoring these values may be through TikTok, an app with an overwhelmingly young user base. 14/48:HS plans on using the platform to create short musicals and skits, all recorded through the ideas of the members and from the safety of a home recording. The idea seems perfect for a modern theatrical response to a modern pandemic. The engaging, youthful peer-to-peer nature of 14/48:HS reveals just how well they’re making their group work even in these difficult times. They’re peers, and they’re a community; they know each other’s struggles, conveniences, and the trends of their generation. Because of this, they know how they can help each other through the dark tunnel of quarantine. Through this intrinsic connection, they’re able to more effectively understand their platform, their peers, and the world of virtual theater. Their use of other virtual sources than the more obvious video-chatting services shows their mindfulness, as it's an excellent way to combat the widespread phenomena known as Zoom fatigue.

These times may be rough and isolation may run rampant, but communities are still very much alive. The empathetic and engaging work of 14/48:HS proves this. Although creativity may take a backseat for many young artists in these times of strife and discord, nothing shows the strength of community and togetherness like knowing that that’s okay. Even a group as artistically oriented as 14/48:HS recognizes this. Their theater is made by and made for today’s youth. They use the internet mindfully to make a powerful point as they transition back to art. After all the fatigue and challenge of functioning solo in quarantine, the 14/48:HS community is a breath of fresh air and a sign of more creative youth theater to come in the future. It shows just how far a community can go towards making an event as universally stressful and isolating as a pandemic a little bit more bearable, and a little bit more creative. No other organization shows an intrinsic understanding of this better than the exemplary 14/48:HS.

More information about 14:48/HS can be found on their website.

Lead Photo Credit: Photo courtesy of 14/48:HS. Spring 2019 Festival.

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 6 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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An Auditory Exploration: The Canterville Ghost

Review of The Canterville Ghost presented by Book-It Repertory Theatre

Written by Teen Writer Nour Gajial and edited by Teen Editor Mila Borowski

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As we approach the holiday season, who doesn’t love getting cozy and watching a performance? Even during a time where we cannot enjoy an in-person play, Book-It Repertory Theatre continues to bring the arts community together through broadcasting Oscar Wilde’s Canterville Ghost, converting the play into an auditory performance. Although viewing this production online is not the same as viewing it live, I had the opportunity to enjoy it in the comfort of my own home, and given that it was pre-recorded, I had the flexibility to view it at my own time.

The Canterville Ghost is a short story by Oscar Wilde about the Otis family, who move to an English country house which they soon find out is haunted. The Otis family, who are from America, do not find the eeriness of their house intimidating. In fact, they decide not to mention it at all. We soon discover that in their basement lives a ghost with a troubled past. Although we do not know the name of the ghost, we know that he was the first owner of this country house and was looked down upon in his past life since he killed his wife. Every morning he leaves a bloodstain in the living room near the fireplace to prove his existence and to scare the family, but the Otis family is unphased. Every night, the ghost attempts to scare the family, but instead, the young Otis twins ridicule him and play tricks on him instead. Even Mr. and Ms. Otis offer him medicines and supplies to help him instead of reacting to his tricks. By this point, the ghost feels offended and decides to stop scaring the family. However, it soon becomes evident that the elder daughter of the Otis family, Virginia, has some fear building up around living in the haunted house. One day she comes across the ghost and he confides in her. They both share vulnerable stories and the ghost confesses that he wants to die officially and doesn’t want to continue his presence as a ghost. Virginia is destined to help the ghost and as she helps him confront death, she learns an important lesson that love is stronger than death.

One of the most exciting features about this performance is that it can only be viewed as an audiobook. Personally, I thought this fit perfectly with the theme of the Canterville Ghost since it is a fantasy story and it gave me an opportunity to create my own image for the performance. However, given that there were no visuals, the story was heavily dominated by the voice of the narrator, which created continuity between the scenes. I could tell that the audio was high quality since it was extremely clear and had many dimensions (background noise, character noise, and narrator voice). Often the narrator would lead the plot with the characters in the scene talking in the background. In this audiobook style, it was extremely helpful that I was able to distinguish each character by their unique voices and tones. Just by hearing their voices, I was able to track character development throughout the storyline which added depth to my understanding of the plot. Even though there were no formal transitions between scenes, I relied on the background sounds and pauses to establish a change in time in my head which strongly imitated a set change on a stage in real life. Although I have not listened to very many audiobooks, I had a great experience listening to the Canterville Ghost and am inspired to check out more auditory performances.

Overall, I was very satisfied with viewing this performance. Even though I didn’t see the production in person, or have visuals to aid my understanding, I had the freedom to create my own fantastical visuals in my mind which was equally enjoyable. The Canterville Ghost was humorous, exciting, and kept me on my toes even in the comfort of my own house. Although audiobooks are not the most conventional method of viewing a performance, Book-It Repertory Theatre did a very effective job in conveying the story while keeping the viewer entertained. During this time in quarantine, it can be difficult to view live performances, however, I had an awesome experience listening to this audiobook and encourage others to check it out!

This event is streaming from December 8th, 2020 through June 30th, 2021. For more information see here.

Lead Photo Credit: Photo courtesy of Book-It Repertory Theatre

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 6 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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Dragon Mama: Are We the Same or Could We Not Be More Different?

Review of Dragon Mama by Sara Porkalob at American Repertory Theater

Written by Franklin High School student, Kalie Vo.

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Dragon Mama is a production that delivers emotional moments to create one life-changing experience. The story is unforgettable not only in the drama, but also in presentation. Regardless of the viewer’s perspective, this story holds the potential to leave an impact. Brought to life through the talent of solo actress—Sara Porkalob, this performance highlights being an anti-model-minority in a nonfiction approach unique to her mother’s life and demonstrates the events of what happened before and after Sara’s own birth.

The play focuses on Maria, with a complex family structure along with financial and emotional struggles while growing up. She is burdened in her childhood with the role of being a parental figure to her four siblings whose single mother is busy working to provide for them. The viewer spectates Maria as she grows from being an irresponsible teenager into an adult struggling to find her path in life. She also explores her sexual identity while raising her child and copes with mental issues. Maria’s coming of age is nothing like what most people imagine their life to become. This piece exists to let people know that the value of their experiences do not have to be measured by the common standard of success and that Maria, despite her bad choices in life, was able to strive for a fulfilling purpose and attain happiness, while moving the audience along the way.

One notable aspect of the play is the strong portrayal of family relationships. The one-sided connection between Maria and her mother, and Sara to her mother, is representative of many immigrant family dynamics. Maria’s mom was often too busy working to spend quality time with family as shown by a time where without notice, Maria and her younger siblings do not see their mom come home for over 24 hours. Not being able to spend time with family means not being able to guide them, not being able to give affection, and not being emotionally present while they grow up. This lack of guidance influences Maria into making many irresponsible choices later on. For some viewing her play, they might resonate with the experiences of feeling like their parents never loved them since they never showed up for them. Despite this, Maria still receives silent displays of support, like when her mom pays for her abortion or lets adult Maria leave the household to find herself. These events cause the audience to reflect on their own relationships and memories with their parents.

Part of what makes this performance unforgettable is how the play does not sugar-coat the reality of mental health. When Maria gives birth to Sara, she experiences depression and her whole family is there to see it happen. Her depressive episodes are uncomfortable to watch but remind us that Maria is a real human with flaws and she was never meant to be a role model. With that in mind, witnessing Maria’s life at her extremes can create a sense of relief for young people watching because it tells them that it’s okay to be doing terrible.

Whether the audience relates to, or could not be more different from Maria, watching this life-changing production offers the audience a new perception of life along with insight. It forces spectators to acknowledge stigmas and issues that often come with the reality of living in poverty as an immigrant. For those who have lived a privileged life, it brings awareness and growth. For those who resonate with Maria’s experiences, it brings healing and growth. Regardless of perspective, the personal story each audience member has to compare and contrast with Maria’s is what creates this special awakening.

Lead photo credit: Sara Porkalob in Dragon Mama at American Repertory Theater. Photo by

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.

This review was written as part of an Arts Criticism 101 workshop at Franklin High School in Ms. Roh's Asian American Literature class, taught by Press Corps teaching artist Omar Willey.

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