Seattle Blog Theater

Have you seen A Thousand Splendid Suns yet? Don't miss this harrowing yet ultimately beautiful tale, all at a special price just for TeenTix Members.

Our incredibly fantastic friends at Seattle Repertory Theatre are generously offering a 2 for $10 ticket price for the following performances:

Opening night at Book-It's production of Jane Eyre was a memorable experience. The place was bustling with an activity and vibrancy synonymous with champagne, cupcakes, and opening night.

The play began with a girl, Jane, holding a candle in the dark and singing an eerie song —replicating the Gothic Romanticism portrayed in Brontë’s novel. As the night progressed, full and rich with English accents, the story switched perspectives from the first, second, and third person. Parts of the show embodied Brontë’s novel, with characters even quoting iconic lines, like “Reader, I married him.”

Rarely do I enter a play with as many thoughts and questions as I had going into Richard III at Seattle Shakespeare Company. There was so much to be explored: would a historical play remain accessible not only 400 years after it was written, but 500 years after its events occurred? And what would it be like to see this play – with 21 male characters and 4 female characters – presented by an all-female cast? The answers I found are a testament to the power of Shakespeare’s words to cross boundaries of gender and time, and a testament to what amazing, powerful theatre Seattle Shakespeare Company’s actresses can create when they bring life to all his words – not only those of his few female characters.

One feature which makes all-female productions so exciting, particularly when it comes to all-female productions of Shakespeare, are the opportunities offered for female performing artists, who tend to have fewer opportunities than their male counterparts in the world of Shakespeare. The bard’s plays contain far more roles for men than for women, perhaps because they were originally performed by all-male casts. All-female productions like this open the door for audiences to experience the unique talent and perspectives that female performers can bring to the full array of magnificent roles Shakespeare created. And works of art placing women in positions of power, onstage and behind the scenes, are much-needed today and always. So naturally, I was excited that Seattle Shakespeare Company had chosen to collaborate again with the upstart crow collective to present this sequel to Bring Down the House, their highly-praised all-female adaptation of the Henry VI trilogy.

Hedwig and the Angry Inch is not your typical Broadway musical. Instead of chorus lines and tap numbers, the show features an onstage band and 90 minutes of punk rock. On top of that, the characters are eclectic. There’s Hedwig (played by Nicholas Japaul Bernard), who struggles to come to terms with her identity after a botched sex-change operation (although she is genderqueer, she uses she/her pronouns); Yitzhak (played by Dani Hobbs), Hedwig’s husband, whom she hates; and the unseen Tommy Gnosis, a rock star and Hedwig’s ex-lover, who abandoned her after learning that she was not technically a woman. Through these characters, their relationships, and dramatic, powerful songs, the show presents its central message: that one must embrace change and the unknown.

Throughout the show, Hedwig seems fixated on the past and present, instead of looking to the future, something that was mirrored in the staging. Because we normally read from left to right, stage left (from the audience’s perspective) is reminiscent of the past, while stage right symbolizes the future. During the show, Hedwig tended to stay stage left/center, displaying her obsession with her life before the operation and her relationship with Tommy, as well as her inability to focus on her current self and what’s to come. On the other hand, Yitzhak, who sits stage right, essentially becomes the show’s future—at the end of the show, they sing alone while Hedwig leaves the stage.

Powerful. That's the first word that comes to mind when talking about Familiar, a play written by Danai Gurira, a well-known African American actress. This play is a masterpiece that everyone should see at least once. Drama is one of the oldest forms of entertainment, and, as humans, we love drama. This makes the play a hit for the audience as it is packed with the twists and turns that make a great family drama. Gurira draws from her own heritage for this play as it brings up many topics like culture, Zimbabwe, identity, and of course, family.

This play revolves around an African family from Zimbabwe and the conflicts they go through about race and identity. The family consists of two sisters, Tendi, the eldest, and Nyasha, the youngest; the parents, Marvelous and Donald; and two aunts, Margaret and Anne. When Tendi decides to get married to a white guy named Chris, most of the family has their own opinions, and her sister, who is afraid Tendi will lose her heritage, has the strongest opinion. The play progresses as more family shows up and causes more havoc in the small American-style house. The plot thicken as the story of this American Zimbabwean family unfolds.

Before seeing Danai Gurira’s Familiar performed at the Seattle Rep Theatre I was doubtful that I would be able to relate to an immigrant family from Zimbabwe. I even questioned if I would enjoy going. Though after the school trip and the one hour and 50 minutes of the play, I was surprised to find that it was indeed relatable and quite humorous. Despite my preconception, I really enjoyed watching the play, could even say I loved it. As I walked into the Seattle Rep Theater I was easily impressed by the set design, it was a great first look at Taibi Magar’s interpretation on this modern-day play. The play begins in the family home of Zimbabwean refugees in Minnesota. I would say that I am not a big fan of one-set plays, but the actors like Michael Wieser, who played Brad, did a phenomenal job at bringing spunk to the show. While Familiar itself was extraordinary, exploding with fun-filled scenes, the ending of act one will continue to be one that I will remember. This is a must-see play due to scenes like this one. In an act of heroism, Brad, played by Michael Wieser, saved Nyasha’s (Aishe Keita) life at the end of Act 1. This scene played a big role in the way we and other characters in the show see Brad as more than just a white male. After watching this play I would say I wasn’t all that happy with the one-set play, and the non-stop arguing, although I would say that I loved seeing a character like Nyasha struggling to understand her culture. Many children identify as the first generation, and it hard to understand your culture when you are so far away from it. Many kids like myself become very stressed while thinking about this topic, but after seeing a character like Nyasha, it made me feel a lot better about my curiosity. At the end of the day, this play is a must see! It’s amazing set, phenomenal acting, and wonderful lessons will have you walking away with an experience like no other. Every person who struggles with finding who you are, and where you come from should see this play in all its glory. This is purely a piece of art that should be praised, but don’t let me shape your opinions, get up and see for yourself.

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.

Before I went to go watch the play Familiar with my school, I watched the movie Black Panther. Then, I went and watched Familiar and I had no clue what to expect. Danai Gurira, or General Okoye from Black Panther, wrote Familiar. I walked in the theater expecting a boring play, but I found a diamond in the rough.

The play has a little bit of a slow start, just some dialogue between a couple characters. The dialogue built the characters and through this I saw that this is not a cliché play. The play revolves around Tendi’s wedding, daughter of Donald and Marvelous, niece of Anne and Margaret, sister of Nyasha, and fiancé of Chris. Tendi, the eldest daughter of the Zimbabwean family, is getting married to a Caucasian man. The play takes place in the family house in Minnesota.

If you haven't seen Mac Beth yet, this weekend is your last chance! Check out this special offer for this updated version of the classic tragedy, featuring an all-youth female cast.

Our friends at Seattle Rep are very generously offering 2 for $10 ticket prices for both their Saturday and Sunday matinees: June 23rd and 24th at 2:00 PM.

Hey, aspiring actors!

Our friends at Seattle Shakespeare Company wanted us to tell you that they're offering a ~special~ discount for their Audition Prep Camp from July 30 - August 3, from 1 - 4 PM, for students 9th grade and above. To register for this class, go here and simply use the code AUDITION30 for $30 off enrollment now through next Friday, June 15th!

Going into a performance or art display of any kind without given any sort of information about the performance beforehand is certainly a curious and exciting experience. Going in to see JACK &, this fact didn't change. I found the steadiness of the fish in the bowl theme to be quite intriguing, given the fact that, in hindsight, I believe it represented much more than what it originally seemed to.

The beginning set up of the show is a blue and turquoise mandala in the center of the stage; on its outskirts, a fishbowl and some cans of Crush soda sit on a stool. Green racks stand to the right side of the stage. On the left sits a computer and speakers on a table, and behind that is a circular tarp.

A bright, gray light illuminates the stage, which is empty except for a tired, sagging tree; two rock-like structures made of carpet; and orange cords hanging from the ceiling. The audience, hushed, waits for thirty seconds. The stage is still. Fifteen seconds more. Nothing. People start rustling in their seats. Another fifteen seconds, and an alarm clock starts blaring. Carpets are unrolled. Nerf guns are shot. Patti & The Kid has begun. For the first half of the play, uncomfortable silence seems to be the norm. In their post-Apocalyptic world, Patti and Kid never speak; rather, the only soundtrack is the blaring of a CD player, which accompanies the two characters as they Jazzercise, eat carrots, and make coffee—completely normal activities, which perfectly juxtapose with the strangeness of the situation. Patti and Kid are wary of the area outside their carpets, and only leave their spaces when standing on a small rolling carpet square and pushing themselves around with a broom. The only technology onstage is old—the clunky CD player, the coffee maker, the alarm clock—yet clearly integral to these characters’ lives.

One starts to believe the silence is some sort of side effect from the Apocalypse. But then Tammy—the antithesis of Patti and Kid, a little girl who seems to have no problem with this new, post-Apocalyptic world—arrives with her feet firmly planted on the ground. She breaks both the fourth wall,addressing the audience directly,and whatever spell has kept Patti and Kid from speaking. While the two characters’ actions originally have the tired, monotonous air of repetition, their silence shows they have performed their morning routine so many times that no words are needed; with the entrance of Tammy, Patti and Kid move into uncharted territory, and discuss previously buried parts of their lives through cathartic monologues.

How do you expect a play to begin?

With an almost deserted stage which remains still and silent for an uncomfortably long period? A stage which, even when filled with movement, will be devoid of voice for a large portion of the play?

Does theatre get your brain juices flowing? Do you love talkbacks with cast and crew? Do you love dissecting the meaning of art with a group of peers?

Penguin Productions, one of our newest Community Partners, has what you need! They're gearing up to offer a new quarter of this play-going and discussion class, and you're invited to join them. Get all the deets below:

TeenTix's beloved Arts Partner, Seattle Public Theater, is offering limited FREE spaces in this drama camp for a few lucky TeenTix members! PRODUCTION: Twelfth Night or As You Will

Be a part of a production of one of the most famous romantic comedies of all time: Twelfth Night is the story of outsider Viola, who washes up in an unfamiliar country and has to disguise herself as a man. Filled with love, misunderstandings and gender bending, Twelfth Night is a delightful plunge into the colorful world of William Shakespeare. Taught by ArtsWest's production manager Jay O'Leary, this production is sure to get young actors engaged and excited about working with classical text. Intended for grades 7 - 12. Only TeenTix members may apply: sign up now!

Being a TeenTix member has all SORTS of benefits: $5 tickets to the arts, exclusive arts events, snacks, and now this! Seattle Public Theater and 14/48: The World's Quickest Theater Festival are teaming up to bring you this Winter Break Camp. TeenTix members are encouraged to apply here to snag a FREE spot in this camp. Don't wait! Spots are limited, and the camp starts next Monday, February 19th.

Here are the deets:

Last week, we were lucky enough to go see American Hwangap by Lloyd Suh at West of Lenin. The play explores the relationships of an American-Korean family, the Chuns, particularly that of the family’s estranged father, Min Suk Chun, who returns home after fifteen years to celebrate his “Hwangap” (a commemoration of his 60th birthday). Before the show, we were also able to sit down with the play’s director, AJ Epstein, to ask a few questions.

With an artist for a mother, Epstein grew up surrounded by theatre. He went to shows regularly, and his parents were very supportive of him going into an arts-related field: “I was really lucky, that… I was able to have agency over [my decision to pursue an arts-related career]”, he stated. That wasn’t the only unique aspect of his arts-related journey, we found out, as Epstein had come up through lights and sound, and got into directing only later, in college. After purchasing West of Lenin, a tiny, eighty-eight seat, black box theater, in 2009, he started producing and directing shows there. Part of the theater’s charm is its small space, which provides the audience with a much more intimate experience.

Going to see Here Lies Love is an experience. It is immersive and provocative and at times incredibly overwhelming. This rock musical was written by Fatboy Slim and David Byrne about Imelda Marcos, the wife of a Filipino Dictator in the years leading up to the People’s Power Revolution.

While the Rep’s 2016/17 season revolves around power dynamics, HLL would perhaps have been more fitting in the next season, titled “We are real, messy, human.” The entire duration of the play one both sympathizes and is disappointed with Imelda as she embarks on a life that seems to continually draw her further and further away from reality. HLL gives voice and accessibility to Filipino history while at the same time telling the story of a complex and struggling woman in power.

Do you want to laugh and make people laugh? Unexpected Productions has the goods! Take a look at their class offerings this summer:

Intro To Hip Hop Improv with North Coast | more info June 13, 2016 6:30 PM - 8:30 PM, w/ a show at 9:00 PM New York City’s premier hip-hop improv comedy team, North Coast, is a unique collaboration of improvisational comedy, hip hop, beatboxing, and music. This musical improv workshop will get even the most beginner performers comfortable and confident with freestyle rapping and will teach you how to really drill into the deal of your scene and its’ characters. Learn how to set yourself up, find your flow, and weave your rapped verses in and out of your improv scene-work.

The Things Are Against Us is a trip on the dark side of the alley when the shadows seem to move behind you. Equal parts hilarious and terrifying, this play is a story of sisterly love that leaves viewers on an emotional roller coaster, and ultimately, not sure how they’re feeling. The play blends old descriptive language with modern verbiage seamlessly in the world playwright Susan Soon He Stanton creates. Having written the play while living next to the Edward Gorey Estate, the play delves into a sense of horrifying normality where things that would normally require hours of background are addressed in a staccato fashion establishing them as ordinary and acceptable.

Though at times hard to follow, the play never loses interest. Seemingly “un-producible,” Washington Ensemble Theater brings to life the story of Solange and her sister Tessa with a beautifully and wondrously constructed set and intense and compelling on-stage relationships.

All we see on stage when we go to see a play are the actors and the set pieces. We notice the lights and sound, and maybe the tech crew, but there are so many parts to running a fully-functioning theater that people may not realize. I considered myself pretty knowledgeable about all things theater, but I still had a lot to learn on my mini-mentorship with Robert Hankin, the Associate Director of Development at ACT Theatre. He was a great person to have as a guide and mentor for the day because he said he has had nine different positions in his nine years at ACT!

I was surprised by the dozens and dozens of people who work behind the scenes to make everything run smoothly. A few departments I can rattle off: Development (a.k.a. fundraising), Sales, Marketing, Graphic Design, Casting, Costuming, Set Design, Tech Design, Outreach, Front-of-House, Executive Team, Artistic Team, and more! I remember meeting one person in the elevator who's only job was to paint things. In a large-scale theater like ACT, so many different moving pieces have to work together cohesively. What mattered was that everyone cared about what they were doing and enjoyed putting in the effort to create amazing theater.