TeenTix Blog Theater

Have you ever stolen a famous painter’s artwork to help your pregnant girlfriend’s dreams come true? Juan the police officer did, in the wild and articulate play Laughs in Spanish, written by Alexis Scheer. This chaotic, emotional, and hilarious story is centered around Mariana, a post-college Latina woman who runs an art gallery in Miami. Just before the biggest art show of her career, her artist's paintings are mysteriously stolen. To make things even more stressful, her famous actress mother shows up unexpectedly, stirring things up even more. What follows is a fast-paced mess of events involving pregnancy, stolen art, court orders, love, and lots of hilarious and heartfelt moments. Laughs in Spanish is a unique and powerful representation of Latinx and queer identities, filled with real life struggles and very funny moments.

One of the things I appreciated most about this play was how it showcased the ups and downs of queer and Latina life without ever feeling preachy or too serious. The characters felt authentic, their chemistry was strong, and their personalities were very extravagant  in a good way. Even though the play had a lot going on, it was clear that the writer, Alexis Scheer, put a lot of care into making every character feel like they belonged and had a purpose, even if some of the plot lines felt a bit overwhelming (which I’ll talk more about later).

From the moment the lights go up, you’re exposed to the stage full of Miami energy, pulling you into a fast-paced and heartwarming narrative that balances humor and cultural depth. The play quickly evolved into a relatable exploration of identity, family, and culture. Laughs in Spanish proves to be a celebration of what it means to live, laugh, and love in two languages.

Laughs in Spanish, written by Alexis Scheer, is a fast-paced play set in Miami. The play follows Mariana’s immersive world as a gallery owner who has to handle valuable paintings disappearing right before a major art show. The plot is based on Mari as she scrambles to recover from a disaster that could ruin her career. She’s joined by her assistant, Caro, a struggling artist, and a bumbling cop, Juan, who is dating Caro. Things get even more dramatic as her plan to fix everything gets interrupted by her mother, Estella, and her assistant, Jenny. The characters are bold and complex, the different dynamics bring humorous and emotional depth to the play. As characters interact, secrets are revealed, tension rises, and we are taken through a hilarious journey in the life of a Latina family. Immediately captivated by a chaotically heartwarming and relatable plot, Laughs in Spanish is a culturally rich play that is full of humor. 

Have you ever gone to the theater expecting one of those remake comedy shows only to leave completely changed in opinion, by that I meant utterly transformed, by a performance that makes you both laugh and pause? Laughs in Spanish at Seattle Rep demonstrates this transformation with a precise blend of wardrobe choices, props, and, most notably, the actors’ commanding presence. The journey unfolds in phases, from moments that leave you speechless, to intimate, raw exchanges, and finally, a display of compassionate, captivating artistry.

This production wastes no time in disorienting its audience in the best possible way. Early in the show, as the stage bursts with bold, saturated colors and rapid-fire dialogue illustrating Miami’s vibrant art scene kinda vibe, the sudden color changes come to a stop. During Mari’s (Beth Pollack) meticulously planned gallery opening, displays of artworks mysteriously vanish. Rather than spiraling into immediate panic, the stage sinks into a hushed quiet as the lighting softens to a warm, almost hypnotic glow. In that hushed intensity, Mari, typically the embodiment of control, stands alone in the center of the gallery. The backdrop of swirling abstract art in hues of blue and orange evoked a delicate boundary between order and chaos, making every detail even more striking. 

What happens when an art gallery becomes ground zero for unexpected chaos? Laughs in Spanish takes its audience on a journey full of fast-paced dialogue combined with unforeseen scenes. The stage performance alternates between powerful dramatic moments and comedic scenes, which drew me in because of its energetic energy throughout the play. I attended the Seattle Rep Theater production of Laughs in Spanish last week. The story follows Mari, a director of an art gallery in Miami when her major art exhibition collapses due to both stolen paintings and family conflicts. The play by Alexis Scheer takes place in Miami while combining comedic elements with deep themes about cultural identity and ambition. Through laughter and disorder, the play investigates how people manage their life ambitions against their family obligations. 

The play begins during the setup for a high-profile Miami art event. Mariana, a gallery director who wants to succeed, is about to lose her job. She finds out that some expensive paintings have been stolen. It’s a serious problem that gets worse when her intern Carolina, Miami cop Juan, and her mother Estella get involved, each making the situation more complicated. But beneath the humor and chaos, Laughs in Spanish is a story about self-worth, identity, and the ways we fight to be seen in the spaces we occupy.

The rich Goldbergs are coming over at 6 PM, and Mari needs to appeal to them to stay successful. Laughs in Spanish takes place in an art gallery, where Mari, the owner, has to juggle executing a party while all the paintings have been stolen. This play is charismatic, vibrant, and touching. 

During the play, many things start popping up as Mari tries to handle everything independently. Just as when we thought everything was going well, we learn that the wrong catering order was delivered to the gallery. It’s no surprise that it’s Mari’s responsibility to maintain the spotlight, but with all the pressure to get it under control, we see her on the verge of losing it. As for her mom, Estella only shows up when necessary. She chose to show up before the party to uncover a dark past. On the other hand, Mari has this huge problem to fix, and she doesn’t want her mom to be here, making it worse, when Estella has been absent for most of her life. This play was successful because it’s a great demonstration of family dynamics. For example, Mari plays this angry façade for most of the play until she decides to talk to her mom about these problems and what has been frustrating her. It’s a realistic moment where most people can relate. It shows how Mari had to put down her walls to build new walls of trust with Estella. This scene speaks volumes about communication and love. To move on, the spectacle works well in the play, even in this scene. At one point, Mari returns from shopping and reveals an intense, scarlet dress with a glittering, uneven hemline. As the stage lights turn on, it illustrates Mari’s new persona; she’s become much more luminous with a simmering, feisty attitude. She’s not as cranky as she once was, and in her transformation, we see Mari overcoming the barriers of vulnerability. 

In most stories about people of color, the plot is always about how the character struggles as they try to achieve success. Rarely do stories start with a minority character who is already successful and tell us what they have sacrificed for that achievement. 

However, Alexis Scheer, a half-Colombian playwright, focused on these perspectives in her play called Laughs in Spanish, an engaging and meaningful play centered on Hispanic characters.

After seeing Seattle Rep’s Laughs in Spanish, I was both energized by its lively humor and left with some challenging questions to ponder.  I attended the 90-minunte play, written by Alexis Scheer and directed by Dámaso Rodríguez, as a Spanish student hoping to practice my listening skills and curious about what a “part telenovela, part whodunit” comedy would be like. Although the Spanish portions of the play turned out to only be brief phrases sprinkled into the dialogue, I could not have asked for a production more chock full of jokes, telenovela tropes, and big questions about identity and decision-making.

The drama begins when Mariana (Beth Pollack) discovers that all the paintings have been stolen from her Miami art gallery on the morning of her biggest show of the year. Juan (Gabriell Salgado), a decidedly unhelpful police officer, is on the scene. Juan also happens to be the boyfriend of Mari’s intern, Carolina (Diana Garle), a graduate student studying painting. Both are more focused on getting Mari to show Caro’s paintings in lieu of the intended artist’s work than on solving the crime. Then, Mari’s theatrical telenovela-star mother Estella (Diana Burbano), with whom she has a fraught relationship, arrives unexpectedly, bringing with her a whole new source of drama. Things get even more complicated when Estella’s assistant, Jenny (Cheyenne Barton), turns out to be Mari’s old crush.

In June of 2020, in the wake of the rising Black Lives Matter movement, more than 300 theater artists published the statement, “We See You, White American Theater.” This statement tore into the long-established racism within the theater industry: “Our love of theater has often meant surviving an industry-wide culture of fear poisoned by racism [...] Achieve cultural competency in us. Address your vocabulary, behavior, implicit bias, and lack of understanding. We are the experts, not the accessory.” The letter laid out a clear list of changes that needed to be made, highlighting the inadequate worker rights and representation. 65 years before “We See You” was published, playwright Alice Childress addressed near-identical issues through Trouble in Mind, yet the systemic racism of Broadway prevented its production and mainstream success until 2021. Before becoming a playwright, Childress was involved in years of local theatre, eventually making it to Broadway in the ‘40s. Her first-hand experience makes this play an invaluable perspective on Black actors’ experience prior to and during the civil rights movement. Centerstage Theatre’s production highlights the relevance of Trouble in Mind, playing a crucial role in addressing the long-running and unchanging racism within theatre.

Trouble in Mind is a satirical, challenging critique of racism within the theater, following a primarily Black cast in the rehearsal of an “anti-lynching” Broadway production called “Chaos in Belleville,” directed by a white man. Despite the progressive image of “Chaos in Belleville,” the egotistical director’s racism and biases are ingrained in the characterization and plot. The protagonist, Wiletta, is an experienced, strong actress accustomed to complying with stereotypical roles in the theater to make a decent income. Despite giving similar advice to the newer Black actors in the production (“You either do it and stay or don’t do it and get out”), she gradually becomes more openly opposed to the director, culminating in a heated argument that ultimately ends the production of the play. Trouble in Mind follows a variety of characters that differ in perspective on “Chaos in Belleville,” with a satire that still feels very relevant today. The cast of Trouble in Mind. Photo provided by Centerstage Theatre.

The intensity of Cathy Hiatt’s expression as her gaze seared through the lifeless house she had once shared with her beloved Jamie was unforgettable. The power she harnessed to preach a thousand relentless words without daring to open her mouth magnetized my attention. I felt the world slow down around me as I tried to detect the character’s thoughts in the indefinite silence. Helplessly, I watched the last pittance of hope that Cathy grasped slowly escape her heart as she moved cautiously away from center stage. We simultaneously realized how the trials of romance are unexpectedly vulnerable, opening oneself up to the possibility of either blissful change or weathering agony.

Watching The Last Five Years at ACT Theatre (co-produced with The 5th Avenue Theatre) was undoubtedly a memorable experience. Since I discovered the musical in my freshman year, everything about the production felt captivating: the orchestral fuel and intricate lyricism behind each song, the personal journeys and evolution of Cathy and Jamie both individually and as a couple, and that classic, gut-wrenching question: how did they get here? The theatre-in-the-round staging of ACT’s Allen Theatre added an extra layer of intimacy and immersion to the story, providing the audience with sacred moments where they could almost look straight into the eyes of both characters. Synchronously, the audience could feel the impact of the characters’ current emotional state, whether they be embracing joy, battling fear and insecurity, or simply in constant wonder. The venue maintained a state of constructional simplicity; the furniture of the set was strategically limited so it became unbearable for the audience to observe what seemed like infinite space between Cathy and Jamie as they endured their separate experiences within a slowly deteriorating relationship. This invisible spatial barrier between the two made one particular scene all the more precious.

From a dark room with a green door at the beginning, to "the game is afoot" said in the middle of the show, to the applause of a satisfied audience at the curtain call - Miss Holmes, written by Christopher M. Walsh and directed by Angela M. Bayler of Centerstage Theater, is a clever spin on a classic. Female versions of Sherlock Holmes and Doctor Watson create a feminist mystery with themes of death and betrayal while defying stereotypes of the typical Victorian Era woman by changing what would be proper Victorian Women's attire to pants, hats, and work boots. This was also done through how the women in the show talked and how sure of themselves they were. This show, boosted by excellent acting performances, delivers laughs and lots of whodunnit in a cozy, Federal Way theater. This was my first performance in Federal Way, and I was surprised to find this charming, innovative theater at the end of a long, woodsy road in a beautiful park. While I was eating a cookie from their refreshment table I saw a display portraying the challenges of Victorian womanhood and I appreciated being able to learn a little bit about this period before watching the show because it helped me understand the struggles that the female characters in the show faced. As the lights dimmed, the director stepped on the stage and introduced the show to the audience.  Although Miss Holmes and the 2020 film Enola Holmes are not the same, these female detectives have a few things in common: they both carry the Holmes name and have an overprotective brother named Mycroft. And despite being underestimated, these women use their knowledge and social status to blend into society and rebel against the expectations of the time.  The cast of Miss Holmes. Photo by Michelle Smith-Lewis.

The sets in the show feature the hospital where Dr. Watson works, Miss Holmes’s home, and Scotland Yard, and contain sophisticated portraits and warm furniture against a mysterious London background. The period costumes were chosen thoughtfully and were effective for every character. I especially loved Watson’s tweed buttoned-up dress and her medical bag. The men's button-up suits were fitting and I loved Mycroft's cane but it was used more like a prop than a cane itself. This made me wonder why they used the prop if he was only supposed to hold it and not use it for walking. I only wished for some more wardrobe changes for the two main roles which would have made the show more realistic and brought more personality through the characters.

This review contains spoilers for the play Covenant.

From start to finish, ArtsWest’s Covenant was never what I expected it to be. It begins as a fairly standard family drama in 1930’s Georgia: sheltered, innocent Avery (Simone Alene) wants to leave town with charismatic yet mysterious guitarist Johnny (Donovan Mahannah), but Mama (Felicia Loud) and her pious Black-church values won’t approve. The show foreshadows its ominous tone from the start, especially through the narration of neighbor Ruthie (Kaila Towers), but that eeriness is initially masked by punchy humor and charming small-town colloquialisms.

The script of University of Washington’s adaptation of Shakespeare’s The Winter’s Tale was adapted by the director of the show, Kate Drummond. In an interview with Drummond, she stated the goal going into this process was “not to ‘fix’ it,  but to reveal how vital a story it is for our world today.” The adaptation’s effects range from changing the role of certain characters to creating a smoother transition from modern English to Shakespearean iambic pentameter. Now reimagined, the play explores themes of betrayal, tragedy, and redemption in scenes constructed by fluid genres and evolving characters. 

With the adaptation being made up of roughly 25-30 percent added text, mostly written by Drummond, the archaic Shakespeare play is given a fresh perspective. One of the main characters, Autolycus, is altered from a lightly featured character to a comical “unreliable narrator.” Autolycus scatters modern language throughout the new version of the play, to which Drummond said “the inclusion of some disruptive modern text (like “frat brother,” or “too soon?” re: making a teeth joke after Antigonus is eaten) is contributing to this sense of keeping us on our toes.” These abrupt language shifts make Autolycus feel more personal, and break down the fourth wall to further let us into the story. Photo by Sunny Martini

From the first chorus of the opening song “Omigod You Guys!” Village Theatre’s presentation of Legally Blonde The Musical is like being blasted with a pink confetti cannon of positivity. This musical has everything: catchy songs, lovable characters, an upbeat story, and even two adorable real dogs. Fans were decked out, some in all pink, with glowing smiles to see the classic movie brought to life onstage. This musical draws on the enduring appeal of protagonist Elle Woods’ journey to get taken seriously, and it adds a whole new layer of humor and pink pizzazz. Although the plotline seems centered around a typical chick flick romance, the impact of Village Theatre’s production comes from the unique ways it foregrounds subtler themes: sisterhood, hopes and dreams, the illusion of perfection, and keeping a positive outlook through life’s trials. 

Let’s start with the venue! The Everett Performing Arts Center was embellished with pink Legally Blonde paraphernalia. The staff was cheerful and the patrons, many of whom clearly love this story, were excitedly taking selfies in the photo booth. The theater was just big enough to have an astounding set, lighting, and orchestra pit while still maintaining a feeling of community and mutual excitement. Not that they would have had any problem with that anyway; this musical was so upbeat, funny, and heartwarming that it kept me engaged every second. 

Ask yourself: “Where is Here?” 

The answer might seem quite obvious, whether it's your bed, school, or your living room couch. We all have places we deem familiar, where we have put down our “roots.” For Azam, our protagonist, the answer isn’t so clear. 

Death has never been more lighthearted or absurd than in Noël Coward’s comedy Blithe Spirit. Directed by Allison Narver, Seattle Rep’s production stays true to the “spirit” of the classic play, transforming darkness into light through humor. Despite being written in 1941, Blithe Spirit possesses a timeless appeal, transporting modern audiences into an old-fashioned, mystical, and outrageous world where their worries can be temporarily forgotten.

Blithe Spirit revolves around a supernatural love triangle. Novelist Charles Condomine (Arlando Smith) and his wife Ruth (Gin Hammond) invite the medium Madame Arcati (Anne Allgood) and their friends Dr. and Mrs. Bradman (Nate Tenenbaum and Sara Waisanen) to dinner. Seeking inspiration for his newest novel, Charles asks Madame Arcati to perform a séance. However, he gets more than he bargained for when Madame Arcati accidentally manifests the ghost of his late wife Elvira (Kirsten Potter). Charles must then contend with the complicated reality of having both Ruth and Elvira in the house. Meanwhile, Elvira, who is visible only to Charles, has her own plans for making him hers once more…Lead photo: Gin Hammond, Kirsten Potter, and Arlando Smith in Blithe Spirit (2024). Photo by Nate Watters.

A magnificent mess of great multitudes, The Dina Martina Christmas Show at ACT Theatre is a performance that perfectly encompasses the holiday season. Full of personality and unapologetic flair, ecstatic raconteur Dina Martina, accompanied by her talented pianist Chris Jeffries, puts on a colorful show full of impeccable humor that will knock your socks off. Her boisterous first segment is filled to the brim with personalized Christmas caroling and hilarious anecdotes, and her second echoes her appreciation for her local audience by honoring the history of Seattle and looking back on the beginnings of her career. From the very moment she bursts onto the stage, Dina Martina is sure to keep audiences captivated with her distinct and unforgettable charm for a night of holiday shenanigans.

Throughout the show, Dina Martina establishes her classic, sporadic persona that is especially relatable when facing the pandemonium of the Christmas agenda. Her loud songs paired with flashy costumes transformed her image, characterizing her as the belle of the ball and immediately grabbing the attention of the audience. The manner in which she hastily fiddles with ornaments, jingle bells, and other classic Christmas decorations while dancing freely on the stage enhances her frenzied energy that zaps the audiences with giddiness and joy as if they were on the dance floor themselves. While satisfying the spontaneity and volume of her character, I enjoyed how Dina Martina presented a myriad of layered plotlines without pressuring the audience to follow a mentally exhaustive story. Each of the components that compile the obscure yet engrossing details of her stories are not necessarily connected like the chapters of a book; rather, they sprout like individual nuggets of information that the audience can digest at an upbeat yet comfortable pace. Especially after a long week of 9 to 5 work days, Dina Martina’s lighthearted and humorous stories are refreshing and easy to listen to. In her scattered recollections of holiday seasons past, she also provokes a reemergence of contagious holiday cheer. With comedy, she energizes her listeners like a bolt of lightning and powers the triumphant sound of hearty laughs that ring constant throughout the night. The evening I attended, the December 13 show, was particularly powerful; I’ve attended many Dina Martina performances before but cannot recall the last instance I witnessed and interacted with such a passionate and united crowd. The liveliness of the show, however, must also be accredited to the set and lighting design. I felt like a welcomed guest when faced with the coziness of an intricately crafted living room filled with garlands, wreaths, and illuminated family photos. The Christmas tree was a bold presence in the room, and it protected the perfectly-placed presents that symbolized the gifts of entertainment, memories, and love that would reveal themselves as the night progressed. Each and every one of these elements electrified the venue with elevated spirits and mirrored the vibrancy of Dina Martina’s performance. The lighting design extended the divine visual ambience and aesthetics of the set; fast-moving golden spotlights followed Martina as she performed her musical pieces, projected sprinkling snowflakes framed her as she recalled memories from her winters, and a periwinkle spotlight set the sentimental tone for the second act. These technical elements matched the vitality of Dina Martina’s character without overwhelming her stage presence, perfecting a balance that is often difficult to obtain with dynamic stand-up performances.Dina Martina in The Dina Martina Christmas Show. Photo by Giao Nguyen.

Having grown up Catholic, the Nativity story always surrounded me. Whether it be through slowly reading the Gospel verses in our advent calendar, picture books with sheep smiling joyfully at a cartoon baby Jesus, or simply seeing the Nativity decorations around my house, the story became a routine part of my holiday season. Over time, it slowly lost its magic for me. It simply seemed ordinary; that is, until I saw Intiman Theatre’s reimagined production of  Black Nativity. This song-play by Langston Hughes combines touching poetry, enthralling dance, and powerful gospel renditions of familiar Christmas carols to bring the Christmas story to life and imbue each audience member with true Christmas spirit.  The cast of Black Nativity. Photo by Joe Moore.

When my parents and I first got to Broadway Performance Hall, located in the Fine Arts Building of Seattle Central College, I was meant by a wave of warmth. “Funky Little Drummer Boy” by Sharon Jones & The Dap-Kings played as the ticket sales-woman wished my family and I happy holidays and pointed us towards the cozy waiting room. From there, we entered the intimate theater, where even from the back row, I could clearly see the intricate panels lining the back of the stage. The panels gave the illusion of glowing frames of stained glass, a vibrant mosaic coming together to create a nativity scene. Soon, the house lights began to dim. While I was prepared for beautiful singing and poetry, what first struck me was the dancing included throughout the show. At the start of the show, a group of dancers appeared on stage in a theater of near silence. As they began a series of mesmerizing movements, sounds of their steps echoed into the audience, creating an intimate and energized atmosphere. Similarly, the towering shadows of the dancers were cast onto the walls by the soft lighting, surrounding the audience in the movement and drawing everyone closer. 

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

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

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

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

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

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