TeenTix Blog Theater

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.

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.

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 GretjenHelene.com

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.

Late night karaoke, drama, humor, love, heartache and complex characters all in an hour-forty-five-minute show created by one person? Writer and creator, Sara Porkalob, makes it seem so effortless. The second story in the Dragon Cycle Trilogy, Dragon Mama, is an incredible one-woman show starring Porkalob herself. It details the story of her mother, Maria Porkalob Jr. before and after Sara was born. The actress shares her mother’s journey and the unfortunate, heart-wrenching situations their family experienced during the late 1970s to early-1990s living in America. Sara Porkalob’s play emphasizes that there is much more to a person’s life than meets the eye.

The show recreates two time periods within Maria Jr.’s life. The first act focuses on her early life with her mother and siblings in Hawaii, as well as their life in Bremerton, Washington after they move from Hawaii. There, Maria Sr. works tirelessly as both a waitress and a worker at a bingo hall while raising her children as a single mother. As a result, thirteen-year-old Maria Jr. is left to take care of her younger siblings. The second act deals with Maria Jr. as an adult living in Alaska. Throughout the story, the family faces financial challenges and food insecurity.

Sara Porkalob’s versatile portrayal of her mother’s family is fascinating and draws in the audience. Her storytelling is both humorous and emotional. The stage only has a chair accompanying Porkalob as she performs. It emphasizes that the story is not centered around the setting but rather the actions and the dialogue. By using various tones and expressions, Porkalob is able to differentiate the roles in a way that captures their unique personalities. With numerous characters being added, it is easy to lose sight of the situation that occurs on stage. But with the right body movement and lighting, the audience cannot take their eyes off the story that is unfolding as well the valuable lessons it holds. In addition to the lighting and movement, the music choice makes an impact on her performance. Each song sets the tone and energy of the scene, and the audience gets hooked. The variety of music Porkalob plays during nerve wracking scenes symbolizes that music is the gateway to release her emotions. However, the show has so many quick transitions which can confuse the audience. There are moments where Porkalob goes from an outdoor to an indoor setting or from a flashback to the present and it takes a while for the audience to realize the change.

The turbulent life of Maria Porkalob and her family allows others to comprehend the struggles that Asian Americans face in the United States. Both Maria Porkalob Sr. and Jr. sacrifice their time with their children to make ends meet and provide the family with necessities. Whether it is through working two jobs or consistently moving to secure jobs, such as going to Alaska to work on a fishing boat, these women have to fend for themselves and make difficult decisions to survive.The overarching theme of resilience continues to make itself known throughout the many scenes, particularly to those who may not understand and relate to their actions.

Dragon Mama is the depiction of fortitude of spirit and perseverance in the midst of adversity. Maria Porkalob Sr. and Jr. are matriarchs who undergo unpleasant experiences for self-preservation and choose what’s best for their children. Being Asian Americans in a society full of limited opportunities, they epitomize true grit and express what it really means to rise up against hardships.

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

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.

When the weather outside is frightful, it’s the best time of the year to curl up with a hot drink and watch some socially-distanced entertainment! This December, we hope this wide variety of arts programs will have a treat for just about anyone.

To explore the realms of dance, Written in Water by the Ragamala Dance Company and presented by Meany Center for the Performing Arts, takes a refreshing, multimedia take on one’s journey to connect themself with their emotions and spirituality. If you’ve been craving a more comedic escape, take a look at Jet City Improv’s Twisted Flicks. Their improv-dialogue over classic movies of the past is sure to give you the laughter you need. When it comes to missing the experience of your favorite local restaurant, SIFF presents Bread, Love, and Cinema, a class on Italian food and how it’s interconnected with Italian film history.

In recent years, the worlds of film, theater, and television have seen a drastic increase in diversity, but with that diversity comes a tendency to follow the same tropes over and over again. Media with Black protagonists sometimes falls into Black pain or white savior narratives, media with LGBTQ+ protagonists often lands on the Bury Your Gays trope, and media with female protagonists often ends with vague declarations of girl power. Pork Filled Productions works to combat the stagnation of diverse media by providing a space for BIPOC voices in speculative genre fiction. Their most recent festival, Unleashed: New Pulp Stories for the 21st Century, featured staged readings from POC playwrights. The festival ended with Mustard Seeds, written by Michelle Tyrene Johnson and directed by Valerie Curtis-Newton, which follows two groups as their stories intertwine: four campers on the bank of the Missouri River and three spirits known as the Unborns. Over the course of a single night, the campers—Liz (Erika Fontana), Anna (Elisa Chavez), Ronnie (Vincent Orduña), and Mack (A. Fontana)—reveal personal truths and confront their own biases, while the Unborns—Taurus (Lauren DuPree), Gemini (Jose Ruffino), and Aries (Sarah Russell)—observe and comment on the behavior of the humans.

The Unborns are revealed to be the unborn children of the slaves who died while attempting to cross the Missouri River on the Underground Railroad. They each have a connection to different elements—Taurus with earth, Gemini with air, and Aries with fire—and learn important lessons from those elements: “listen,” “be patient,” and “burn what you think you know,” respectively. The Unborns also embody the elements they represent: Taurus is grounded and patient, Gemini is wise and spiritual, and Aries is passionate and impulsive. I found the way the Unborns evolved linguistically over the course of the play especially interesting. At first, they speak in mostly African-American Vernacular English and use antiquated vocabulary, hinting at the time period they came from, but as they spend more time listening to the campers, they adopt a more modern, academic dialect and use 21st-century slang. On the night the play takes place, under the light of the pink moon, the Unborns have a chance at life, and all they have to do is pick which of the campers they will be born to.

Berkeley Rep's It Can't Happen Here is a celebration of hope amidst dark times. Fighting through the pandemic and revitalising an old form of storytelling, this radio show sends out a message to uplift our spirits.

Based on a 1935 novel written by Sinclair Lewis to warn about a possible American Hitler, this radio show centers around the authoritarian rise to power that we’re all very tired of by now. The first episode pelts listeners with nameless voices, all spouting different, but equally divisive, views of the (arguably) charismatic populist, Buzz Windrip. Revered by some, mocked by others, feared by the smartest, Windrip (played by David Kelly) cavorts into the Oval Office through a series of lies and mirage-like promises. But we are told by the creators of the show in a free pre-show introduction not to take these similarities to our current times too seriously, and I certainly don't.

We’ve made it to November, and we’ll need thirty more chicken scratches drawn on the wall before we can say we’ve made it to December. Between now and then, our calendar is full of activities—all of which will be happening in the confines of our own homes. If you, like us, need an escape from the same, familiar backdrop of wherever you Zoom from, we suggest going on some audio adventures.

This month, as we brace ourselves for the election, check out It Can't Happen Here, a satirical audio drama written in 1935 about a president promising to return the country to greatness; can it get any more relevant than that? Mustard Seeds, part of Pork Filled Production’s Unleashed Festival of pulp stories, explores the Underground Railroad through a staged reading. Explore a different underground phenomenon through Northwest Film Forum’s Newcomer, described as “A Seattle Hip-Hop Mixtape.” Newcomer packs in hundreds of local performances from Seattle’s vibrant hip-hop underground into 82 minutes.

On March 23, 2020, Governor Jay Inslee issued the first stay-at-home order for Washington state in response to COVID-19. Plans were canceled, events were rescheduled. Inslee tentatively scheduled the first shutdown to last at least two weeks, but now self-quarantine and social distancing have been going on for seven months with hardly any sign of stopping. Being alone with ourselves has made things bleak and dire, and for artists all across the country, COVID-19 has signaled a substantial shift in the way we direct our creative energy. Forced out of venues but fueled by the crises of our day, a brilliant example of the adaptability of art has been revealed by the quarantine. Out of the ashes of the on-hold artistic scenes across the country, new art has emerged with new formats made for safety and perfected for the current age. COVID Dreams, a new play from Radial Theater Project and 18th & Union Seattle, is a perfect example of the evolution art has gone through in the one-of-a-kind time we’re living in.

COVID Dreams, directed by Merri Ann Osborne and written by Jacqueline Ware, is a part of a new era of innovative theatre that’s emerged during quarantine. It combines the necessary precautionary measures now needed to produce art with the easy intimacy and emotion of live production, despite the lack of an in-person audience. The play follows the conversation and personal connection between two college students as they wait for their professor to arrive for class and find themselves the only ones there. During the wait, they engage in lively talks about their lives in the age of coronavirus and impromptu a cappella performances about the stresses that consume their days. I had the amazing privilege to be able to talk with Osborne and Ware about COVID Dreams and gain insight into the world of play production and inspiration in quarantine. I quickly realized it’s been very strange and very, very limited.

Theater is characterized by careful rehearsal, yet there is a reason for the saying “the show must go on”: surprises always crop up, requiring creative problem-solving. A week before rehearsals for The 5th Avenue Theatre’s Rising Star Project were supposed to start, Governor Jay Inslee issued the shelter in place order, requiring the students and mentors to adapt quickly. Their solution was to live-stream the musicals on Facebook.

This year, the musicals are inspired by a true story from KUOW’s RadioActive podcast. Each production explores a different issue in the modern world. Beyond Boundaries, with book and music by Lydia Hayes, utilizes a science fiction premise to create an insightful allegory about the significant link between one’s name and one’s identity. The Pen With Four Colors, with music by James McGough and Lucas Oktay and book by Morgan Gwertzman, is a testament to the healing power of art. However, I felt most strongly about the shows Bad Trip and Gut Feeling, which I have expanded on below.

Today, it seems as though nothing is united. The world is a chaotic, nuanced place as always. But this isn’t necessarily a bad thing—our local arts venues are exploring how parts of a whole can be complementary, inspiring thought instead of confusion. Whether you’re desperate to know when your favorite show will be reopening or just want some fun art during this fall season, we hope our reviews will help you guide your October arts exploration.

If you’re looking for a true collection of short pieces, then there are plenty of events for you to choose from. There’s The 5th Avenue Theatre’s Rising Star Project’s 10 Minute Musicals, a collection of teen-produced and teen-inspired musicals; Pacific Northwest Ballet kicking off their first online season with excerpts from classic dances like Swan Lake in Rep 1; and Hugo House’s Spotlight Poetry, a show with visiting poets Julia Guez and Tess Taylor. Each of these events provides a plethora of diverse topics, all within the same medium.

A woman talks to her dead partner, and a man takes an LSD trip that borders on insanity and self-awakening; both of which are a part of the shared experience of Temporary Occupancy, an intimate outlook presented as exploring “isolation during a time of isolation.” It’s a piece that navigates the boundaries of transient living at a time where we all long for something that is more concrete. Based on its claims to “offer us an escape from the confines of our own mind,” I truly expected to be transported to a nether dimension somewhere on my computer screen. Because of the unsettling revelations about loneliness and loss, paired with how the characters interact with the hotel space, I certainly was. As the ensemble acts out the raw, realistic silhouettes of everyday people in a hotel room, you can truly see why this show of pandemic-era theater excels.

Originally intended to be performed live in a Miami Beach Hotel, Temporary Occupancy has been adapted by Philadelphia immersive theater company Die-Cast, in partnership with ArtsWest, to adhere to a more relevant, COVID-centered experience. With the utilization of cameras and technology to convey personal and heart-wrenching experiences to the audience, viewers can engross themselves in the at-home experience by taking an intake questionnaire with the front desk or messaging with an ominous man named Jude. These technical tools are part of the Vicurious Boutique, a special boutique that is the central idea of Temporary Occupancy. It is a simulation-centered, RPG-like interface that allows you to reach within yourself without feeling the negative effects of it on your mental psyche. By offering things like soothing background music to calm you while you take your intake exam and frequent consultation with the front desk, Temporary Occupancy effectively simulates a hotel room without the in-person experience.

We are thrilled to announce our very first podcast, the TeenTix Arts Podcast! A team of three Press Corps teens have been hard at work for months, (both pre and post-COVID!) to bring you this three-episode series. Stay tuned to hear "What's on TAP" as Ava, Huma, and Katherine go behind the scenes with TeenTix Partner Mirror Stage about their production, Expand Upon: Gun Control. You’ll hear from the Mirror Stage playwrights, actors, and director as we release one episode every Thursday, for the next three weeks. The podcast will be available to stream for free on TeenTix's Soundcloud and YouTube channels. Be sure to follow us on both platforms for the latest updates!

To find out more about Mirror Stage check out their website or listen to their podcast, and be sure to make your calendars for Expand Upon: Gun Control, October 3-4, and 10-11, on Zoom! Episode 1:

This is a strange time for the arts world. Art is a community effort, a group-bonding experience… yet right now, we’re all watching these pieces in separate locations, isolated and alone. We hope our reviews provide the connective tissue between your viewing experiences and someone else’s—a chance for you to reflect on artwork alongside our writers. If nothing else, we’ll offer you arts recommendations to brighten your socially distant September.

If you want to get dressed up, grab some snacks, and make the most of your at-home viewing with pieces that would have been shown physically in any other year, then sit down to watch Pacific Science Center’s online footage of Laser Dome 360, Whim Whim’s XALT, or NFFTY 2020. Extra points if you bring $5 and your TeenTix pass!

Join us for a series of FREE online TeenTix workshops exploring how art is a powerful tool for activism and the fight for racial justice. Each Summer Session will focus on a different genre of art including theater, dance, and performance art. You’ll learn about the history of social justice movements and how art has played a role in both the past and present movements.

Use the links below to sign up for individual workshops, or all three! Theater as Protest with Jasmine Mahmoud

Predator Songstress is an exquisite, soul-stirring work of art that asks era-defining questions about voice, freedom, and live performance. It’s magnificent, unique, and startlingly relevant today.

Originally staged in 2015, the recording of this performance has been available at OntheBoards.tv for five years now—but its message and storytelling style are fresher and more necessary than ever.

Tell me if you’ve heard this one before. A man and a woman randomly meet each other and seem to hate each other’s guts. They’re total polar opposites. Gradually, they get more comfortable with each other, express themselves, and fall in love. Sound familiar? This is essentially what happens in the play Nexus, by Danielle Mohlman, performed on Zoom. However, Nexus adds a small twist by asking the question: What if they were in the “hating each other’s guts” phase for their entire relationship?

When the man (MJ Sieber) and woman (Keiko Green) first meet at a bus stop, you could already tell the guy was pushy. As the play progressed, and the couple met at various locations—a museum, their house, another museum, yet another museum, why do they keep going to museums?—we were struck by the consistent horribleness of the man. He picked a fight with her when she found out she had a tumor— which turned out to be benign, but yikes! But I guess that’s okay, because she’s horrible too! At one point she just went to Baltimore without telling him. Is this what adulthood is really like? Because if so...that sucks.

Our quarantine art viewing is still going strong! One thing we have noticed during online school, however, is that we find ourselves procrastinating far more than we used to. Our emails are open, our phones are right next to us, and YouTube and Netflix are only one click away…

There’s also a lot to procrastinate! Some may say that because AP tests are only forty-five minutes, they cause less stress; others believe that because many final exams have been canceled, we don’t need to study; still others think that because many schools are going pass/fail, grades don’t matter anymore. To all those people, we say only this: we’re teenagers, and even when it’s not necessary, we make procrastinating a full-time job! (Also, do you see how we slid in an AP-English-worthy concession there? Take notes, College Board.)

Even though COVID-19 has kept us inside, there are still plenty of ways to stay involved with art while practicing good social distancing. From online exhibitions to performance archives, the Seattle arts scene is still alive and well, even under quarantine.

The coronavirus outbreak not frightening enough? Give Dark Matters at OntheBoards.tv a try—a spine chilling performance combining elements of contemporary dance and theatre. Directed by choreographer Crystal Pite, this performance will take you on a wild emotional journey from the comforts of your own home.

Warning: Spoilers ahead!

By creating a full world of its own from simple interactions, August Wilson’s Jitney artfully depicts the everyday interactions between employees of a jitney business during the 1970s. (To provide some context, jitney businesses offered unlicensed taxis for the black community when typical services would not due to racial discrimination.) Jitney displays the everyday hustle and bustle of working-class Americans, allowing the audience to create relationships with and appreciate the details and flaws of each of its characters.