Nelle Tankus focuses on the presence (or lack therof) of performance in Seattle written and produced by transgender and gender nonconforming (TGNC) people, especially Black and Indigenous People of Color (BIPOC).

Lydia Heberling and review team highlight WET's commitment to bridging the gap between Ibsen's “progressive feminist plot” and the plurality of postmodern feminism in Cherdonna's A Doll's House.

Steph Hankinson and the review team recognize the passion and dedication of UW Drama's Orlando (adaptation by Sarah Ruhl) and how its thematic nuance of Virginia Woolf's classic on gender and desire.

Emily George and team review Seattle Shakespeare's & upstart crow collective's fast-paced collaboration of a Henry IV adaptation and its focus on gender and power: Bring Down the House Parts 1 & 2.

Sara Porkalob finds Seattle Public Theater’s seasonal offering, Christmastown: A Holiday Noir, a “nicely packaged Christmas story and a breath of fresh air with its sneaky feminist themes.”

Nelle Tankus's new work with Copious Love The Untitled Play About Art School leads by example with conscious, diverse, and deliberate representation of gender, sexual identity, and race.

Emily George and the review team analyze Annex Theatre's production of Courtney Meaker's horror comedy The Lost Girls and its feminist queer energy.

Sara Porkalob examines the dialogue–or lack thereof–of feminism and intersectionality in Washington Ensemble Theatre’s Revolt. She Said. Revolt Again by Alice Birch.