Anthony Reynolds and the review team examine Intiman's Barbecue, an engrossing discussion of what is reality and how it is manufactured.

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).

Laura Chrisman and the review team applaud Pratdihwani's lively and engaging production of the feminist 19th-century dance drama featuring a large and multigenerational cast.

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.

Laura Chrisman and the review team question the in/visibility of immigrants and American citizens in Donald Byrd’s (Spectrum Dance Theater) ‘The Immigrants’.

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.

Steph Hankinson and Emily George examine The Seagull's Project ambitious and bold connections of race, class, and labor in The Cherry Orchard.

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.”

Andrea Iaroc and the review team highlight the sociopolitical commentary of Markeith Wiley’s experimental talk show It's Not Too Late at On the Boards.

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.

Laura Chrisman examines attempts to stage race in several new Seattle productions with Seattle Repertory Theatre, On the Boards, ACT, and New City Theatre.