Laura Chrisman and the review team find Oregon Shakespeare Festival's production of The Copper Children bluntly abandons and alienates the audience, leaving them without a clear narrative or purpose.

TeenTix contributor Cecilia Carroll encourages readers to experience Paula Vogel's Indecent, finding additional complexity of the queer representation and visibility in a primarily Jewish story.

Lydia Heberling and the review team bring essential context, highlighting the necessity of Native stories coming to Seattle stages, beginning with Larissa Fasthorse's satire about the complexity of the Thanksgiving Holiday and performing whiteness.

Stevi Costa and the review team critically examine the complexity, ambiguity, and socio-political/cultural contexts of veterans and the impacts of war on the homefront in Steven Dietz's Last of the Boys.

Washington Ensemble Theatre's B brings up questions about anarchy, revolution, propaganda, critical history, and violence for Becs Richards and the review team.

Sara Porkalob applauds Seattle Children Theatre’s production of And In This Corner: Cassius Clay, the origin story of Muhammed Ali, the “activist, champion, musician, and poet who would shape the political conversation around Black oppression, empowerment, and white supremacy.”

TeenTix contributor Jaiden Borowski emphasizes the power of storytelling with Seattle Rep's A Thousand Splendid Suns, an adaptation of The New York Times bestselling novel about war, love, and perseverance.

Steph Hankinson and the review team examine the wildness, wickedness, and wokeness of Intiman Theatre's production of Karen Zacarías's political comedy Native Gardens.

Steph Hankinson and the review team examine how Brandon Jacobs-Jenkins's An Octoroon rides the line between critiquing melodrama and exploiting its emotional devices.

The DeConstruct team interviews Intersections Festival curators Natasha Ransom, Kinzie Shaw, Jekeva Philips to discuss opportunities to showcase the diversity of the Seattle performance scene.

Laura Chrisman review’s AJnC director and choreographer Amy Lambert’s Young Manic/I Wanted to Be On Broadway, which proves through its diverse and visual absurdity that “you can be an adult and enjoy yourself too.”

Viewing Seattle Children's Theatre's production of The Journal of Ben Uchida: Citizen 13559, Steph Hankinson and the review team remind readers that we can be "challenged (both emotionally and intellectually) by encountering the ugliest, most complicated parts of history" through the powerful tool of performance.