Catherine Blake Smith identifies shortcomings and successes in The Williams Project’s venture to challenge our current circumstances in their outdoor production of Marisol.

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.

Laura Chrisman and the review team examine the source and purpose of the title character's ennui and transformation in The Seagull Project's terminal production of Uncle Vanya.

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.

Emily George and the review team examine the "interesting and thoughtful" timeliness of questions raised by upstart crow collective's collaboration with Seattle Shakespeare on Richard III.

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.

Kate Forster and Emily George highlight the timeliness of Seattle Public Theater's production of Ironbound and its emphasis on the difficult decisions and hardships of the American immigrant story.

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.