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.

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.

Liz Janssen and the review team provide much-needed additional historical context for ArtsWest's thought-provoking and well-performed production of The Nance.

Olivia Jean Hernández and Emily George find BenDeLaCreme’s campy production and all-drag cast of Beware the Terror of Gaylord Manor to “effectively destabilize the inherently gendered expectations of horror narratives.”

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).

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.

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.