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.

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.

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.

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.

Lydia Heberling and the review team highlight Jihae Park's success at "capturing the complexity of claiming and expressing Indigeneity" in Peerless along with potential decolonial narratives, performing on unceded Duwamish territory.

Anthony Reynolds and the review team highlight how Juliette Carrillo’s production of August Wilson’s Two Trains Running emphasizes the diverse and positive history of the shared Black experience “without the influence of white perspective to heavily mask their stories.”

Kate Forster and the review team uncover the possibilities of the "unrealized potential" in Desdemona Chiang's "puzzling interpretation" of The World of Extreme Happiness.