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.

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.

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.

Laura Chrisman and the review team compare ACT Theatre's failings and Kaitlin McCarthy's successes with their contemporary and concurrent adaptations of Arthur Miller's The Crucible.

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.”

Emily George and Steph Hankinson examine how Latino Theatre Projects' "dedication to theatre that challenges its audiences not to be complacent" can be an integral part of the conversation with Ay, Carmela!

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

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.