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.

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.

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.

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.

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.

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.