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.

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.

Washington Ensemble Theatre's B brings up questions about anarchy, revolution, propaganda, critical history, and violence for Becs Richards and the review team.

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.

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.”

Jenny Van Houdt and the review team query and answer the questions brought up by Strawberry Theatre Workshop's timely production of Frost/Nixon: Why This Play? Why Women? Why Here and Now?

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.

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.