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.

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.

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.

Stevi Costa and the review team critically examine the complexity, ambiguity, and socio-political/cultural contexts of veterans and the impacts of war on the homefront in Steven Dietz's Last of the Boys.

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

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.

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.

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.