Steph Hankinson

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.

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.

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.

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.”

Liz Janssen and the review team provide much-needed additional historical context for ArtsWest's thought-provoking and well-performed production of The Nance.

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.

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.

Steph Hankinson and the review team recognize the passion and dedication of UW Drama's Orlando (adaptation by Sarah Ruhl) and how its thematic nuance of Virginia Woolf's classic on gender and desire.

Laura Chrisman and the review team question the in/visibility of immigrants and American citizens in Donald Byrd’s (Spectrum Dance Theater) ‘The Immigrants’.

Emily George and team review Seattle Shakespeare's & upstart crow collective's fast-paced collaboration of a Henry IV adaptation and its focus on gender and power: Bring Down the House Parts 1 & 2.

Steph Hankinson and Emily George examine The Seagull's Project ambitious and bold connections of race, class, and labor in The Cherry Orchard.

Andrea Iaroc and the review team highlight the sociopolitical commentary of Markeith Wiley’s experimental talk show It's Not Too Late at On the Boards.

Emily George and the review team analyze Annex Theatre's production of Courtney Meaker's horror comedy The Lost Girls and its feminist queer energy.