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.

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.”

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?

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.

Sara Porkalob asks "who let this happen" of Jim Leonard's Bad Apples—a semi-fictional rock musical account of the 2003 prisoner abuse scandal at Abu Ghraib prison in Iraq at ACT Theatre.