Cabaret is a musical that never seems to age. It’s as relevant today as it was when it was first performed, which is both good and bad. The bad is clear, there are plenty of parallels in America today that mirror the events leading up to the Nazis taking power in Germany in World War 2. The good, though, is that we get to appreciate the genius that is this show written by John Kander (music), Fred Ebb (lyrics), and Joe Masteroff (book). We also get to appreciate when it’s so well performed as it is in the BPA production. Under the direction of Jessica Low, this cast featuring superlative performances by Bo Mellinger, Chris Clark, and Talena Laine delivers what may just be the show this season that sticks in your soul more than any other.

English is a well written and creatively constructed look at language, culture, and personality. The story reflects on how each of these are intertwined in the context of Iranian students studying to become proficient in English, and how the learning of this new language changes them, how it impacts their relationships, and how they wrestle to live in the world of a new language while still trying to keep in touch with their own culture. The ArtsWest/Seda produced English is a superbly directed and acted piece of art that will be relatable not just to anyone who has attempted to learn a foreign language for any reason, but even more so to those who feel a new language is the ticket out of a particularly harsh situation, or for those who feel trapped between cultures. It’s told with respect to the Iranian culture and Farsi language and is worthy of its Pulitzer Prize.

Chapter Two is the first play in which Neil Simon began to tap into his own life to make his humor feel real and relatable. It’s the story of a widower and a divorcee who are each struggling to move on from their losses and discover that it’s better to get through them with someone else than to carry the burdens alone. Raymond Deuel and Alix Black deliver stunningly good performances in roles that ask them to draw the audience into their characters’ struggles and joys. They carry this show on their backs and truly excel in presenting a funny, relatable, and heartfelt love story.

Rope is the classic Hitchcock thriller. Sure, it was a play before he made it into a film, but it’s clear why he chose to do it. This show is a look at a self-centered and egotistical, also entitled, pair of men who have committed a heinous act for no other reason than they could. It’s heavy in suspense, and despite a purposeful slow roll at times, it moves along at the pace of an action movie. This cast, that is led by a masterful performance from Adam Granato, knows its characters, knows the right timing to build suspense, and knows how to draw a laugh out when needed. If you are a fan of suspense, or classic Hitchcock-style films, Rope is right up your alley. It’ll have you checking in every trunk at your house when you get home.

Red is a play that exposes some of the darker sides of our humanity, our hypocrisy when we become what we fear the most or our reluctance to think our relevance might be a temporary thing. It’s a study in what it is to be human, a well written philosophical piece that is also a love letter to art. It’s not exactly a light play, and it’ll surely make you think, but this production is so engaging and well performed, you’ll be happy to have been a part of it.

Incorruptible is a satirical look at the inner workings of a monastery, one that is struggling to stay above water and serve its parishioners when absolutely nothing seems to be going right. The pantries are empty, there’s no money coming in, and their saint has lost the ability to serve up a miracle. It’s a hilarious take that will leave you rethinking your definition of a miracle, and it’s a production that will entertain you from the minute it starts to the moment you leave Lakewood Playhouse. Served up by a creative team that clearly understands the space and delivered by a cast with comedic chops that never fail to hit their marks, Incorruptible asks you to leave your piety at the door and allow yourself to be entertained for a few hours, something that is easily achieved with this production.

The Port Gamble Theatre production of On Golden Pond may be a nostalgic trip down memory lane for those who are familiar with the story through the Henry Fonda/Katherine Hepburn film, but whether or not you have an affinity toward the story from the movie, or if it is new to you, this love story about a couple growing old together while facing down the effects of aging and at the same time learning to accept their daughter’s choices is a pleasant surprise, and if there weren’t enough other reasons to spend a Spring evening or afternoon in Port Gamble, you could add On Golden Pond to that list, but there’s no need as it clearly stands on its own merits, regardless of where it’s playing.

Gunmetal Blues is a mystery wrapped in a comedy and tucked into a musical. Directed by Brendan Chambers and featuring a classically designed and constructed scenic design, and a stellar trio of veteran actors with excellent vocal chops, the show is reminiscent of the best noir films of the Bogart era and features a song list that is jazzy, humorous, and catchy. There’s something for everyone here, and between the music, mystery, and nostalgia, Gunmetal Blues is a thoroughly enjoyable production, presented with the high level of quality that Key City Public Theatre is recognizable for.

Sometimes the best art happens in the smallest ways, the ability to change a mood with the slightest action or the ability to convey a transformational story with a minimal design and dialogue. It’s not just that Small Mouth Sounds is less than complex in and of itself, because it is, but the telling of it requires a cast that is able to convey anything from the absurd to the nuanced physically, and to use what little dialogue there is to full advantage. Kristi Ann Jacobson has assembled such a cast here, a group that knows how to deliver these roles individually while at the same time playing off each other in a way that shows that if we look past the facades that we as humans put up, whether they are for self-protection or otherwise, what lies beneath is beautiful, scars and all.

Burlesque is not for everyone, that’s pretty clear, it may even be an acquired taste. However, a show like this illustrates what is so wonderful about this area. All around Seattle, on every street, in every square inch, there are artists creating work that is unique, challenging, and ground breaking. Making sure that the public has access to choose and take in every one of these art forms in every genre should be the goal that we all chase. A company like Noveltease is doing original and unique work, and it deserves to be seen. What Fosse Jack and Anya Knees have done here is take a story we are all familiar with and adapt it to an art form that isn’t as well known around these parts as it should be. Sleeping Beauty and the Bear Prince is the perfect example of this, and I’m happy that I took a step out of my comfort zone to see it, and I believe that we should all throw our preconceived notions to the side to try something new and give all art a chance rather than dismissing it outright.

There are a lot of versions of the Titanic story, each one seeming to focus on one or more aspects of its ill-fated maiden voyage, but few try to tackle as much as Titanic the Musical does, from the flaws in the ship’s construction, to the importance of the Marconi radio, all while exploring the human side of class disparity and the hope of a fresh start that the new world in America looks to provide. There is a lot of heart and emotion to this show, and under the direction of Rana Tan, the cast of Titanic at Bremerton Community Theatre presents that in a way that captures the true essence of this tragic tale. Highlighted by an ensemble that is full of talented individuals, but who all come together in a harmonious chorus with a full and strong single voice, this production of Titanic is a solid telling of a tragically familiar tale.

First Date deals in the currency of nostalgia in the best and funniest way possible. Two individuals on a blind date, navigating their way through awkward conversations, questionable choices, and the judgmental voices in their heads is as relatable as any story out there, as we’ve all been in these situations. The Centerstage Theatre production succeeds in all aspects of design and execution, from a set that feels like the perfect place for a first and/or blind date, to a pair of leads that portray their characters with a rare level of brilliance, and a supporting group that is talented, and fun. I suppose what I’m trying to say is, whether it’s your first date, your 50th, or your 100th, go and see this First Date and it’s sure to be one that you’ll remember.

Merrily We Roll Along is seeing new wave of popularity, in a lot of ways due to the Jonathan Groff and Daniel Radcliffe version currently on Broadway. SecondStory Rep is reaping the benefits of the show’s general familiarity with its current production. The SSR version, directed by Doug Fahl, and featuring a talented group of actors and singers, is so good it should make other theaters reconsider not looking at it when building their seasons. The story is unique in its telling and the music is standard Sondheim, but the best part of Merrily We Roll Along is in how it illustrates the impact one moment or a series of moments has on a future reality.

How to Write a New Book for the Bible checks all the boxes for what makes great art, in my opinion. It’s a well written and beautifully presented piece that will mean something different to everyone, largely dependent on perspective and life experience. Regardless of anyone’s ability to directly relate to the specific situation that plays out on stage, the way playwright Bill Cain addresses love, family, responsibility and religion is universally relevant. How to Write is more heavy than it is light, but it never feels dreary or depressing just for the sake of it. It’s a human tale of balance and the struggle for truth in an inconceivable world.

The Village Theatre production of The Fantasticks, under the direction of Adam Immerwahr, is proof positive the magic making it the world’s longest running musical is still there. Led by an enchanting cast and supported by a creative team that envelops the audience in it’s design elements, The Fantasticks speaks to the romantic part of us while at the same time engaging that dark and mysterious side that we all too often try to keep hidden. It’s the complete package.

The Seattle Shakespeare production of The Bed Trick is a show that excels at every level. It starts with Keiko Green’s writing, which is presented extremely well by Director Makaela Milburn and her creative team, and performed expertly by a small but extremely talented cast. All of these pieces come together to create a piece of art that is both hilarious and thought provoking, with so much energy that once it starts it doesn’t stop, and you don’t want it to. To see The Bed Trick is to see excellence, and I wouldn’t be surprised if we haven’t seen the last of it. This show has legs and is most certainly going places. Until that happens, though, we’ll just have to appreciate the fact that Seattle Shakespeare has the funniest and most entertaining play on its stage right now.

Stew, on stage at ACT’s Falls Theatre, is a layered play about family and the importance of open and honest communication. It’s also a study in coming to terms with one’s choices, actions, consequences, and life situations. Like a good stew, this work builds on itself, adding ingredient upon ingredient until it is ready and its point comes into focus. Extremely well produced and acted, Stew is a thinker of a show, that is much more than it advertises, and will be something that sticks with you for awhile after it has been taken in, like, well, a good stew.

Jersey Boys is a nostalgic trip down memory lane for any fan of The Four Seasons, or the music of their generation. From the streets of New Jersey, to the lights of Las Vegas and so many stops in between, Jersey Boys follows this quartet through all of it, the highs and the lows, the trouble, and the triumphs. The Tacoma Musical Playhouse production, under the direction of Managing Artistic Director Jon Douglas Rake, is a faithful and well done tribute to the band and their music. Music has a way of tapping into certain emotional parts of us as humans, and when a piece of art can present that music along with superb storytelling, it’s a magical thing. This production of Jersey Boys does all of that, and much more, it’s the best TMP show of the year.

Colder Than Here may be called a comedy, but given its subject matter and the way it is presented by As If Theatre, I’d rather it just be called “human”, a human story of family, love, sorrow, and joy. With a talented quartet of actors, led by Amy Gentry in an absolutely marvelous performance and under the direction of Cindy Giese French, Colder Than Here hits every human emotional note, and engages the audience like few other shows out there. You will laugh, you will probably cry, but more than anything, you’ll walk away having experienced something that will make you feel essentially human.

Anyone Can Whistle creatively captures the wonderful Sondheim magic that we’ve all come to know and love over the years, and definitely miss with his passing. The Reboot Theatre production features a talented cast with top flight performances and a production design that is fun and fanciful. A show like this proves that sometimes not doing the familiar, but rather doing something completely unexpected is the surprise that we all need.