Carmelita: A Vindication for the Unwritten: Or How to Write Yourself Back into History is quite a mouthful, but the play also known more simply as Carmelita, does tackle quite a bit. Written and directed by Ana María Campoy, the partly true, partly embellished story of Carmelita Colon isn’t just a nicely designed play that brings to life the story of a strong, independent woman who would otherwise remain in the shadows of history, it’s also a showcase for Antonieta Carpio, who embodies Carmelita for the entirety of the show in this two-hour exposé that is part narrative and part dramatic biography. Antonieta is excellent, especially in her portrayals of characters from Carmelita’s life, and while the show could use improvement when it comes to pacing and its balance of language, Carmelita proves that just because independent and strong immigrant women aren’t depicted to any extent in our history books, it doesn’t mean that they didn’t exist.

Ahamefule J. Oluo’s The Things Around Us represents all that is wonderful about live theatre. No two shows are ever the same, their combination of monologues and music could never be replicated, and all of the components combine to create an experience level that is greater than the sum of its parts. A one-person show that feels like a autobiographical symphonic ensemble, The Things Around Us is full of nuance, emotion, and the depth of personal experience, it’s a show that shouldn’t be missed.

When Alexis Scheer set out to write Laughs in Spanish, she intended to write about the cost of success, what we each give up in order to attain a level of achievement in our lives, and in doing so, she also wanted to portray characters of Cuban and Colombian descent in roles and situations that deviate from heretofore stereotypical depictions. The result is a story that is also about family, specifically mothers and daughters, about regret, forgiveness, and reconciliation, what extent we will go to for the ones we love, and the hard choices we have to make in life. The play is funny, tense, joyful, and smartly written, it’s got the feel of a telenovela, but with a deeper sensibility. Combine that with a scenic design that works and an experienced and extremely talented cast, and Dámaso Rodriguez has yet another winner on his hands.

At a time when the national political scene offers little respite – and openly menaces the queer voices who make art like DADS – it’s a vision that feels both comforting and increasingly distant.Like any good dream, you may want to dwell a little longer there before the house lights come up.

Is The Shape of the Night an immersive performance, art installation, interactive mind-puzzle, eerie musical variety show, or a chance to walk around a historical steam plant? Even after attending this latest production created by All of Them Witches, I couldn’t tell you. But what I can say is I had an incredible time exploring this theatrical landscape in which dreams twist into nightmares and surprises lurk around every old-fashioned pipeline. Whether scratching my head with a quill over the logic puzzles, following a performer through a hidden passageway, gaping at a creepy art installation that merged a child’s crib with a gravesite, or defying the advice of a spiritual guide to help a lost dreamer, I was continually excited by both my current adventure and whatever might lie around the next corner. For anyone who enjoys getting to construct their own narrative within a theatrical space, I recommend that you see this one while we’re lucky enough to have it in town.

The Burien Actors Theatre presentation of The Sandwich Ministry is the direct result of what happens when three things come together at once, a superbly constructed and well written play, a solid design, and extremely good acting. The story of three women coming back together, after drifting apart, to help their neighbors after a flood ravaged their town is one of friendship, forgiveness, and hope, the kind of story that is the antidote for our current world climate. A play that challenges us to put our differences aside and calls upon us to use what joins us, rather than what separates us, to become better people, is even more impactful when it’s told by a cast as good as this one is, and under the direction of Maggie Larrick the three women on stage who tell this story while making sandwiches at the same time are truly exceptional at presenting what turns out to be a truly modern day parable.

The Lost Object, the autobiographical play that presents Abbie Cohen’s journey of transition, first from biological man to woman, and then from Protestant to Jew, was presented by Baker Theater Workshop this past weekend at the ReAct Studios in Seattle. The play fits right in with Baker’s mission, it’s a new work in the early stages of development, it’s raw and for sure there are some areas of improvement, but the foundation is there, and with a little maturity I can see The Lost Object taking shape and becoming everything it can be. And thankfully, with groups like Baker Theater Workshop out there willing to put up plays like this, playwrights like Abbie have the opportunity to present their early in development work to an audience, receiving crucial feedback, which can only help them mature their work, and master their craft, that much quicker. I look forward to seeing what this piece becomes over the next few years and what else this company presents to help highlight some of the amazing playwrights this area has to offer.

And Then There Were None is an Agatha Christie masterwork. When an audience comes to see this play, there’s nothing underhanded about it, they know what they’re coming to see, and yet it still has the ability to surprise. Anyone who comes to Renton Civic Theatre to see its production of this piece, directed wonderfully by Kim Douthit, is in for a number of these surprises as this splendid cast delivers some standout individual performances, as well as a remarkable display as an ensemble, whittling away at the number of guests who have been invited to an island estate by a mysterious host, and the number of suspects at the same time, in a whodunit that, while truly a classic still feels fun, funny, and fresh.

Cherdonna’s Favorite Things, the latest installment in Intiman Theatre’s Cabaret series, is a combination of the whimsical, the awkward, and the purely silly. Song, dance, and a lot of audience interrogation are all part of the order of the day in this trademark show that features someone who has been a fixture on the Seattle theatre scene for the past 20 years. There are a few opportunities left to come out and see this fun, though not always neat and tidy, cabaret production.

Lend Me a Tenor, Ken Ludwig’s first major hit, follows the standard formula of a farce, with its exaggerated caricatures, physical and situational comedy, and general absurdity, but it’s unique enough in its writing, setting, and sensibility that it is looked upon as one of the finest of the modern farces. The Red Curtain Foundation for the Arts production takes this solid foundation and builds on it with a scenic design that allows for the kind of movement and motion that matches the quick pace of the show’s dialog, and a cast that delivers on all aspects of the play, including a decent amount of physical comedy, plenty of mistaken identities, and all of the craziness that you’d expect from a piece like this. The design is solid, the cast delivers, and the laughs are plenty in this farcical play, and at the end of the day, it’s just the latest in a season of enjoyably entertaining shows at Red Curtain Foundation for the Arts.

Athena, Gracie Gardner’s 2018 play about two teenage fencing prodigies who come from disparate backgrounds and train together for nationals, and find an unlikely friendship along the way, is a study in how a shared experience can overcome the differences we sometimes let hold us back, how if we let ourselves open up to the possibility, we can learn from each other to become better people, and how to become comfortable in our own success. An extremely funny and heartfelt coming of age story, Athena features a pair of excellent actors and athletes under the direction of Kathryn Van Meter who perfectly capture the essence and the drama of the sport of fencing while presenting a story of a new and budding friendship that is tested just as much as their fencing skills are. Whether or not you become a fan of the sport of fencing after seeing this piece, though I’m inclined to believe you will if you aren’t already, this cast, crew, and creative team will certainly make you a fan of Athena.

Foolish Fish Girls and the Pearl continues Phoenix Theatre’s tradition of putting up ensemble pieces that are delivered extremely well with both humor and heart, and while this one may skew more toward the comedy, it’s definitely not without its tender moments. The story of a trio of middle-aged mermaids trying their best to warn a younger cousin not to fall in love with a human lest she have their fate thrust upon her is, at its core, a love story, but it’s a very lighthearted and fun love story and may have a secret or two in store. It’s a show that is quickly paced, with dialogue that is witty and smartly written, and a cast that works extremely well together, all combining to make Foolish Fish Girls and the Pearl just the latest example of what is a consistent trend in their ability to present fun and enjoyable ensemble-forward shows.

Sarah Ruhl’s In the Next Room (or The Vibrator Play) is a profound exploration of what it means to find yourself – sexually, yes, but in every other sense, too: to figure out your role in the world, both within the wider society and among the people you love; to discover your unique passions and traits; to embrace your full truth even within a society that requires you to constantly adjust to fit its molds. Valley Center Stage highlights the personal journeys each of its seven characters go on, whether those journeys end in tragedy, uncertainty, or the joy of finally connecting with yourself and others. With storytelling that’sboth touching and entertaining, strong performers, and a set that’s a show unto itself, this is a production worth seeing.

Jesus Christ Superstar, the 1971 rock opera from Andrew Lloyd Webber and Tim Rice is a musical that blends the styles of rock, folk, gospel, and funk, creating a loud and energetic musical experience that should leave audiences feeling inspired, or even spiritual. Stylistically, the Bremerton Community Theatre production has what it takes to be successful, from the perspective of talent, the show has everything it needs to excel, the only thing left is to add volume, emotion, and enthusiasm, and this production will soar. Though BCT’s Jesus Christ Superstar is plagued generally by volume issues, from its pre-recorded tracks to its individuals, and through to the ensemble, there are a number of bright spots scattered throughout, and it has what I feel is one of the most stunningly presented last 15 minutes of any show that I’ve seen this season. If this production is an investment of your time, make sure you stay to the end, it’s well worth it to be patient and experience that final payoff.

Squeeze!, a co-produced premiere event from Seattle Public Theatre and UMO Ensemble, written by Trista Baldwin, is a play for our time. It’s a look into a future dystopia, a future that seems achievable in our current social and political climate, and one in which it seems we are destined to repeat the same mistakes over and over until we decide, together, to move the needle from the skip in the record. While the story isn’t altogether unique, it’s the telling of it that differentiates Squeeze! from other tales of a bleak future caused by the spoils of capitalism, isolationism, and a global ignorance of climate change. Told through a combination of music, movement, and drama, director Elizabeth Klob’s cast, masterful at all three, brings this story of helplessness and despair, topped with a thin layer of hope, to wonderful acrobatic life.

Doubt, A Parable, John Patrick Shanley’s Pulitzer and Tony Award winning play is a layered piece that asks a lot of questions, and in the brilliant way that only Shanley can, it provides no answers. Written in the tradition of the biblical parable, Doubt leaves a lot open to interpretation and is ultimately subjective, as opposed to a strict reality based story which is more akin to a belief that can have disastrous consequences when acted upon. The lack of answers comes down to the ambiguity that is written into the script, but in the SecondStory Rep production, it’s also a result of how the cast understands that to lean one way, whether Father Flynn is guilty of his supposed transgression or not, is to do a disservice to the messaging of the play, and under the direction of Doug Knoop, Cast A that performed on Thursday evening managed that balance perfectly. This production of Doubt, with a gloriously designed set as a backdrop to the story, is a thinker, it’s engaging, and it never strays from the message, leaving the audience to wonder what they will do the next time they suspect a transgression, based on nothing more than a gut feeling or an instinct.

After a number of misses with versions of The Wedding Singer, leave it up to Harry Turpin to restore my faith in the franchise. Under his direction, the Tacoma Musical Playhouse production equally balances the stylistic reminiscence of the 1980s, the humor of the film and a musical that pokes fun at the decade, its culture, and ultimately itself, and the heart of a story that makes its characters relatable and human. Wrapped in the trappings of a musical with songs that are fun, melodies that are catchy, and choreography that proves that Harry is at the top of his game, The Wedding Singer is a fun, nostalgic, and reinvigorating night out at the theatre, and you don’t even have to have grown up in the 80s to think that…..but it probably helps.

Sometimes the best things are found in the most out of the way places. The Port Gamble Theatre production of A Gentleman’s Guide to Love and Murder is one example of this. The story itself is extremely funny, self-deprecating and irreverent, and its songs are catchy and fun. The Port Gamble production, under the direction of Peggy Whelen, is excellent from top to bottom. From its big and beautiful costumes, to its inventively constructed set pieces, creatively everything works, but it’s the cast of this show that sets it apart. Superbly beautiful voices come together with clever choreography, and excellent acting to produce a magical musical theatre experience, the quality of which is normally seen on stages much larger than this, and it’s a show that is well worth the trip out to beautiful Port Gamble to see.

Trouble in Mind, the 1955 play from Alice Childress, presents a snapshot in time, one of change in the theatre community. The story of six actors, each trying to navigate their way through the shifting sands or race and sexism in mid-century America, who come together to shine a light on the improprieties of life in the South, is not just one that shows us what was, but also what could be, and in some unfortunate cases, what still is. The Centerstage Theatre production of Trouble in Mind is good, very good, and while it’s missing some of the intimacy and chemistry between its characters in the storytelling, its talented cast does a wonderful job of ringing a warning knell, given our current political and social climate.

You may be familiar with the story of Oliver Twist, from the Dickens novel, from the Lionel Bart musical, or even from the Disney animated classic Oliver and Company, but I’ll bet you’ve never seen a version quite like the one currently on stage at the Theatre Off Jackson, produced by Reboot Theatre and directed by Scot Charles Anderson. A healthy mix of the backstreets of 1830s London and the UK of the 1970s punk rock era, this version of Oliver!, the musical, feels like an underground show, like it’s something we’re not supposed to be seeing, or even allowed to, but we are, and thank goodness. It’s a rocking, rollicking, rambunctious good time of a show, and while the plot of the musical is more like the Cliffs Notes version of the novel, that is more than made up for in entertainment value, while still hitting all of the major points. Reboot’s mission is to perform works with non traditional casting and design, and while, yes, this fits exactly with that mission, when a show is performed by a group as talented as this one is, the quality of the art stands on its own.