The Gods of Comedy, running on stage at Phoenix Theatre, is the best way I can think of for this small but mighty theatre to wrap up what has been a thoroughly entertaining and enjoyable season. Eric Lewis once again provides a blueprint for designing, building, and presenting a show that leans heavily on its ensemble and allows them to explore all of the facets of delivering a farcical comedy. The play, from American playwright Ken Ludwig, is well written, but what this cast is able to do with the piece is lift it up through their performances, combining just the right amount of heart with the humor. If you haven’t seen a show at Phoenix Theatre, by all means, you’re missing out. The only thing you’d be sacrificing is more exposure to the stress of our current news cycle. And while the group’s formula doesn’t vary necessarily from show to show, it’s a formula that is unique to this theatre, and one that works. So, to close this season at Phoenix Theatre, all I can say is The Gods of Comedy await, and I suggest you heed their call. I wouldn’t want to keep them waiting.

Annie is one of the most popular musicals being permed on a regular basis. It’s been estimated that the show is performed anywhere from 700 to 900 times each year in the US alone, and it’s no wonder. This musical is suitable for the entire family, it’s full of hope and love, and it stretches the definition of family from those you’re born into to those you find along the way. The Kitsap Forest Theater production of Annie contains all of what makes their shows work so well, and with a cast that acts, sings, and dances with a high level of quality and with its combination of adults and younger actors, Annie another in a string of shows from this group that are enjoyable for everyone in an environment that seems like it’s made for an afternoon out at the theatre. For the older folks, the walk down and back up doesn’t get any easier with age, but if you take it slow, it’s well worth it for what awaits at the end of the trail.

There are few films with the staying power that Rocky has had since its 1976 release, having spawned five sequels as well as three movies in the Creed origin series. This extended universe has a wide reaching fanbase, a base that stretches well beyond that which considers the original film to be one of the best of the 20th Century, which it most definitely is. The stage musical leans into that extended base, as does the Tacoma Little Theatre production, diluting the complexity of the original story and its characters and focusing on the humor and masculinity of the larger breadth of the Rocky canon. Fans and followers of the Rocky series will thoroughly enjoy this telling of the boxer’s rise from mafia enforcer to heavyweight contender, but for those looking for a recreation of the artistry and nuanced complexity that was the Oscar winner for Best Picture in 1976, you’ll have to leave those expectations ringside, grab some popcorn, and enjoy it for what it is.

While some theatre companies start out strong, and find a plateau in their level of quality as the season progresses, the trend with Village Theatre seems to be something akin to a crescendo, starting strong enough, but building all season until their closer comes, which leaves everything else in its dust. This season’s season-closing musical meets that mark solidly, with The Color Purple. Directed by Timothy McCuen Piggee, whose track record isn’t shabby either, having directed two Sound on Stage award winning productions over the last two seasons, this production takes a version of a story that is somewhat diluted from its previous incarnations in print and film, and lifts it to a new height with an unmatched level of quality and flow of storytelling that reaches into the audience’s soul, pulls them in, and doesn’t let go. Like Once on This Island and Hello Dolly in prior seasons, The Color Purple wraps up the Village Theatre season on a high and only makes me look forward to next year’s slate that much more.

Something Rotten!, the satirical and irreverent story of Nick Bottom’s pursuit of greatness amid a world that seems only to lavish praise on his rival, William Shakespeare, is the kind of musical that can poke fun at itself and its genre, but at the same time be a love letter to the latter. Led by an exemplary cast under the direction of Alyson Soma, the Centerstage Theatre production of Something Rotten! is welcome distraction from the stressful and divisive world we find ourselves trying to scrape by in. The show doesn’t hold back in how it garners laughs, and there’s plenty to go around. It’s a musical treat that will hit your funny bone, bring back a few memories in its callbacks, and even perhaps tug at your heartstrings a bit. What I’m trying to say is that there’s no reason not to go and see the Centerstage production of Something Rotten!, unless, of course, you don’t like to laugh.

With the end of the theatre season upon us, Pacific Northwest Ballet sees no better time than this to reflect, celebrate, and do a little looking forward at the same time. With Director’s Choice, a presentation of three previously run programs, PNB has done all three with the beauty, elegance, and precision they are known for. And beneath all the beauty on offer, these dances are rich with emotion – sometimes passion, and sometimes conflict – that suggests that there is more than meets the eye, for those willing to peer a little deeper.

Same Time, Next Year is a bit of an enigma. On the one hand, it’s a story about an adulterous affair that goes on for over twenty-five years, but on the other, it’s a piece that will make you believe in love perhaps even more than you did before seeing it. The story of two lovers who meet one night at dinner in 1951 and then continue their relationship every year on the same weekend at the same inn is about how love perseveres through the years and the changes that come with the living of our human lives. It’s a story that understands we cannot be everything to everyone and how finding what we need to fill those gaps might just make all of our relationships better. BJ Smyth and Erin Michele Gabbard grapple with the emotional roller coaster that is this couple’s relationship, and not only bring out the hearts and souls of whom they portray on stage, but help their characters find a lasting and committed love along the way.

Drinking Habits, Tom Smith’s religious farce about two nuns secretly making wine against their Mother Superior’s wishes to keep their convent afloat, has all the ingredients for an escapist’s dream. There is no time to think about the stress of the outside world during the Edmonds Driftwood Players’ latest production, as the laughs come one after another, and the pace of the show is so quick audiences may not be able to catch their breath until the final twist is revealed and the curtain falls. With an ensemble that works together as well as any, and who grasp the ability to deliver on physical and situational comedy, Drinking Habits is a play you’ll want to come out and see, just remember to check your stress at the door.

Most in the periphery, or outside, of the theatre-going community became aware of Gutenberg! The Musical when it was announced that Book of Mormon alums Josh Gad and Andrew Rannells were bringing this oddly titled show to Broadway. The satirical musical, which pokes fun at itself, the musical theatre genre, and a ton of aspects of our current popular culture, has now made its way to Kitsap County and the Robert B. Stewart Performance Hall at Bremerton Community Theatre. Featuring George Shaw and Corey Suraci as the fledgling playwrights trying to sell their new musical about the inventor of the printing press, the show is a welcome respite from the many shows that are trying to change the world through their messaging. To put it simply, Gutenberg! is a fun, funny, and entertaining musical presented by two energetic and talented actors that know how to deliver comedy that’s part physical, part situational, and part language and lyric, and is the perfect escape from the seriousness of the world we’re all living in.

Always…Patsy Cline, the latest offering from Taproot Theatre, is a nostalgic look at the personality and talent of one of the instrumental female voices of the 20th century. Directed by Karen Lund, this production provides audiences with a rarely seen side of the legendary singer, as told through her relationship with a fan turned friend that began with a chance meeting before a performance one night. Cayman Ilika is Patsy Cline here, and what she’s able to do in representing both the personality and talent of a woman that left us too soon in a tragic plane crash, is sheer magnificence. Cayman presents Patsy Cline’s songs with a powerful and bluesy delivery, and she pours out her soul into the emotional interpretation of these familiar songs, resulting in one of the best musical performances of the season and one unforgettable production.

Ordinary Days, the latest from SecondStory Rep, is a musical that owes a lot to its genre, with influences from Sondheim and other musicals like The Last Five Years and Parade. The story of four young New Yorkers trying to find their way in the city through their relationships, careers, and lives, with songs that run the emotional gamut, is in very capable hands with SecondStory and director Scot Charles Anderson. This production is emotionally charged and extremely well performed by a quartet of actors who shine from beginning to end in the latest chapter in what is becoming a season of great variety, and quality, from this theatre.

Madhuri Shekar's House of Joy has taken a decade long winding road to the Bathhouse Theatre stage on Green Lake, one that started out on the desks of Amy Poisson and Agastya Kohli, went back to Madhuri for an overhaul, and came back as a new version in 2017 to Agastya’s Pratidhwani for a reading before premiering at Cal Shakes in 2019. House of Joy is back in Seattle, and this time Amy and Agastya haven’t let the opportunity pass them by, presenting a version of Madhuri’s work that takes her tale of political intrigue, female repression and independence, and love, and elevates it into a veritable theatrical feast of passion, color, and movement that is unlike anything I’ve seen this season. It’s not often a show comes along that I feel the need to return to, but House of Joy is that rare piece that has me checking the calendar for an open date. You don’t have to see it twice (though you could), but you do owe it to yourself to see this unique co-production from Seattle Public Theatre and Pratidhwani at least once.

Hedda Gabler, the 1891 play from Henrik Ibsen, isn’t an easy play; it’s on the long side, and it’s got enough drama in it for at least two plays. At the same time, though, it’s an enthralling piece of theatre that, when done well, keeps the audience engaged, and the Original Theatre Black Dog production is so successful in that regard that it feels nowhere near the three hours that it approaches. With a design that elevates the emotion of the source material, and a cast that understands the nuance and drama of Ibsens work, led by an incredibly versatile performance by Tenesia Knudsen as the title character, and delivers on it, this version of Hedda Gabler is another winner from this company.

A Party to Murder is a little bit of a lot of things. It’s part farce, part satire, part love letter to the murder mystery genre, and part tribute to Agatha Christie. And because it tackles so much, it’s on the long side, clocking in at just short of 3 hours when you include intermission. While it does feel that long at times, it also does capture the humor that the playwrights have built into it, and the suspense of the mystery is there, too. But if this group is able to speed up their dialogue delivery as an ensemble to match some of the very good performances that there are in the show, thereby quickening the pace and keeping the level of suspense at a high level throughout, then A Party to Murder will be able to reach its true potential.

Some may see The SpongeBob Musical on the schedule at Bainbridge Performing Arts and think to themselves, “I’ll let the kids have this one, it’s not for me.”. For anyone out there who has had a similar thought, let me be the first to tell you to put that right out of your mind. This is a show that, yes, is based on a television show that is designed for kids, but it’s something that can be enjoyed equally by kids and parents alike, as well as those without children., and the BPA production is done with such a high level of quality that it will be appreciated by any lover of musical theatre. From top to bottom, the scenic design is beautiful, the musical numbers are performed with power and clarity, the choreography is challenging and executed with precision, and the overall production value is superb. All of this comes together to create a superlative piece of musical theatre that is delightful, entertaining, and in a word, fun.

There’s a lot of nostalgia around Grease, the stage musical and the film based on it, and regardless of how anyone was introduced to it, most likely when they hear its songs, or even just the names Danny, Sandy, Rizzo or Frenchie, there’s a good chance they will be swept right back into the past, and to the memories of a simpler time. The Tacoma Musical Playhouse version of Grease captures all of that nostalgia and then some, from its design that reflects the style and color scheme of the 1950s, the costumes that are reminiscent of the film and musical, and to the musical numbers that sound like they were plucked straight from the Hit Parade, it’s everything a fan could hope for. And though the production itself still feels a bit rough around the edges, with time that should improve, and in no way do any of its shortcomings take away from the quality of the show’s performances and musical numbers. Grease, at the end of the day, is a fun and entertaining musical experience.

Golden, the new play from Andrew Lee Creech, interrogates our idea of the American Dream, illustrating through the lives of Morris Golden and the frequent customers at his laundromat, that despite what we’re told, that dream is not equally accessible by everyone. Furthermore, he shows how precarious the dream can be for those who don’t have the luxury of a safety net, and how hope can only carry them for so long, but also how that same hope can be reborn in the next generation, as we look to them to break through the barriers of repression that have been preventing equal access to what has heretofore been elusive for so many. This world premiere production, directed by Tyrone Phillips is the perfect vehicle for this deeply human tragedy, a tragedy imbued with hope. With a brilliant design, a solid ensemble, and a brilliant performance from Tracy Michelle Hughes, Golden has an opportunity to make some real change.

Proof, the David Auburn play with the double entendre of a title, is a heavy hitter. Dealing with the sacrifices some make in order to take care of loved ones with dementia, as well as the sacrifices others don’t make, family dynamics before and after the death of a parent, trust in a relationship when every shred of evidence is contrary, and the struggle to overcome sexism in a technical field like mathematics in order to earn even a nugget of credibility, it tackles a lot. This just scratches the surface of the multiple layers put together to build this play, but at its heart, Proof is really about relationships, what we’re willing to, or not to, sacrifice for them, what level of respect we bring into them, and to what extent we allow ourselves to accept our partners at face value, with or without…proof. It’s a superbly written piece, but the inD Theatre production excels because of its cast of four actors and the vision of its director Steve Lambert. Proof is meaningful, it’s real, it’s heartfelt, and it’s human, and it’s very, very good.

The Shape of the Night, designed by All of them Witches in partnership locally with Emergence Films and Helmstreet Productions, is a unique immersive and interactive performing arts experience, static art exhibition, and so much more. Containing elements of horror and suspense, there’s nothing altogether scary about this presentation, but it provides the feelings of morbidity and uneasiness in a truly unique way. Designed specifically for the Georgetown Steam Plant, this experience has been designed with so much care and so much detail, with a cast of actors that give everything they can to their characters in a confluence of light, sound, art, and choreography that is entirely unique, it really is something to behold, and the fact that we have the opportunity to experience something like this should most definitely be taken advantage of while we can.

Olympic Theatre Arts’ latest production, Wrong Turn at Lungfish, the comedy from writers Garry Marshall and Lowell Ganz, feels like a throwback, and in a lot of ways it is. Written in the early 1990s, it has the feel of a sitcom from the 1970s, complete with the angry and grumpy old man who seems to do nothing but throw insults at everyone out of fear, the fear of what he faces at the end of his life. But in his search for the meaning of life, he finds exactly what he needs in a young volunteer, in fact, they are exactly what each other needs and they find each other at exactly the right time. Led by the pair of Vince Campbell and Gabrielle Simonson in splendid performances, Wrong Turn at Lungfish is a story that is funny, but it’s also one layered with a deeper meaning, and like the best comedies, it is written and performed with the perfect combination of each. Sequim is a bit out of the way from Seattle, but this one is well worth a drive up to the Olympic Peninsula to Olympic Theatre Arts.