Stage Review - Circle Mirror Transformation (inD Theatre)

Stage Review - Circle Mirror Transformation
Presented By: inD Theatre - Bainbridge Island, WA
Show Run: February 27 - March 15, 2026
Date Reviewed: Friday, February 27, 2026 (Opening Night)
Run Time: 1 Hour, 50 Minutes (including a 15-minute intermission)
Reviewed by: Greg Heilman

Sometimes, the best plays are those that don’t announce themselves with spectacle—rather, they invite you in quietly and ask you to pay attention. Annie Baker’s Circle Mirror Transformation is one of those works, unfolding through simple exercises that gradually reveal something far more complex beneath the surface. It’s also an ideal fit for inD Theatre, whose mission centers on actor-driven storytelling, minimalism, and creating intimate, accessible theatre rooted in human connection. In that context, Baker’s play feels less like a selection and more like a natural extension of the company’s artistic philosophy—one that trusts the power of presence, vulnerability, and the shared experience between performer and audience. The inD Theatre production, directed by Ken Michels, runs on stage at Rolling Bay Hall on Bainbridge Island through March 13.

Originally premiering in 2009, Circle Mirror Transformation has become one of Baker’s most celebrated works, known for its quiet structure and deeply introspective approach to storytelling. Set in a small-town community center acting class, the play follows five individuals—Marty (Amy Jo LaRubio), the class’s well-meaning instructor; James (Matt Eldridge), her husband; Schultz (T. Ivan Winkler), a recently divorced carpenter; Lauren (Zoe LaRubio), a guarded teenager; and Theresa (Josi Twigt), an actress navigating personal upheaval. Over the course of several weeks, the group engages in a series of acting exercises and theatre games that, while simple on the surface, gradually peel back layers of identity, insecurity, and connection.

What begins as playfulness evolves into something far more intimate.

One of the most compelling aspects of this piece is how those exercises function as both structure and storytelling device. As the class progresses, so too does our understanding of these characters. The audience, much like the participants, is invited to observe without judgment, to piece together relationships and emotional undercurrents from what is often left unsaid. There is a vulnerability embedded in the framework—an understanding that when pretense falls away, there is little room to hide. In many ways, the play reflects the tension of being confined within a shared space over time—how connections form, how discomfort lingers, and how even small fractures can feel amplified when there’s no easy escape.

That sense of exposure is reinforced through the production’s design choices. The use of the mirror, particularly becomes a subtle but effective visual metaphor. At times, it allows the audience to take in the full picture of a character; at others, it highlights the asymmetry that makes each individual unique. Lighting design works in tandem with this idea, guiding focus with precision before, at times, abruptly withdrawing it. In those moments, there’s a striking sensation of disorientation, as if the emotional footing of the scene has suddenly shifted, leaving both the characters and the audience momentarily unmoored.

This is not a play built around a single standout performance—and that’s entirely by design. Circle Mirror Transformation is, at its core, an ensemble piece, one where the relationships do the storytelling and the dynamics between characters carry the weight of the narrative. Each actor brings a distinct sense of personality and nuance to their role, contributing to a collective rhythm that feels both natural and deeply lived-in. Matt Eldridge’s James raises an interesting question of motivation—why place himself in this particular class, led by his wife, given the complexities of their relationship—but his presence proves essential, and Matt navigates that ambiguity with a thoughtful performance. It’s also a treat to see Amy Jo LaRubio and Zoe LaRubio share the stage, their real-life connection adding texture to moments of tension and conflict between Marty and Lauren. Josi Twigt captures Theresa’s quiet turmoil with sensitivity, while T. Ivan Winkler deftly handles the layered complexities of Schultz, a character whose journey may be the most intricate of the group. From the ease with which they move through the acting exercises to the balance of humor, vulnerability, and emotional strain, this ensemble exemplifies the kind of cohesive storytelling that has become a hallmark of a Ken Michels production—one that feels less like a collection of individual performances and more like a true repertory company at work.

And for all its introspection, the play is often surprisingly funny. There’s a deeply human humor embedded in these interactions—the awkwardness, the missteps, the small moments of recognition that land with equal parts discomfort and warmth. As the group becomes more familiar with one another, so too does the audience. We begin to connect with these individuals not through grand revelations, but through observation—the accumulation of small, honest moments that build into something quietly affecting.

Like the mirror at the center of the space, this production doesn’t offer a single, clean reflection—it reveals something more layered, made up of fragments, angles, and shifting perspectives. In that way, Circle Mirror Transformation feels perfectly at home with inD Theatre’s mission, embracing a stripped-down, actor-driven approach that invites both introspection and connection. What emerges is a quietly affecting exploration of vulnerability and the courage it takes to be seen, even imperfectly. It’s a reminder that theatre doesn’t need spectacle to resonate—it simply needs honesty, and a willingness to hold up the mirror.

The inD Theatre production of Circle Mirror Transformation runs on stage at Rolling Bay Hall on Bainbridge Island through March 13. For more information, including ticket availability and sales, visit https://www.indtheatre.org/.

Photo credit: Abby Wyatt