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.

Sanctuary City, Seattle Rep’s latest onstage production, depicts the struggle of a group of young adults known as “Dreamers” in the early 21st Century, trying to make their way in the shadow of 9/11 and without a clear plan for becoming a part of American society. This smartly designed play deploys some unique and creative ways of assembling the puzzle of a plot and relies on strong and agile acting to drive home the plight of its characters. The play is certainly a “thinker”, and while it delves into some pretty heavy stuff, it remains entertaining and enlightening.

The 5th Avenue Theatre’s latest production, Something’s Afoot, features a cast of Seattle veteran actors, under the direction of Director Bill Berry, who demonstrate what it means when talent comes together without ego to present work as an ensemble that is synergy at its core. For any fan of Agatha Christie, Clue, or the Family Guy episode “And Then There Were Fewer”, or if you just want to laugh and be entertained by a group of extremely gifted performers, Something’s Afoot is a show you’re not going to want to miss.

The latest collaboration between Tacoma Little Theatre and the University of Washington, Tacoma Theatre Department is currently on stage through March 31. Their co-production of Rent faithfully captures the heart of New York City at the height of the AIDS crisis. Creatively designed and skillfully performed, this production of Rent depicts the fear and struggle of the mid-1990s in the lives of a group of young artists, while also capturing their love and hope for a better life. Rent unpacks a lot, but this edition does it in a way that is engaging and quite frankly, beautiful.

The Book of Will is an historical play that is a loving tribute to theatre and storytelling as told through the eyes of Shakespeare’s friends trying to collect his works and publish them for public consumption. It’s funny, it’s sad, it’s very well written, and it’s performed wonderfully by this BPA cast. The cast, under the direction of Kate Meyers truly has a love for this work and that shows in their onstage relationships, their delivery, and the absolute quality with which they deliver the material.

The Edmonds Driftwood Players are kicking off Women’s History Month with a science lesson, shining a light on Ada Lovelace, a much overlooked figure in the history of computational science. In a production designed with a minimalistic approach and a group of actors that do wonderfully to portray these varied figures, this poetic love story wrapped in a tale of historical events is an excellent offering from this group.

There’s nothing altogether complex about the delivery of The Stinky Cheese Man, and it’s one of those rare shows these days that you don’t have to worry about bringing the family to. The show understands what it is and doesn’t try to do more than that, and as long as you don’t expect more than that, you’ll have a great time.

On its own, The Importance of Being Earnest is one of Oscar Wilde’s most enjoyable plays. It’s an absurd farce that has staying power due to its situational humor and well constructed and fast paced dialogue. The Original Theater Black Dog production of The Importance of Being Earnest, directed by Susie Bradford, uses a simple, but elegant production design, and a stellar cast to not just bring Wilde’s story to life, but raise it to a level of absolute enjoyment that serves as proof that great theatre isn’t limited to just the large houses in Seattle, but can also be found in a 135 year old train depot.

Trouble in Mind is a layered piece that tackles so much more than you’d think possible in just short of two and a half hours. It’s a show of contrasts, age, race, economics, and time. The play is very well written and even better performed by a remarkable cast under the direction of Jasmine Lomax and is the perfect way to close out Black History Month.