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.

Hungry, from playwright Chris Bush, presented by Sound Theatre Company, and on stage at the Centre Theatre at the Seattle Armory, is a bit of a paradox. On the surface it’s simple, two actors, a generally minimalist scenic design, and a story about the arc of a relationship. But that perceived simplicity belies so much more that resides below that surface. Hungry is a uniquely constructed story, taking the characters, and the audience, back and forth from the present to the past, portraying a relationship amid the challenges of socioeconomic and class judgment, and at the same time interrogating a system that perpetuates the exact problem that it purports to solve. Directed by Vincent J. Orduña, and featuring performances from Simone Alene and Jayne Hubbard that elevate what is already a magnificently written story, Hungry is an emotional, important, and timely show that should not be missed.

For one-hundred years, The Great Gatsby has been considered one of the defining American novels: a work that captures the idea that we are perhaps happier chasing rainbows than finding our pots of gold. Noveltease’s adaptation captures this theme by depicting some of its greatest emotional tensions through dance and emphasizing the narrator’s own chasing of the endless,impossible dream. With a talented large ensemble, solid production elements, and of course some alluring burlesque numbers, The Great Gatsby represents Noveltease at its finest.

Woodinville Repertory Theatre’s production of Deathtrap is the best type of thriller: it moves quickly, comes laden with surprises, and contains tons of action that raise the tension and put the various characters in jeopardy. But it also manages to be outrageously funny and to pose metatheatrical questions about if art imitates life or if life just has a sardonic sense of humor. With a solid ensemble and great production elements, this one is more than worth the trip up north from Seattle.

Playwright Tracy Letts couldn’t have had any idea that his play Bug would be more relevant today than it was when he wrote it in 1996. But with a new conspiracy theory cropping up with every rising of the sun, this play, which delves into the kinds of paranoia and beliefs in conspiracies that are so prevalent today, it provides a fresh insight into how these theories grow legs and become part of the zeitgeist. Behind two exceptional performances from a pair of actors that portray a descent into a psychotic undoing the likes of which I’ve rarely seen on stage this side of Macbeth, this production, which is one of the most intense that has run on stage this season, is excellent from top to bottom. It’s anything but a lighthearted romp, and with its mature themes and content, Bug not for everyone, but for those who do see it will recognize straight away how special this play truly is.

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.