Seattle Rep’s new production of Come From Away is one that feels like coming home—a gathering rather than a retelling, a space where memory and celebration live side by side. Brandon Ivie’s reimagining of this new classic may soften some of the darker edges, but it allows the warmth, humor, and humanity of Newfoundland to shine through with even greater resonance. For those of us who felt the impact of Come From Away the first time it played at the Rep, this staging offers a new way to reconnect with the story, the music, and the remarkable kindness that defined those extraordinary days. It’s a version that is absolutely worth revisiting—whether it’s your first time encountering the people of Gander or your fifteenth time returning to them.

Taproot Theatre’s A Sherlock Carol is a charming, warm, and cleverly executed holiday mystery that balances laughter, heart, and a hint of Victorian spookiness. With a strong ensemble, thoughtful design, and a director who understands both Doyle’s sharpness and Dickens’s sentiment, it’s a festive and engaging addition to the holiday theater season. It’s a mashup well worth catching before it vanishes into the fog of London when the calendar turns to a new year.

Mrs. Dilber’s Christmas Carol is exactly the kind of show Phoenix audiences come for: a funny twist on a familiar story, performed by an ensemble that knows how to push a joke to its edges without losing the heart beating beneath it. A wonderfully skewed, laugh-heavy detour from traditional holiday fare, Phoenix Theatre’s Mrs. Dilber’s Christmas Carol proves that sometimes the best way to revisit a classic is to kick it sideways and let the comedy fly.

Ultimately, Village Theatre’s 9 to 5 delivers exactly what this musical should: a bright, funny, heartfelt production that lets Dolly’s music shine and gives its trio of heroines room to soar. Katy Tabb and her team balance nostalgia with freshness, resulting in a crowd-pleasing piece of musical theatre that feels both familiar and wonderfully alive.

ArtsWest’s production of Penelope is a striking fusion of cabaret, classical myth, and contemporary emotional storytelling. It is intimate, atmospheric, and anchored by a singular performance from Chelsea LeValley, whose command of nuance elevates the entire piece. For a story about waiting, loss, and love stretched thin by time, this musical feels bracingly alive.

If you come to see “Holiday Inn” expecting to see the movie, you may be surprised that you’ll enjoy the musical even more. From the costumes to the sets, vocals, acting, dancing, choreography, talent, laughter, feel good moments and holiday cheer, this show is a perfect ten and easily one of the best to ever grace Tacoma Musical Playhouse’s stage. Double Dutch yourself down and see “Holiday Inn” before it closes on December 14th, 2025, you won’t want to check out!

This is an entrancing, energetic, approachable, enjoyable and socially-relevant new musical for the entire family. Come for the elaborate props and set, stay for the delightfully creepy musical numbers and enjoy the flowing commentary on who in this world is trying to sell you on something you really don’t need.

There is genuine charm in Always… Patsy Cline as a piece, and Jewel Box’s production finds much of that charm through the cast’s performance and the strength of the live band. The production represents a pleasant revisit of the catalogue of one of the greatest country singers to have ever lived, albeit in a life much too short, and while the heart of Patsy’s voice — the ache, the grit, the vulnerability — remains at arm’s length here, Always…Patsy Cline is nonetheless an entertaining and nostalgic night of theatre.

Saltfire’s Uncle Vanya is a reminder that Chekhov doesn’t need grandeur to land with full force. The play contains layers of environmental, social, and political commentary, but what makes this production linger is its honesty—the way it sits with longing, regret, hope, and the fragile bonds that tether people to one another. It’s a deeply empathetic staging of the play, anchored by performances that honor the slowness, sorrow, humor, and humanity of the source and this adaptation. Saltfire has crafted a production that feels both timeless and distinctly rooted in place, and in doing so, they’ve delivered a Vanya that resonates long after the final moments fade.

The Mousetrap at SecondStory Repertory is an engaging blend of classic structure and finely tuned ensemble work. It honors Christie’s legacy while feeling alive in the present moment—a testament to what can be achieved when direction, design, and performance all move with purpose. For Puget Sound-area audiences, it’s an invitation to sit back, play detective, and enjoy one of theatre’s most enduring mysteries. Just remember: once the curtain falls, keep the ending to yourself.

Olympia Little Theatre’s But Why Bump Off Barnaby succeeds most when it embraces its absurdity. It’s a show that understands its own silliness, and when the timing clicks, it hits that sweet spot of old-fashioned farce. A little more pace in delivery would make the laughs more consistent, but as it stands, it’s a pleasant, escapist evening of theater—a lighthearted parody that gives its audience permission to just sit back and enjoy the ridiculousness of it all.

Reboot’s production of Anything Goes doesn’t just revive a classic—it reimagines it for a new era, balancing nostalgia and innovation with wit and heart. This piece stands tall as both an homage to Broadway’s golden age and a testament to Reboot’s boundary-pushing spirit. It’s a show that reminds us why musical theatre endures: because when it’s done this well, anything truly goes.

In a sublime and memorable ensemble performance and a powerful thought-provoking script, The Manor teaches us that despite our best efforts for gathering power, prestige and sanctuary, there will always be an element of chaos and entropy that can scrap our best-laid plans. Those who refuse to accept change will perish at the hand of it. Those who embrace the flow of change will survive long enough to witness the dawning of new eras and new perspectives.

In its latest production, PNB spotlights new works and emerging choreographers that explore the human relationship with technology. Staged alongside a classic from Twyla Tharp, it's a good blend of classic American dance and contemporary exploration that makes for rich viewing.

What Dukesbay has achieved here is a strong, and beautiful, reminder of what live theatre can do when stripped of unnecessary layers. The Fantasticks is a fable about innocence, experience, and rediscovery, and in this production, those themes are reflected not only in the performances but in the very act of presentation—voices unamplified, music live and intimate, storytelling simple yet profound. It’s a musical that feels like it’s being sung directly into your heart, and Dukesbay’s talented ensemble makes sure every note lands exactly there.

Pony World Theatre’s Eulogy isn’t just a play about dying—it’s a play about living fully and deliberately. Brendan Healy’s performance, coupled with the sincerity of his collaborators, transforms what might have been a farewell into something closer to a celebration. It’s funny, honest, and disarmingly hopeful, reminding us that confronting mortality isn’t about giving up—it’s about finding meaning in every remaining moment. This production, under the keen direction of Sophia Franzella is a quiet triumph, and for audiences willing to face the big questions with open hearts, it’s a night worth celebrating.

Director Teresa Thuman handles the story and cast quite nimbly. She gives us themes that resonate in today’s American family and America as a whole. “The Humans" is funny and scary, while tough and relatable. It will keep you thinking long after the lights go out.

A Murder is Announced at Olympic Theatre Arts offers their own take on what fans of Agatha Christie come for, and they deliver it with a unique design and some solid performances, which give this production its own identity, proving that even in a genre built on formula, creativity can still surprise.

This production is proof that Leading Ladies doesn’t need reinvention — just precision, trust in the material, and performers who understand that the best farce comes from absolute commitment. From staircase to skirt hem, this one commits completely. In the end, Bremerton Community Theatre’s Leading Ladies is a fast, funny, and fully realized romp that delivers on every promise of a Ken Ludwig comedy. It’s polished without losing its sense of play, bold without slipping into excess, and heartfelt enough to remind us that even the most ridiculous deceptions can lead to moments of genuine truth. Audiences looking for a night of sharp humor, strong performances, and impeccable stagecraft will find it all here.

This rendition of Little Foxes offers us an intimate look at the various guises that prejudice, cruelty, and love can take – and what happens when all those facades get ripped away. Intiman Theatre and The Feast immerse us in a world that demonstrates how expansive privilege can be while revealing how that same privilege can produce fear and claustrophobia, offering its beneficiaries few escapes despite the abundance of luxuries. Replete with a talented ensemble and a wonderful set design, this is a reimagining of an old play worth revisiting now.