Combined with strong performances, and an attractive, detail-rich production design, Bremerton Community Theatre’s presentation of Perfect Crime delivers the suspense and intrigue that have allowed Warren Manzi’s thriller to captivate audiences for decades. For those who enjoy mysteries that challenge audiences not simply to determine what happened, but to question the very nature of what they’re seeing, Perfect Crime offers an evening of thought-provoking theatrical suspense.

ArtsWest and Seda Iranian Theatre Ensemble’s co-production of Wish You Were Here excels on every level: script, direction, performance, and design. This show depicts what theatre can be at its best: a means of delving into a world we might not otherwise have access to, in real time and space – in this case, the Iranian Revolution and its aftermath, as told through the lives and friendships of five women. Without ever veering toward the bathetic or feeling like a historical lecture, Wish You Were Here grants us the privilege witnessing firsthand our sharp distinctions and surprising similarities to these women who, despite their fictionality, feel startlingly real.

Lakewood Playhouse reminds us that representation, humanistic experience through storytelling, revolving historic evolution and KINDNESS are all things that will be overlooked if we keep repeating history, unless we make change that holds strong for generations to come. I recommend coming to see “Carrie the Musical” and succumbing to a much different version/ meaning behind the beloved King novel and movie.

Everybody, the play by Branden Jacobs-Jenkins didn’t work for me when I saw it produced by Strawberry Theatre Workshop in 2019. I saw it again recently, this time produced by UW School of Drama. That one didn't work for me either. I’m not sure this is the fault of either production. Maybe it’s the script, or maybe I am just missing the point. The show has a theme worth exploring and a message worth heeding but I am not sure if there is a way to make it land.

Murder on West Moon Street is exactly the sort of production that has become synonymous with Phoenix Theatre at its best: smart, energetic, ensemble-driven comedy performed by artists who understand precisely how to deliver a laugh without sacrificing character. For audiences looking for an evening of clever farce, sharp performances, and plenty of Victorian absurdity, this production is easy to recommend. More importantly, it serves as another reminder of why Phoenix's personality has become so endearing. When the company leans into this style of comedy, it consistently produces some of the most entertaining theatre in the region, and Murder on West Moon Street stands comfortably among its best efforts.

Frida…A Self-Portrait is a story about finding meaning through art. It explores how creative expression can help us process pain, celebrate identity, preserve memory, and connect with others. By intertwining her own experiences with those of one of history’s most celebrated artists, Vanessa Savero has created a work that feels deeply personal while also bringing to life a woman’s tragic life, one that led to a plethora of extraordinary creations. The result is a thoughtful, engaging, and emotionally resonant performance that demonstrates exactly how powerful a one-person show can be when placed in the hands of an artist with something meaningful to say.

Actorcraft's production of Detroit does not offer easy answers, nor should it. Instead, it presents those questions through a committed ensemble, confident direction, and a clear understanding of the story's humanity. More importantly, it demonstrates once again the quality of work being cultivated through the company's educational programs. If Detroit is any indication, the future of Actorcraft P2S looks exceptionally bright.

What is undeniable, however, is the quality of Tacoma Little Theatre's production. María Valenzuela and her cast embrace the material fully, supported by a creative team whose design work consistently reinforces the play's themes. The result is an evening that rewards patience with thoughtful performances, evocative imagery, and a moving exploration of memory, history, and human connection.

Disappearance at the Rocky Mountain Leatherdyke Snowpicnic, a new play written by Marty Rozema and directed by Adrian Prendergast follows a group of partygoers into the wilderness, anticipating a weekend of fun and debauchery. They get that, along with maybe some things they didn’t expect. What the audience gets is a fun, ensemble comedy.

Part of what has allowed A Midsummer Night's Dream to endure for more than four hundred years is its flexibility. Every generation discovers new ways to tell the story, finding fresh perspectives within Shakespeare's timeless exploration of love, desire, jealousy, and imagination. Marcela Lorca's production rises above most others because it understands that innovation does not require abandoning tradition. By building upon a foundation of exceptional textual understanding, imaginative design, memorable performances, and joyful physical comedy, Oregon Shakespeare Festival has created a Midsummer that feels both familiar and entirely new. For audiences encountering the play for the first time and for those, like myself, who have spent years revisiting it, this production offers a reminder that even the stories we think we know best can still surprise us.

More than twenty years after the events it depicts, Come From Away remains one of the most uplifting experiences in contemporary musical theatre. Its success is not rooted in sentimentality, but in its belief that compassion matters. Oregon Shakespeare Festival’s production captures that spirit beautifully. It reminds us that even in our darkest moments, people are capable of remarkable kindness, and that those acts, no matter how small they may seem, can ripple outward in ways we may never fully understand. In a time when stories of division often dominate the conversation, Come From Away offers something increasingly valuable: hope.

Through thoughtful direction, excellent design work, and a collection of strong performances, this production reminds us why A Raisin in the Sun remains one of the most important plays ever written. It is not simply a story about one family in Chicago. It is a story about all those who continue to dream of something better, even when the odds seem stacked against them, and about the courage required to keep moving forward when the world would prefer that you stay exactly where you are.

With You Are Cordially Invited to the End of the World, what begins as an intimate family story evolves into something much larger. It becomes a meditation on life, death, acceptance, legacy, and humanity’s responsibility to the world it inhabits. Yet despite those expansive themes, the production never loses sight of the individuals at its center. Funny, moving, thought-provoking, and deeply human, You Are Cordially Invited to the End of the World demonstrates exactly what makes Keiko Green such a distinctive playwright. She finds profound truths in ordinary people and then uses the unique tools of the theatre to expand those truths into something universal. In this excellent Oregon Shakespeare Festival production, Keiko’s remarkable script receives a staging that embraces both its humanity and its theatrical imagination, delivering an evening that lingers long after the final curtain.

Village Theatre’s commitment to developing new musicals has given audiences the opportunity to experience countless new works over the years, and We Ain’t Ever Gonna Break Up: The Hymon and Parfunkel Musical stands as another strong example of that mission in action. Funny, inventive, musically accomplished, and unexpectedly touching, the production delivers far more than a simple spoof. Beneath the fake documentaries, fabricated histories, news reports, and wonderfully ridiculous songs lies a heartfelt story about friendship, collaboration, and the bonds that survive even when everything else seems determined to pull people apart. Much like the fictional duo at its center, the show succeeds because of the strength of the partnership behind it, and audiences are the beneficiaries of that collaboration.

This world premiere has now closed, but a review can still be a flare sent up over the horizon. If any version of Chicken Tinders ever lands anywhere near you, you need to go. There is something genuinely special about a Seattle-grown musical arriving with this much original voice and this much Broadway flair, and it deserves every future stage it can find.

Miss Holmes is a mystery full of clever deductions, sharp humor, twists and turns and a triumphant message: when the world won’t protect women, women protect each other. And PACP delivers that message well.

PNB is lucky to have Jessica Lang in its corner, and vice versa. Her work is thoughtful and rich, made more so by the depth of the relationship between the choreographer and the company. Though PNB is losing some of its leading lights to retirement after this season, this show leaves you eager to see more when the next begins.

Drunken Owl Theatre continues to bring some of the most unique evenings of performance art to the stage in the region. Their latest, I Protest, proves that not every piece approaches protest from the same angle. Instead, the evening recognizes that resistance can take many forms. It can be political, personal, artistic, cultural, or simply an act of refusing to look away. Through music, poetry, and theatre, Drunken Owl Theatre creates a space where artists can respond to the world around them in real time, sharing ideas that are often still evolving and inviting audiences into that process. In an arts landscape where opportunities for new work can be difficult to find, that mission feels increasingly important. I Protest may not offer answers to the issues it raises, but it succeeds in encouraging conversation, reflection, and engagement. Sometimes, especially in uncertain times, that may be protest enough.

“She Loves Me” is a heartwarming, unexpectedly funny, romantic enemies to lover’s classic tale. Centerstage’s production will transport to you to the days when things were just simpler and far more enjoyable. The cast is immensely talented and hilarious, the crew and design teams’ dedication prevail in its quality and the visual, auditory and emotional experiences are a testament to a job well done by all. Tell everyone you know, “She Loves Me” is an overall fragrant success I’d gladly purchase time and time again.

To learn history, within art, while celebrating the accomplishments of women and women of color and all minorities entrenched in culture is imperative to the legacies we now have the opportunity to create and continue to leave. The sets, the lyrics, the talent, the dedication and the impact of “Aviatrix” the world premiere musical at Seattle Public Theater, left me wanting only for an encore performance, a soundtrack to sing along to and a yearning to create something spectacular. Sometimes, all it takes is a spark!