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You can’t shut down the arts.
Despite strong performances and comedic zest, it’s hard to not get hung up on the befuddling ending of Seattle Shakespeare’s latest production.
Turns out a conventional approach is best for Verdi’s notoriously implausible ‘Il trovatore.’
Youths are engaging in critical arts thinking via the local nonprofit’s Press Corps Intensive.
A new jazz opera about a troubled genius highlights the lineup.
From its glittering face to the innovative performance possibilities within, the Opera Center was built for allure.
Book-It Rep’s diverse casting adds new depth to Willa Cather’s tale of friendship and hardship on the Great Plains.
A character whose first draft got short shrift finally finds happiness in ‘Miss Bennet: Christmas at Pemberley.’
Seattle Rep’s production of ‘In the Heights,’ Lin-Manuel Miranda’s pre-‘Hamilton’ musical, is an energetic romp.
Mike Daisey’s 18-part monologue at Seattle Rep serves as an engaging, fiery, and confrontational history class.
Seattle Shakespeare’s affectionately traditionalist staging of Shaw’s unsentimental wartime satire, ‘Arms and the Man.’
The enthusiastic Seattle Children’s Theatre production makes the story of a young will-be Muhammad Ali fun for kids.
The new female-driven cabaret company strives for a noir cinematic sophistication.
The local arts institutions continue to push creative bounds under changing leadership.
While thematically uncentered, Cirque du Soleil’s BMX-adorned Volta still entertains.
An ambitious, imaginative, double-cast production in which one sings, the other doesn’t.
Seattle Opera’s ‘Porgy and Bess’ is a must-see production that feels engaged with the cultural conversation.
Taproot’s ‘Sweet Land, the Musical’ doesn’t fully capture the mood of 1920s Minnesota farmland, but still manages to charm.
Steve Martin and Martin Short discuss bringing their two-man comedy extravaganza back to Seattle.
In Book-It’s Wilde adaptation, art imitates life imitates art imitates life….