The Brazilian playwright Robert Athayde had his unsettling dark comedy “Miss Margarida’s Way” banned in his home country, due to its implied criticism of the totalitarian regime. However, there is no stopping the fireplug of an actress Susan Finque and director John Vreeke from letting loose this terrifying and charming 8th grade teacher to wreak havoc in a classroom setting at the West of Lenin.
Debuting at Arts West this past week, Alma is a thought-provoking exploration of cultural identity, citizenship and economic hardship. In
Not Critical Race THEORY, Critical Race FACTS
A truly amazing play, Sovereignty by Mary Kathryn Nagle opened this weekend at Harlequin Theater in Olympia. Although it contains a huge amount of historical information, as well as legal wrangling about the Indian Removal Act, which took away the sovereignty of the Cherokee Nation in the Southeast of the U.S. in the 1830’s, it was also a very engaging story of the continued oppression of Native Americans in present times and the struggle for Sovereignty.
Sexual Politics of the ancien régime in France.
The Marriage of Figaro, one of the most popular operas ever written opened to an almost full house Saturday night at McCaw Hall. Adapted from French playwright Pierre Beaumarchais’ equally popular but highly controversial 1778 play of the same name by Librettist Lorenza Da Ponte with music by Wolfgang Amadeus Mozart, its reputation is well deserved. 
“He thinks he was conceived by a credit card and Fed Ex.”
Patrimony, a premiere by Duane Kelly, explored some very topical themes, if I am to trust the syndicated advice columns in the Seattle Times. The great conflict in this play, which opened at 18th and Union, was how to deal with the consequences of keeping the facts of a child’s conception secret or shrouded in plausible lies.
With the pandemic ever so grudgingly moving aside, our battered population again considers returning to classrooms for good. The wonderfully
Escape from Spying-Become a Playwright Theater 22’s newest production, OR by Liz Duffy Adams, opened at Seattle Public Theater’s space
Much Ado about Nothing was really SOMETHING
In spite of having been given free tickets to the RSC every Monday night for a year, I can safely say that Seattle Shakespeare’s production of Much Ado about Nothing was the best Shakespeare show I have ever seen. This was due to director Allison Narver’s skillful creativity as it was incredibly enjoyable while at the same time honoring the text. 
