This production has the potential to have impact in communities where anti-Palestinian narratives dominate, pulling hesitant audiences “into the light,” but for many pro-Palestine viewers it offers little beyond frustration at seeing the conversation just being summarized for the enlightenment of viewers who still need this material to grow in a conscientious way.

Red Curtain’s Sound of Music embraces the sincerity that has kept this musical beloved for generations. Its themes—family, love, moral courage—remain universally resonant, and this production treats them with care. With heartfelt performances, lovely harmonies, inventive staging moments, and an earnest approach to the material, the show remains a warm and welcome part of the holiday season.

This show will put a smile on your face and leave you singing the catchy tunes for days tor come. From high quality -elegant sets, friendly staff, charming lobby and a classic story, you will not regret spending your time this holiday season attending “Annie” running until December 21st, 2025, get your tickets before the sell out!

It’s rare, especially during a season that can overwhelm as easily as it can uplift, to find a production that so genuinely raises the collective spirit of the theatre-going public. Ebenezer Scrooge’s BIG Christmas Show doesn’t just offer escape; it offers joy. It reminds us why we gather in theatres in the first place: to laugh together, to share moments of silliness or sincerity, and to let ourselves be transported somewhere brighter than the world outside. KCPT has given audiences a gift this season, wrapped in humor, heart, and hometown charm. And for anyone needing a break, a breath, or simply a good time, this is exactly the kind of show worth stepping inside for.

Latitude’s mission to bring translated and culturally specific adaptations of classic stories to the stage is boldly realized here. A Klingon Christmas Carol is not a parody, nor is it a novelty piece (though some may view it as such)—it’s a serious, committed reinterpretation that celebrates the Klingon culture without compromising the original Christmas Carol too much. Out of the many Christmas Carols circulating this season, this one stands alone. Or, more appropriately, it stands ghuS (I think that’s right)—ready, braced, and fiercely itself.

Put on your finery and get thee to the palace, where “The Prince is Giving a Ball” and you can savor a colorful bit of magic for the holidays.

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.