Miss Holmes Returns at Centerstage Theatre is that rare sequel that improves upon its source in every conceivable way. It’s more confident, more cohesive, and more emotionally resonant than its predecessor. It blends sharp intellect with compassion, humor with heart, and delivers a mystery that is as much about human connection as it is about crime-solving. In an age where the role of women in leadership and intellect is still contested, this production reaffirms the value of voices that think, feel, and lead. It’s a smart, engaging, and beautifully performed evening of theatre — one that proves the truth is never simple, but always worth chasing.

InD Theatre’s Godspell may not convert every skeptic, but it doesn’t need to. It’s a production that embraces the dualities of belief and doubt, of faith and questioning, and it finds strength in that balance. What lingers is the sincerity of the effort — the raw, open-hearted performances, the creativity of its staging, and the palpable sense of community that builds between cast and audience by the final bow. Like the best interpretations of Godspell, Shannon Dowling’s version feels both familiar and immediate, reverent and restless. It’s theatre as parable, but also as protest — and in its imperfect, searching way, it invites us to listen, reflect, and maybe find a little faith in each other again.

This production understands the play’s emotional truth. The men in Glengarry Glen Ross are, at their core, tragic figures — desperate, flawed, and all too real. They are the casualties of an economic system that rewards ruthlessness and punishes vulnerability. Alicia and this cast embrace that tragedy without apology, refusing to soften the edges or sanitize the grit. It’s theatre that makes you uncomfortable in the best possible way, because it’s truthful. When the proverbial curtain drops, what lingers isn’t the profanity or the shouting (there is a lot of both), but the silence that follows — the heavy realization that what was just presented on stage was something unapologetically honest. SecondStory Rep’s Glengarry Glen Ross is as bold as it is brilliant, a masterclass in precision, performance, and purpose. It’s the kind of show that reminds us that great theatre doesn’t have to be pretty — it just has to be true.

With a well accomplished design and a cast that understands the multiple comedic aspects of a farce, A Fox on the Fairway doesn’t try to reinvent the genre; instead, it embraces its glorious nonsense, and in doing so, Edmonds Driftwood Players deliver a production rife with theatrical fun that’s more entertaining than a well-played round of 18.

The ArtsWest production of Jen Silverman’s The Roommate is engaging in its mix of humor and melancholy. It’s funny, but not in a sitcom way — the laughs come from recognition, from watching people our own age make mistakes we’ve made or wish we had the courage to make. And by the end, there’s a sense that the show’s title isn’t just about who shares a house, but about the people we allow into our hearts and the versions of ourselves we choose to live with.

Book-It Repertory Theatre marks their return with a production that both reminds us why their unique take on theatre matters and promises great shows to come. Much like Book-It itself, their current production of The Story of Edgar Sawtelle is deceptively simple on the surface, with worlds upon worlds lying beneath. From the script rich with prose, to the talented ensemble, to the stunning audio and visual landscape, each element beautifully composes a play that’s quite unlike anything else on stage.

The Coast Starlight captures the nature of rail travel, its highs, lows, contemplative nature, and sense of time passing. The Burien Actors Theatre’s production is a modest one that finds its strength in honesty. It reminds us that the most meaningful journeys often happen internally, and that the strangers we meet along the way sometimes reflect the parts of ourselves we’ve yet to understand. BAT’s staging captures that spirit with simplicity and sincerity—a heartfelt ride worth taking before it reaches its final stop on October 19.

Larissa FastHorse’s new play Fancy Dancer follows one young woman’s journey becoming more comfortable in her own skin through the discipline, liberation, and joy she finds through dance. This collaboration by Seattle Repertory Theatre and Seattle Children's Theatre offers audiences a personal story that beautifully encapsulates universal messages related to identity, heritage, resiliency, and self-expression. Suberb technical effects and a strong solo performance round out this dynamic world-premiere show co-produced by two of our region’s most prominent theatres.

Suffs is the best kind of history-inspired theatre: a musical that presents us a nuanced look at the successes, failures, struggles, oversights, and interpersonal relationships related to this slicefrom the past. It prioritizes telling its audiences a compelling narrative about the suffragist movement over bogging us down with facts. Replete with an amazing cast, high-caliber production elements, and a story that offers lessons about both our history and future, Suffs’ current tour stop at The 5^th Avenue Theatre is not to be missed.

Union Arts Center’s An Enemy of the People doesn’t just restage a classic. It demands that we ask ourselves where we would stand if we were in that room, faced with the choice between truth and convenience. It’s part allegory and part warning, and it’s the kind of production that makes theatre indispensable—not just art for art’s sake, but a call to pay attention. For anyone who believes theatre should stir the mind as much as the heart, An Enemy of the People is essential viewing.

Twenty years into Boal’s tenure as artistic director at the company, it is enjoyable to see a company that does Balanchine so well, right here in Seattle. Jewels sets a high bar that hopefully the rest of PNB’s season will rise to. If so, we’re in for a treat.

ReAct Theatre’s The Laramie Project is a thoughtful and well-paced production that honors the integrity of its source material. It may not always fully tap into the deepest wells of emotion, but it succeeds in telling a story that must continue to be told. Matthew Shepard’s legacy is not only a reminder of the consequences of hatred and violence but also a call to empathy and action. This production keeps that legacy alive, and in doing so, invites its audience to remember, reflect, and, most importantly, feel.

If you’re looking to see a murder mystery that differs from the usual stage offerings, Yaga is the show for you. Far more than another whodunnit, Dacha Theatre’s current production serves up a murder mystery rolled up in psychological horror and twisted folklore with a sprinkling of delicious, vicious feminism. Featuring three talented performers tackling numerous roles, stunning visuals, and a thrilling audio landscape, Yaga promises to be a show talked about long after it closes.

Blue Hour Theatre’s staged reading of Drowned Cats made the most of its limited resources by capitalizing on the bounty it did have: a talented local team and an exciting new script. Their rendition of this new play was thoughtful, nuanced, and filled with a sense of urgency that honored the script’s chosen subject of preparing for a devastating storm. All in all, this was a solid one-night presentation that promises good things to come for both this play and the company

Village Theatre’s Brigadoon is a feast for the senses and the heart. With its breathtaking set design, subtle and evocative lighting, powerful ensemble work, and a cast of standout performances, this production brings the classic Lerner and Loewe musical to vivid life. It offers audiences a few precious hours of enchantment, while posing questions about love, sacrifice, and the world we choose to build. As the mist clears and Brigadoon fades from view, you may find yourself wondering—if given the chance to leave behind the chaos of today’s world, would you take it?

Oscar Wilde famously described The Importance of Being Earnest as “a trivial comedy for serious people,” and Taproot’s production captures that paradox beautifully. It offers abundant laughter, yes, but also a thoughtful reflection on sincerity and social expectation. Even today, when questions of identity and perception are as charged as ever, Wilde’s humor still has bite. This production is a joy: gorgeously designed, sharply performed, and consistently hilarious. Whether you’re drawn by the wit, the physical comedy, or the sheer pleasure of watching a masterfully assembled cast at work, this production delivers on every level. It’s the kind of show you want to recommend immediately to friends, knowing they’ll thank you after a night spent laughing and marveling at Wilde’s genius and the wonderful way in which this group presents it.

Seattle’s The Underground Theatre brings the West Coast premiere of For Colored Boyz (on the verge of a nervous breakdown / when freedom ain’t enuff) to Base Camp Studios through September 21. This raw, urgent choreopoem traces the Black male experience in America through poetry, movement, and music. With powerful performances and stunning choreography, it challenges audiences to listen, reflect, and act.

“This is the kind of art that some would rather silence—but it’s exactly the kind of art we must fight to give oxygen to.”

At its core, The Revolutionists is about free speech, empowerment, self-determination, and the power of story. Its dialogue is modern, though its setting remains the turbulent days of the French Revolution, creating a bridge between past and present. Lakewood Playhouse’s production captures both the play’s humor and its urgency, making audiences laugh one moment and reflect deeply the next. By the end, as each woman meets her fate, the laughter fades into a resonant silence, leaving behind a powerful reminder of how vital it is to keep speaking, writing, and fighting for what matters. It’s a compelling opening to the season at Lakewood Playhouse, proof that under Joseph Walsh’s leadership, the organization is boldly stepping forward both artistically and thematically, carrying the momentum from last season’s The Spitfire Grill into a new era of thought-provoking and visually transformative theatre.

A Midsummer Night’s Dream at Kitsap Forest Theatre takes risks, and while not every risk fully lands, the sheer commitment of the production is undeniable. From costumes and props to music and movement, the Appalachian concept is applied top to bottom, and the company embraces it wholeheartedly. In the end, the production manages to entertain, surprise, and provoke thought—reminding us of the enduring flexibility of Shakespeare’s comedy and the power of theatre to reshape familiar stories in daring new ways.

Dear Jack, Dear Louise is more than a wartime romance. It is a meditation on patience, hope, and the courage required to trust another person in uncertain times. Key City Public Theatre achieves intimacy without sentimentality, humor without frivolity, and romance without cliché. Every element — the emotional performances of Krista Curry and Erik Gratton, the understated set, the evocative lighting and sound, and precise period costumes — works in concert to transport the audience into the emotional world of these letters. By the final scene, as the last letter is read, the audience is left with a sense of fulfillment and quiet awe: a reminder that love, connection, and human resilience endure, even when faced with the distance and uncertainty of war. This is theatre that lingers, inviting reflection long after the curtain falls.