The Village Theatre production of Once on This Island, the story of how love and the ultimate sacrifice can heal wounds that have been growing for generations, is an immersive, stunningly designed, and beautifully presented piece of musical theatre. Think of this as Romeo and Juliet meets The Little Mermaid, set on a tropical island. The story is told by way of a convergence between design and performance that is first rate, not just musical theatre, but a true visual and auditory experience, one that draws the audience into it and makes them feel that they are part of this wonderful story.

Though it sounds cliche, Unrivaled proves that the more things change, the more they stay the same. What keeps us coming back to stories of relationships and their humanity is that at the end of the day, relationships are the one thing we all have in common. Unrivaled feels like a modern story of trust and insecurity, love and heartbreak, as well as the age old challenges of being a woman in a man’s world told with the backdrop of 11th Century Japan. The co-production between Seattle Public Theatre and SIS Productions is a very well presented story that shows while we may falter apart, together we are Unrivaled.

There’s a saying, “Gold is where you find it”. Sometimes the best art can be found in the most unassuming places, and within Seattle’s arts community there’s no shortage of places that are tucked in corners or even underground. This is why The Underground Theater is so aptly named, and why Brown Bodies on a Blue Earth is the perfect show to have its world premiere with this company and underground at Base Camp Studios. Playwright Cris Eli Blak has created a dystopian world that shines a light on both racial and socioeconomic discrimination as well as climate change and how adaptable, or non adaptable people can be when dealing with all of these issues along with the grief of loss. It’s a complex story, constructed very well, and performed emotionally and passionately by a cast that is bought into their characters and leaves everything on the stage floor.

Letters of Suresh leaves the audience thinking; thinking about how we as a species communicate and interact, and a lot about religion, how we coexist among others who have been raised with a different faith, or even challenging the idea of God. There’s a lot beyond this as well, too much to list out here, but all presented so well within the context of the story. It is such a well written piece, and so expertly performed that if you’re not able to get out to see it, it’s an opportunity missed.

The Savannah Sipping Society is a wonderful story of discovery, friendship, community, and how sometimes stepping out of your comfort zone every once in a while can help heal the pain of loss and make you realize that there’s no limit to what you can do, especially when you have a group of supportive friends at your side. The Edmonds Driftwood production tells this story in such a wonderful way, with a superb quartet of actors and a creative team who present director Joe Goins’ vision with so much detail and quality that you’d think you were actually sitting on a veranda in Savannah yourself, experiencing everything along with these ladies, just without the humidity.

The musical version of The Wedding Singer exists solely because of and in service to the movie of the same name, starring Adam Sandler and Drew Barrymore. Western Washington Center for the Arts has chosen The Wedding Singer, the musical comedy, to close out its residence at the Bay Street location where they have produced shows for so long, and they’ve done a fine job in presenting an entertaining musical experience, despite performing from a book that is generally bland in comparison to the film on which it was based.

At the end of the day, there’s no denying that The Lehman Trilogy is a long show, probably the longest on stage in the region this season, for sure on the professional side of the house. But what John Langs has done in casting this trio of actors, and compiling this creative team, is to take a long, detailed, and dialogue heavy play and create a piece that is paced quickly, flows well, and engages the audience from start to finish. The story of the Lehman brothers is one that underscores what can happen when people have the opportunity to follow the American dream, but what can also happen when the baton of that dream is handed to those who have lost touch with what drove the dream into existence to begin with. It’s a story of family and loyalty, one of hope and heartbreak, and ultimately one about the ups and downs of unchecked capitalism. You’re sure to come out of The Lehman Trilogy with an opinion about this family, our economic system and stature, and our country as a whole. Most likely it’ll be different than your neighbor’s opinion, and it could very well be a changed opinion from what you entered ACT’s Falls Theatre with before sitting down to enjoy The Lehman Trilogy, which you will most definitely do, it’s an excellent telling of an intriguing story.

One would think that Romeo and Juliet has run its course, having premiered in 1957 it has to be one of the most performed Shakespeare plays ever. Any other play by any other author would go the way of the dodo, perhaps resurrected only after a long time spent on the shelf. But what keeps Romeo and Juliet going are productions like this one at Seattle Shakespeare. By far one of the most engaging, accessible, and outright enjoyable versions of this classic that I’ve seen, director Sheila Daniels has captured the true essence of this tragic tale, and with a stellar cast and creative design work, Sheila has reinvigorated my love of Shakespeare. If that sounds extreme, I would challenge you to see it yourself, and you may find that you have the same reaction.

Animals Out of Paper is the first of a pair of plays written by Rajiv Joseph running simultaneously on stage at 12th Avenue Arts, co-produced by ReAct Theatre and Pratidhwani. Directed by Julie Beckman, it uses origami as a metaphor for life, showing what can happen when we let go of the control we have over our lives and let events unfold, and how the experiences that transpire may just teach us a thing or two about each other, and ourselves. It’s well constructed, and nicely presented, and definitely something that is worth taking the time to let unfold in front of you.

In a world where it seems people have a difficult time connecting, and where divisiveness is rampant in society, sometimes all we need is a little love. That’s where Almost, Maine comes in. A show that distills the human condition down to the core experiences of love, longing, heartache, and hope, Almost, Maine features a small but mighty cast that presents this series of stories in a realistic and relatable way. With so much heaviness in the world, when we’re all searching for a little levity, Almost, Maine may just be exactly what we need.

Cabaret is a musical that never seems to age. It’s as relevant today as it was when it was first performed, which is both good and bad. The bad is clear, there are plenty of parallels in America today that mirror the events leading up to the Nazis taking power in Germany in World War 2. The good, though, is that we get to appreciate the genius that is this show written by John Kander (music), Fred Ebb (lyrics), and Joe Masteroff (book). We also get to appreciate when it’s so well performed as it is in the BPA production. Under the direction of Jessica Low, this cast featuring superlative performances by Bo Mellinger, Chris Clark, and Talena Laine delivers what may just be the show this season that sticks in your soul more than any other.

English is a well written and creatively constructed look at language, culture, and personality. The story reflects on how each of these are intertwined in the context of Iranian students studying to become proficient in English, and how the learning of this new language changes them, how it impacts their relationships, and how they wrestle to live in the world of a new language while still trying to keep in touch with their own culture. The ArtsWest/Seda produced English is a superbly directed and acted piece of art that will be relatable not just to anyone who has attempted to learn a foreign language for any reason, but even more so to those who feel a new language is the ticket out of a particularly harsh situation, or for those who feel trapped between cultures. It’s told with respect to the Iranian culture and Farsi language and is worthy of its Pulitzer Prize.

Chapter Two is the first play in which Neil Simon began to tap into his own life to make his humor feel real and relatable. It’s the story of a widower and a divorcee who are each struggling to move on from their losses and discover that it’s better to get through them with someone else than to carry the burdens alone. Raymond Deuel and Alix Black deliver stunningly good performances in roles that ask them to draw the audience into their characters’ struggles and joys. They carry this show on their backs and truly excel in presenting a funny, relatable, and heartfelt love story.

Rope is the classic Hitchcock thriller. Sure, it was a play before he made it into a film, but it’s clear why he chose to do it. This show is a look at a self-centered and egotistical, also entitled, pair of men who have committed a heinous act for no other reason than they could. It’s heavy in suspense, and despite a purposeful slow roll at times, it moves along at the pace of an action movie. This cast, that is led by a masterful performance from Adam Granato, knows its characters, knows the right timing to build suspense, and knows how to draw a laugh out when needed. If you are a fan of suspense, or classic Hitchcock-style films, Rope is right up your alley. It’ll have you checking in every trunk at your house when you get home.

Red is a play that exposes some of the darker sides of our humanity, our hypocrisy when we become what we fear the most or our reluctance to think our relevance might be a temporary thing. It’s a study in what it is to be human, a well written philosophical piece that is also a love letter to art. It’s not exactly a light play, and it’ll surely make you think, but this production is so engaging and well performed, you’ll be happy to have been a part of it.

Incorruptible is a satirical look at the inner workings of a monastery, one that is struggling to stay above water and serve its parishioners when absolutely nothing seems to be going right. The pantries are empty, there’s no money coming in, and their saint has lost the ability to serve up a miracle. It’s a hilarious take that will leave you rethinking your definition of a miracle, and it’s a production that will entertain you from the minute it starts to the moment you leave Lakewood Playhouse. Served up by a creative team that clearly understands the space and delivered by a cast with comedic chops that never fail to hit their marks, Incorruptible asks you to leave your piety at the door and allow yourself to be entertained for a few hours, something that is easily achieved with this production.

The Port Gamble Theatre production of On Golden Pond may be a nostalgic trip down memory lane for those who are familiar with the story through the Henry Fonda/Katherine Hepburn film, but whether or not you have an affinity toward the story from the movie, or if it is new to you, this love story about a couple growing old together while facing down the effects of aging and at the same time learning to accept their daughter’s choices is a pleasant surprise, and if there weren’t enough other reasons to spend a Spring evening or afternoon in Port Gamble, you could add On Golden Pond to that list, but there’s no need as it clearly stands on its own merits, regardless of where it’s playing.

Gunmetal Blues is a mystery wrapped in a comedy and tucked into a musical. Directed by Brendan Chambers and featuring a classically designed and constructed scenic design, and a stellar trio of veteran actors with excellent vocal chops, the show is reminiscent of the best noir films of the Bogart era and features a song list that is jazzy, humorous, and catchy. There’s something for everyone here, and between the music, mystery, and nostalgia, Gunmetal Blues is a thoroughly enjoyable production, presented with the high level of quality that Key City Public Theatre is recognizable for.

Sometimes the best art happens in the smallest ways, the ability to change a mood with the slightest action or the ability to convey a transformational story with a minimal design and dialogue. It’s not just that Small Mouth Sounds is less than complex in and of itself, because it is, but the telling of it requires a cast that is able to convey anything from the absurd to the nuanced physically, and to use what little dialogue there is to full advantage. Kristi Ann Jacobson has assembled such a cast here, a group that knows how to deliver these roles individually while at the same time playing off each other in a way that shows that if we look past the facades that we as humans put up, whether they are for self-protection or otherwise, what lies beneath is beautiful, scars and all.

Burlesque is not for everyone, that’s pretty clear, it may even be an acquired taste. However, a show like this illustrates what is so wonderful about this area. All around Seattle, on every street, in every square inch, there are artists creating work that is unique, challenging, and ground breaking. Making sure that the public has access to choose and take in every one of these art forms in every genre should be the goal that we all chase. A company like Noveltease is doing original and unique work, and it deserves to be seen. What Fosse Jack and Anya Knees have done here is take a story we are all familiar with and adapt it to an art form that isn’t as well known around these parts as it should be. Sleeping Beauty and the Bear Prince is the perfect example of this, and I’m happy that I took a step out of my comfort zone to see it, and I believe that we should all throw our preconceived notions to the side to try something new and give all art a chance rather than dismissing it outright.