On Avoiding Artistic Integrity For Commercial Success
The ensuing commentary was originally intended to be the introduction to our review of Brandon Simmons’ IS SHE DEAD YET?
Is She Dead Yet? at Annex Theater (dir. Brandon J Simmons)
José Amador on the controversial comedy taking place at Annex Theatre.
In the Absence of the Feminine: Dance Like a Man
Omar Willey disserts on Pratidhwani’s production of Mahesh Dattani’s highly-respected play.
The Drama is Unbecoming Now: Six Characters in Search of an Author
Omar Willey muses on Seattle Theatre Works’ production of the Pirandello classic.
Big Choices, Fake Storefronts: Seattle Musical Theatre’s 1776
What if Seattle’s theater community is actually a Potemkin village? Omar Willey muses on Seattle Musical Theatre’s latest production.
The Presumption of Familiarity Breeds Contempt
Back to polemics, Omar Willey muses on the absence of classics.
Not All Who Are Lost Wander: On the Verge
Thoughts on the UW UTS production of Eric Overmyer’s play.
Holy Roughness: The Glas Nocturne
An overture of thoughts on Akropolis Performance Lab’s The Glas Nocturne.
La isla no tiene nada para nadie: José Amador talks about El Hijo Prodigo
And several butchers’ aprons.
Lizard Boy: Hand on the Glue Gun
Wes K. Andrews feels out the latest musical at the Rep.
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