SIFF took a close and considerate involvement with Indigenous film creators with a designated category and showcase. Three films that caught attention ranged from Indigenous Mexican, Aboriginal, and Native Hawaiian stories.

One artistic choice that seems to occur more often in foreign films is an extended use of metaphor. I especially appreciate the filmmakers who move beyond using visual symbology to enhance their storytelling and deeply embed metaphor into their film’s narrative structure itself.

The fascinating thing about seeing this play now in 2024 is that it feels even more relevant post-pandemic as the world comes out of a period of forced isolation. How have we been transformed and how do we reconnect with ourselves and others as we face the real world again? This play explores the hope and transformation that human connection offers, but that connection comes with the potential risk of great pain. Is the reward of joy in finding others who accept you for who you are worth the possible pain of opening up your heart to someone else?

Anyone in the US who lost their entire life savings, their home, their business, or their job starting in September 2008 will remember with horror the most devastating financial meltdown of the 21st Century. September 15th marked the day when Lehman Brothers collapsed and declared bankruptcy. Dubbed “The Great Recession,” this crisis led to a severe economic recession, with millions of people losing their jobs and countless businesses going bankrupt through no fault of their own.

In the world of Brown Bodies, we’re taken to the not-so-distant future wherein Helios (our sun) is inching its way closer to Earth. The ice caps have melted, the sea levels have risen, the animals are all but gone, the air is burning hot, and those with enough affluence and influence have boarded a space lifeboat for the colonized Moon. Of course, who is left on Earth but the rest of us, the broke and the BIPOC.

To anyone not from the area, Greenwood seems like a neighborhood just like many others around the city: Easy to pass through, easy to ignore, easy to try once then never again. To locals, that couldn’t be further from the truth.

One of their best-kept not-so-secret secrets is nestled on the main strip, one of those joints where if you sneeze, you miss it. With its black façade and nearly hidden door, the Greenwood Art Collective consistently provides passersby with an otherworldly indoor art experience.

Step into the Red Eye Lounge, where the air is thicker than the plot and the smoke swirls like rumors. Gunmetal Blues, the musical adaptation that's got more twists than a cat in a yarn factory, takes center stage at the Key City Public Theatre in Port Townsend, WA. But hold on to your fedoras, folks, because this ain't your grandma's noir—it's got a side of slapstick and a generous dollop of charm.

Image: Photo by Giao Nguyen

Seattle Shakespeare Company has commissioned its first play: A world premiere by local playwright, screenwriter, and performer Keiko Green. Ms. Green, who splits her time between Seattle and Los Angeles, has crafted a fast-paced comedy that takes place on a college campus and centers on three roommates, one of whom is having boyfriend troubles that lead to a series of schemes in attempts to solve the problems. But, as in all great comedies, the best-intended plans are waylaid by misunderstandings, miscommunication, and even mistaken identity.

Image: The Human Library via Folio

Unstoppable follows the story of two best friends reconnecting when one gets a dream campaign job for a mayoral candidate in the city where her friend now lives.

The Lower Depths is full of heartbreak and intense subject matter, yet this production infuses the play with an undercurrent of grit and perseverance which demands that we engage in self-reflection, reminding ourselves that we live in a city where there exists a jaw-dropping wealth gap and every soul living among us, even those who have little, deserve dignity and kindness.

“WARNING:

The following is a very American story.

Maybe.”

Two women meet—one younger, one older. They are strangers, each going outside of her comfort zone, not sure what, if anything, will come of it. Both are taking a chance, going beyond the routine trajectory of their lives. And so begins Once More, Just for You, Seattle Public Theater’s world premiere of Maggie Lee’s newest play.