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?

“Every child is an artist. The problem is how to remain an artist when we grow up.”~Picasso

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.

Tending bar is an art. We’ve all been to spots with awesome service, spots with wicked drinks, and spots with your favorite person making the job look easy. Here’s what it’s like behind the pine, straight from real bartender Justin “the Ron” Swanson:

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.

The Underground Theater in Belltown is beyond honored to present the world premiere of Brown Bodies on a Blue Earth. Directed by Brodrick Ryans and written by Cris Eli Blak, the play begs the question many of us find ourselves asking currently: What does it mean to be in [my] position of relative privilege and identities while the planet is dying and society can’t or won’t fix our most pressing issues?

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

We interviewed multidisciplinary artist Heidi Grace Acuña, asking questions exploring their journey teaching across Seattle and the lessons they learned helping them succeed. They have appeared all over Seattle and will be having upcoming showcases at Seattle Center with Artists at the Center: Spin the Look and at AXIS gallery for Still in Our Feels, both this Thursday, March 14.

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.

If Councilmember Guzmán keeps igniting progress and starts empowering a new generation of civic leaders, what’s next? With her momentum, she could easily take on more challenging roles like mayor or governor. The people benefit from having Councilmember Guzman, a compassionate advocate and social worker, representing them. “My priority is the people, and I aim to give them a voice in every decision-making process.” she says. Often, the outspoken face suppression and silence. Yet, Councilmember Guzmán’s voice resonates even through adversity.