At last, Patrick and Agnes find the decadent apartment of his only living relative, Auntie Mame Dennis and, well, this is where it gets good. Did we say good? We meant marvelous, fabulous, breathtaking, spectacular and any number of other big words meant to convey a sense of awe and grandeur. more ›

The first thing we noticed about Crumbs Are Also Bread is that its set is yet another magical emanation from the mind of Jennifer Zeyl. WET's stage isn't large, but somehow the frozen Midwestern town of Breadmouth fits on it: the town square, bedrooms, kitchens, backyards, the icy river. Even a full moon appears. Trees with bare branches, disquietingly, grow upside down. more ›

We just assumed this was to prep us for an earful of earnest agitprop about Rich World/Poor World divisions -- which we were okay with. We got Lolita-meets-Psycho-meets-Clockwork Orange instead. We realize this will suit some of you just fine. If so, skip to the end for ticket info. more ›

Blue Door is part confessional crisis, part historical saga -- or part Philip Roth's The Human Stain and part Alex Haley's Roots. It's showing in the smaller Leo K Theatre at the Rep, which features continental seating (no center aisle) and jumpy Rep subscribers. We sat down 10 minutes early and stood up 8 times to let people in and out. Holy crap. Don't let anyone tell you older people are all ruled by the pull of gravity. more ›

A few weeks ago Seattlest mentioned the incredibly lackluster Scion:Installation exhibit at Roq La Rue. While the potential was high, the showing failed to resonate on an artistic level. Standing in stark contrast to that show is Roq La Rue's latest offering, "Sweetest Taboo." It hits the notes that Installation failed to, and provides an opportunity to see work from fifteen up-and-coming artists. more ›