Mary Ewald and Seanjohn Walsh in "Happy Days." Photo by Lindsay Smith.

massive hill of sand, her only companions a taciturn old man and a bag containing drugstore goodies and a gun … and call it Happy Days.

On its surface, the play, now on stage at New City Theater, is little more than a faintly optimistic two-hour monologue, delivered by a Pollyanna-ish older woman, Winnie (Mary Ewald). Lurking just beneath the typical Beckett circumlocution is a profound treatise on loss and physical decay that disturbs as often as it illuminates.

- Read review at Crosscut.com.

Denis Arndt as painter Mark Rothko in the Tony Award-winning play, Red, onstage at Seattle Repertory Theatre. Photo by Chris Bennion.

lipstick. It can be a sunset or fire or rage. Or, as painter Mark Rothko reveals in Red, currently on stage at Seattle Repertory Theatre, it can represent both your life’s blood and your life’s work.

- Read review at Crosscut.com.

Jason Ko as Tree Ear in "A Single Shard." Photo by Chris Bennion.

winning author’s story about 12th century Korea, Single Shard? Something refreshing.

As tastefully restrained spectacles go, there aren’t many shows that can compete with the new play, A Single Shard, which had its world premiere at Seattle Children’s Theatre on Feb. 24. Clay pots are created and destroyed on stage; life-size crane, deer and fox puppets alternately menace and enchant; and dancers in swishing silks enact 12th-century Korean dances to music that is both spare and haunting.

- Read review at Crosscut.com.

Will Kidder is confronted with unpleasant truths in "The Young Man from Atlanta." Photo by Armen Stein.

both studied and sullied by playwrights for decades. Never more so than in Horton Foote’s powerful opus, The Young Man from Atlanta, which made its Seattle debut at Stone Soup Theatre on Friday (Feb. 17).

- Read review at Crosscut.com.

Dancer Scott Bartell and poet Alvin Lloyd Alexander Horn. Photo courtesy of Jack Storms/Storms Photographic.

Seattle-based performing arts project, Poetry+Motion, presented the results of an innovative collaboration between local black poets and dancers. “Love, Our History” featured dancers performing self-choreographed numbers inspired by original poems, which were read aloud by the poets as accompaniment to the dance performances in lieu of music.

- Read review at Crosscut.com.

Award-winning actor and playwright Maria Glanz exposes her body and soul in her comedic monologue, “See Me Naked.” Photo by Omar Willey.

Naked,” an award-winning monologue by Seattle actor Maria Glanz that has been remounted at West of Lenin this month, more than a decade after its debut.

Being naked means being embarrassed, deprived of covering, and ultimately ashamed. Nudity, on the other hand, is without discomfort; a condition of utter confidence. As Glanz struggles throughout the hour-long piece to get out of her clothing, she is in truth wrestling with the dichotomy of her fear of nakedness and her desire for nudity.

- Read review at Crosscut.com.

Games of chance sustain Rosencrantz (Alyssa Keene, left) and Guildenstern (Angela Di Marco, right) in Seattle Public Theater's gender-bending production of "Rosencrantz and Guildenstern Are Dead." Photo by Paul Bestock.

these childhood friends of the titular character are commissioned to spy on the Prince of Denmark in order to find out what’s ailing him, then escort him by sea to England where he is scheduled to be killed. But then the pirates attack …

- Read review at Crosscut.com.

Excellence in Production of a Play:

Equity: The Brothers Size (Seattle Repertory Theatre).

Also recognized: O Lovely Glowworm (Or Scenes of Great Beauty) (New Century Theatre Company).

Non-Equity: Sick (New City Theater).

Also recognized: Live from the Last Night of My Life (Theater Schmeater).

Excellence in Production of a Musical:

Equity: Iron Curtain (Village Theatre).

Non-Equity: The Drowsy Chaperone (Seattle Musical Theatre).

Excellence in Direction of a Play:

Equity: Juliette Carrillo, The Brothers Size (Seattle Repertory Theatre).

Also recognized:  Valerie Curtis-Newton, All My Sons (Intiman Theatre).

Non-Equity: Karen Lund, Brownie Points (Taproot Theatre Company).

Also recognized: Wayne Rawley, Live from the Last Night of My Life (Theater Schmeater).

Excellence in Direction of a Musical:

Equity: Steve Tomkins, Iron Curtain (Village Theatre).

Non-Equity: Brandon Ivie, The Drowsy Chaperone (Seattle Musical Theatre).

Excellence in Performance as a Lead Actor:

Equity: Michael Patten, O Lovely Glowworm (Or Scenes of Great Beauty) (New Century Theatre Company).

Non-Equity: Jaryl Draper, How I Learned To Drive (Stone Soup Theater).

Excellence in Performance as a Lead Actress:

Equity: Anne Allgood, Mary Stuart (ACT Theatre).

Also recognized: Carolee Carmello, Saving Aimee (The 5th Avenue Theatre).

Non-Equity: Elizabeth Kenny, Sick (New City Theater).

Excellence in Performance as a Supporting Actor – any non-lead:

Equity: Todd Jefferson Moore, A Midsummer Night’s Dream (Seattle Shakespeare Company).

Also recognized: Joshua Carter, Mary Stuart (ACT Theatre).

Non-Equity: Aaron Lamb, An Ideal Husband (Taproot Theatre Company).

Also recognized: Nick Edwards, Shipwrecked (ArtsWest).

Excellence in Performance as a Supporting Actress – any non-lead:

Equity: Bobbi Kotula, Iron Curtain (Village Theatre).

Also recognized: Terri Weagant, A Midsummer Night’s Dream (Seattle Shakespeare Company).

Non-Equity: Stacie Calkins, Hairspray (Seattle Musical Theatre).

Excellence in Performance as an Ensemble:

Equity: Cast of The Brothers Size (Seattle Repertory Theatre).

Non-Equity: Cast of Brownie Points (Taproot Theatre Company).

Also recognized: Cast of A Lie of the Mind (Collektor).

Excellence in Set Design:

Equity: Roger Benington, O Lovely Glowworm (Or Scenes of Great Beauty) (New Century Theatre Company).

Also recognized: Mikiko Suzuki MacAdams, The Brothers Size  (Seattle Repertory Theatre).

Non-Equity: Mark Lund, Something’s Afoot (Taproot Theatre Company).

Also recognized: Michael Mowery, Live from the Last Night of My Life (Theater Schmeater), Richard Schaefer, Arms and the Man (Seattle Public Theater).

Excellence in Costume Design:

Equity: Harmony Arnold, O Lovely Glowworm (Or Scenes of Great Beauty) (New Century Theatre Company).

Also recognized:    Catherine Hunt, In The Next Room, or The Vibrator Play (ACT Theatre).

Non-Equity: Deborah Sorenson, Pygmalion (Sound Theatre Company).

Also recognized: John Allbritton, Hairspray (Seattle Musical Theatre).

Excellence in Lighting Design:

Equity: Geoff Korf, The Brothers Size (Seattle Repertory Theatre)

Non-Equity: Tess Malone, Duel of the Linguist Mages (Annex Theatre).

Also recognized:     Dave Hastings, Crooked (Theater Schmeater).

Excellence in Sound Design:

Equity: Matt Starritt, The Brothers Size (Seattle Repertory Theatre).

Also recognized: Matt Starritt, The K of D (Seattle Repertory Theatre).

Non-Equity: Christopher Overstreet, Duel of the Linguist Mages (Annex Theatre).

Also recognized: Larry A. Ryan, Live from the Last Night of My Life (Theater Schmeater).

Excellence in Musical Direction:

Equity: RJ Tancioco, Iron Curtain (Village Theatre).

Non-Equity: Josh Zimmerman, Hairspray (Seattle Musical Theatre).

Excellence in Choreography or Movement:

Equity: Sonia Dawkins, The Brothers Size (Seattle Repertory Theatre).

Also recognized: Noah Racey, Guys & Dolls (The 5th Avenue Theatre).

Excellence in Local Playwriting:

Elizabeth Kenny, Sick (New City Theater).

Also recognized: Scotto Moore, Duel of the Linguist Mages (Annex Theatre).

David Schmader is performing his one-man play, A Short-Term Solution to a Long-Term Problem at Richard Hugo House. Photo courtesy of Richard Hugo House.

fascinated by “found” comedy: those moments in life where things go so cosmically awry that the only possible response is laughter. In his new solo play, A Short-Term Solution to a Long-Term Problem, which opened Jan. 20 at Seattle’s writing haven, Richard Hugo House, Schmader delves into the decade-long period when he attempted to mitigate the emotional damage from his HIV diagnosis by indulging his eclectic and idiosyncratic sense of humor.

- Read review at crosscut.com.

Melchior (Brian Earp) and Wendla (Diana Huey) discover each other in the regional premiere of Spring Awakening at Balagan Theatre. Photo by Pamela M. Campi.

its production of the musical Spring Awakening, which made its regional premiere on Jan. 6. Namely, teenage pregnancy, child abuse, abortion, incest, suicide, and a graphic sex scene enacted in full view of the audience. All this made-for-TV controversy is packed into a two-hour musical based on an 1892 German play, whose characters are barely older than those banned from attending the Seattle performance.

- Read review at crosscut.com.