Gemma Wilson

Gemma Wilson is a senior editor at City Arts magazine. She holds a BFA in Theatre from NYU’s Tisch School of the Arts (Atlantic Theatre School/CAP 21) and an MA in Arts Journalism from the S.I. Newhouse School at Syracuse University. She’s a Seattle native who spent over a decade in New York, including several years working for legendary Broadway director/producer Hal Prince. She later worked as a reporter for Broadway.com before returning West to focus on covering the arts in her hometown.
Recent Articles
News
A Theatre Company Fueled by Coffee
Arlene Martínez-Vázquez started her theater company to do away with the myth of the starving artist.
Review
‘Femme Fatale’ is a Hot, Lovable Mess
'Femme Fatale,' starring Prom Queen, is a weird-bad-great experience, an extravagant mess that I would definitely see again.
Review
‘The Color Purple’: Yes, It’s Beautiful
Alice Walker's 1982 novel has always been an important star in the literary sky, and this production sets it in the theatrical firmament.
News
Franklin High School Students Paint Their Resistance
The high school's Art of Resistance & Resilience club painted a multipanel mural, 40 feet wide and over six feet tall, honoring the history of Seattle’s Black Panther Party.
Review
‘Lady Day at Emerson’s Bar and Grill’ is About More than Music
Star Felicia Loud and director Valerie Curtis-Newton wring every ounce of humanity from this Billie Holiday bio-concert.
Review
What’s ‘The Hunchback of Notre Dame’ Really About?
This 5th Avenue Theatre production of the musical boasts excellent lead performances, but can we just let Esmerelda live?
Review
A Heartbreakingly Good Hedwig at ArtsWest
Drive to West Seattle to see Nicholas Japaul Bernard as the sublimely dingy Eastern-bloc rock goddess.
Review
Drinking in Freedom and Boone’s Farm in ‘Wild Horses’
Dedra Woods illuminates this one-woman coming-of-age story by Allison Gregory.
Preview
‘O+E’ at Seattle Opera: Hellish, Epic and Intimate
Kelly Kitchens and Lucy Tucker Yates on adapting the myth of Orpheus and Eurydice for a modern opera audience.
Review
A ‘Mac Beth’ Both Bloody and Baffling
This production of Shakespeare's tale of kings and killings fails to live up to its own internal ambition.