Review

Review

The Williams Project’s ‘A Bright Room Called Day’

by Dusty Somers
Review

Has social media made Mike Daisey obsolete?

by Gemma Wilson
Review

‘RE/33: 33 Fainting Spells Revisited’ traces an emotional and aesthetic dance lineage

by Kaitlin McCarthy
Review

The enduring effects of ‘Oslo’

by Gemma Wilson
Attractive Singles

Listen! New music by Hushy, Seaan Brooks, Anomie Belle, Beverly Crusher and Cumulus

by Jonathan Zwickel
Album of the Month

‘All On Camera’ by Sun Breaks treats nostalgia as a curio

by Jonathan Zwickel
Scarecrow Suggests

November video releases: ‘The Last Movie,’ ‘Take It Out in Trade,’ ‘Pioneers: First Women Filmmakers’ and ‘Skate Kitchen’

by Scarecrow Staff
Review

‘The Midsummer,’ an ambitious debut from new dance company the gray

by Kaitlin McCarthy
Review

Set in Stone: Majestic Northwest landscapes on view in Tacoma 

by Margo Vansynghel
Review

In ‘I And You,’ a slice of teenage life

by Dusty Somers
Review

A disappointing Mahler symphony at St. James Cathedral

by Philippa Kiraly
Review

Calvin Gimpelevich’s ‘Invasions’ considers the body

by Afrose Fatima Ahmed
Review

The come-hither kindness of ‘Come From Away’

by Gemma Wilson
Review

‘Fade’ struggles to find reality in TV writing

by Dusty Somers
Review

Seattle Opera presents a perfectly eerie ‘The Turn of the Screw’

by Philippa Kiraly
Review

Don’t look away from ‘A Thousand Splendid Suns’

by Gemma Wilson