Stage

To make something accessible means to make it available for all. There are ramps and elevators for those with mobility aids, texts in Braille for those who are blind, accessible parking and restrooms.

“Shrek”-travaganza? “Shrek”-plosion? “Shrek”-apalooza?

Broadway Spokane recently announced its 2026-27 season, which will bring both classic musicals and newer favorites to the First Interstate Center for the Arts.

When comedian Shapel Lacey says goodbye to club owners after his shows, he often hears the same thing time and time again: “Your audience is so diverse. You get people that come from all walks of life to your show.”

He’s green. He’s grumpy. And he would love nothing more than to be left alone.

Playwright Bryan Harnetiaux wants to make it clear that “Squalor” is not about him.

Following the Spokane Valley City Council's decision declining to finance the Spokane Valley Performing Arts Center, the Spokane Valley Summer Theatre announced Friday that it would close down. 

Following backlash to the predominantly white casting of “Hunchback of Notre Dame,” Spokane Civic Theatre is replacing it with “Jagged Little Pill.”

As he works with Spokane Children’s Theatre for the first time, director Rick Taylor has noticed a natural mentorship happens between the older, more experienced actors and those who are new to the stage.

Though it will be her first time in Spokane, and in Washington, save for a layover at the Seattle-Tacoma International Airport, Darilyn Burtley won’t be spending too much time exploring the city when “Tina: The Tina Turner Musical” stops by the First Interstate Center for the Arts on Saturday and Sunday.

The last time Spokane-raised comedian Kelsey Cook was in town from Minnesota, she became engaged after a surprise proposal from her now-fiancé, fellow comedian Chad Daniels.

Following controversy after announcing a predominately white cast, the Spokane Civic Theatre has canceled its production of “The Hunchback of Notre Dame.”

When it came to his production of William Shakespeare’s “A Midsummer Night’s Dream,” director Tim Bangle had a vision. The Shakespeare comedy is set in ancient Athens, but Bangle knew he could make a modern-day setting work and decided on New York City.

As COVID-19 restrictions were being lifted, theaters were looking for ways to take the first step toward a new normal, a way to start small and remember what it was like to produce a performance.

In the 2004 film “The Notebook,” rich girl Allie Hamilton is wooed by a blue-collar Noah Calhoun who’s so persistent – even securing their first date by threatening to drop to his death from a Ferris wheel if she declines – that the Millennial-favorite romantic drama is comically spoofed in numerous YouTube videos as a thriller about a deranged stalker.

As the phrase goes, “If you want something done right, do it yourself.” But Jaz Vega, festival director of Stage Left Theater’s legacy production “Empower,” found that when it came to putting together the reader’s theater-style production celebrating the joys of womanhood, “If you want something done, ask women” was more accurate.

A mother’s love can be well-meaning but overbearing. From a child’s perspective, that love can feel supportive, but also suffocating.

A couple summers ago, two Shakespeare Coeur d’Alene actors were performing a modern take on a scene from “The Taming of the Shrew” at Art on the Green in Coeur d’Alene.