Northville's Tipping Point Theatre built itself a home with an eye for ground-up design. Entrances at all corners, a high ceiling with far-reaching lighting grid, and movable riser seats keep its returning patrons guessing. This tabula-rasa space, in which designers elect not only whether and where to erect the walls but how to arrange the seating, celebrates the exciting theatrical possibility of an empty room. To supplement the theater's usual seats-on-three-sides approach, this season the company made its first — and then its second — foray into the round. The resulting productions packed the intimate feel of a black-box theater with thoughtful staging and substantial polish.

If nothing else, the Blackbird Theatre's season was a true test of its mettle. From producing a strong first half to suddenly announcing a swift change in venue to postponing its spring plays until next season, its journey has been a roller coaster ride that hasn't entirely subsided. However, the Blackbird battled setbacks with a daring original musical, followed by a long-awaited announcement about the organization's future. Yet the turbulent and dramatic real-life events of this season should not overshadow the many artistic accomplishments of this outspoken and experimental theater.

The first full season by Magenta Giraffe Theatre Co. capitalized on its youth. As an emerging presence growing its audience, the company made the most of its low overhead and embraced the unorthodox. Under the framework of a titanic mission statement to "eliminate apathy, violence, prejudice, and barriers to education," the organization is young enough that its founders seem to still be burning through pet projects, fueled by unabated passion and absolute freedom to choose what inspires them. For the most part, they managed to balance the exhilaration of expression with the accessibility needed to keep viewers attuned.

Having left its longtime home, the Blackbird Theatre recently found itself in flux, without a space in which to stage the latter half of its season. Although several of the planned shows are bookmarked for next fall, a theater that thrives largely on ingenuity and fearlessness cannot stay dormant. This is why, despite staged readings not being my normal repertoire, I eagerly took the opportunity to drink in the new plays of the RAW Weekend.

The location chosen for the readings is noteworthy because Ann Arbor's \sh\-aut Gallery and Cabaret will also be one of the two homes of the Blackbird's next production, the mainstream-deriding original musical Patty Hearst. The open first story of a converted residence, empty save the art on its walls, holds a transient feeling that reminded me of college — students setting up chairs in dorm lounges or parks, staging plays for the sake of it, free to choose the edgy and out-there material that drives them. In this respect, raw was certainly an apt descriptor of the space, and to some degree the shows presented as well, but any lack of polish was overcome by a thrilling surge of passion, a high for any fan of new or unconventional theater.

As part of its inaugural year, Stormfield Theatre presented two staged readings of The Exonerated. The work-in-progress nature of a staged reading isn't my usual repertoire, but I wanted to get a look at this new company "dedicated to living playwrights and their works." With the support of some heavy hitters in Michigan theater, the production of this Jessica Blank and Erik Jensen–penned script held a gravitas well suited to an exploration of wrongly convicted individuals on death row.

Stormfield artistic director Kristine Thatcher directs the piece and is also counted among the cast of ten. The script is the product of years of research and interviews, with the characters' words all taken verbatim from these sessions as well as trial transcripts and other sources. Without devolving into lamentations, the play doles out the stories of six real people — three black men, two white men, and one white woman — sentenced to death for crimes they did not commit, and imprisoned for as many as two decades before their exoneration and release.