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Graham Linehan’s written some great one-liners and the cast are zinging them well. What has yet to come together is the production’s overall rhythm and tone, writes Karen Fricker.
Musical hitting Toronto next month was an inspiring, even life-altering gig for pop songwriter.
Fu-GEN Theatre Company’s wildly ambitious show Fearless lets drivers around Markham pick up actors and experience theatre in their own vehicles.
Canadian Opera Company also scores with Eugene Onegin, the big winner in the opera category, as awards honouring Toronto’s theatre community got handed out Tuesday.
Sean Dixon’s play about the ‘world’s first animal superstar’ revisits his life and death in St. Thomas, Ontario, writes Karen Fricker.
This song cycle gives us sheltering in a cave from a massive forest fire, who entertain themselves and us even as the threat of destruction grows closer, writes Karen Fricker.
The Lion King enthralls with its design, music and performance while Mormon delivers risqué material ‘with a heart,’ theatre experts tell Karen Fricker.
Busy Kate Hennig’s plays, with their contemporary language, make us see historical figures in a more sympathetic light. That’s just one thing she working on, however.
The marriage of the material realities of live theatrical staging and the formal conventions of screen media clash because audiences’ familiarity with the latter are likely to make them im…
It’s we who illuminate Burkett’s marionettes with flashlights. It’s we whom Burkett entrusts with handmade hand puppets. And it’s we who decide (or not) to buy into his interweaving …
Angela Murdoch and her company Lookup Theatre turned the true story of a battle between Toronto Orangemen and an American circus troupe into a circus-comedy hybrid playing Sterling Rd.
Jonathan Goad plays Henry VIII as rock star; Irene Poole’s Katherine of Aragon leavens the sexism in the play and Rod Beattie fully commits to the role of Wolsey, writes Karen Fricker.
Stratford Festival production lives up to festival’s standards of and high-level execution and lets Donna Feore do what she does best: large-scale production numbers with kinetically inven…
In Nigel Shawn Williams’ hands, racism and misogyny foreground the jealousy traditionally seen as the primary theme of Shakespeare’s Othello, writes Karen Fricker.
The poetry of a real-life man labouring in inhumane conditions is set to music in I swallowed a moon made of iron, at Berkeley Street Theatre.
Founded 18 years ago as festival of five short plays, the Paprika Festival has grown into an organization supporting young and emerging artists year-round, culminating this year in a weeklon…
Erin Shields’s play Beautiful Man is mostly made up of three women (Ashley Botting, Mayko Nguyen, Sofia Rodriguez) sitting on tall stools narrating their experience of watching that cop sh…
There is no mystery around the fact that Wyndham Brandon and Charles Granillo have strangled an Oxford classmate. The suspense is whether or not they’ll be found out.
Christine Brubaker has created an extraordinary esprit de corps amongst the 14-member cast and the nearly-all-female creative team.
Tragic love story between two men in early 20th-century rural Quebec, undermined by homophobia and social conservatism tied to the Catholic Church.
Performer portraying Presley says he relishes winning over doubters in show coming to Princess of Wales Theatre this week.
Musical Stage Company gives Toronto a good production, with flaws to be worked on, of the Pulitzer Prize-winning musical.
Cliff Cardinal’s new dark comedy and directing debut isn’t entirely successful in VideoCab’s black box format, but it’s an entertaining evening highlighted by terrific performances, …
The musical about a flawed teenager ‘is about all of us. We all want to be liked to some degree,’ says the head of Mirvish Productions, who chased the show for two years.
Old Stock veers from noisily confrontational to lyrical to sardonic, with a buildup of character through beautifully observed, often wryly funny dialogue, writes Karen Fricker.
For performer Sky Gilbert, trigger warnings are ‘dangerous for art.’ The Coal Mine Theatre, on the other hand, plans to change what it stages to avoid triggering audiences, writes Karen …
More than a glimpse at the inner workings of leveraged buyout schemes, production offers a vantage on the mentality of those whose world is defined by them.
Jenny Brizard soars in title role as four theatre companies pool their efforts for a demanding play that should be produced more often.
Bigre has made people laugh across Europe, but transporting it to Toronto brings an element of risk for Pierre Guillois, writes Karen Fricker.
New play is part of Lisa Ryder’s efforts to rupture societal taboos around such experiences, which are widely shared and yet still not much talked about in the mainstream.
Sina Gilani’s rewriting of Euripides’ Iphigenia at Aulis is fluid and mature, but the production’s talkiness sometimes gets in the way of his ideas, writes Karen Fricker.