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Emma Stenning comes to Toronto, after scandal drove Schultz from his post, after serving as chief executive at the Bristol Old Vic Theatre in England.
Everything came together to allow Maev Beaty and Liisa Repo-Martell to appear in A Beautiful View, directed by Andrea Donaldson.
Outdoor Toronto show’s fresh perspective, partly created by writer Kaitlyn Riordan, shows us an unseen side of ancient Rome.
The theatre festival for works in development shows its merits as, while still evolving, two shows got valuable exposure to an audience’s responses and opinions.
Real-life couple Gregory Prest and Paolo Santalucia play about 20 characters in Soulpepper run of Mark Crawford’s hit comedy.
Is it melodrama, spoof, romp, homage, experiment in onstage cinematic storytelling, exploration of male friendship, or celebration of Holmes as a fact-based hero for our fake news era? write…
Lucy May Barker and Phillip Ryan, who play Sophie and Sky in the ABBA musical now playing in Toronto, talk about their on- and off-stage relationship.
Actors portray soldiers who are rehearsing the title Shakespeare play, thus the whole production is kept at a consistent ironic remove, writes Karen Fricker.
Shaw Festival production’s embrace of variety of perspectives makes century-old sacrifices and struggle resonate powerfully now.
Festival’s artistic director has personal affection for his parents’ homeland and a beloved playwright there, Eduardo De Filippo.
“I still have a lot of ideas and energy to give,” says Ridge, who resigned last week as the festival artistic director, in an interview with the Star.
It’s Montagues vs. Capulets in Shakespeare in High Park’s enjoyable soccer-inspired take on Romeo and Juliet, writes Karen Fricker.
The production gains energy in the second act, as the title character becomes female and realizes she’s expected to behave the way she previously expected women to be: “obedient, chaste …
Director Bartlett Sher dusted off the dated musical for an acclaimed revival that played Broadway and London before arriving for a run at Toronto’s Princess of Wales Theatre.
Director Robert Lepage re-invisions William Shakespeare’s play Coriolanus in his latest production at Statford.
Creative choices mean the lives of famed English writers seldom get very lively, writes Karen Fricker.
Kimberley Rampersad’s charming production revives the tradition of a short lunchtime show at the Shaw Festival, writes Karen Fricker.
Burning Doors at Luminato, in part, tells the story of Oleg Sentsov, a Ukrainian filmmaker imprisoned in Russia on a hunger strike since May 14.
While the play is not overtly political, writer Nassim Soleimanpour is making points about freedoms we have in the West that we may take for granted.
Stephen Fry’s account of the Trojan War is typically gripping, but Karen Fricker wishes for more personal commentary on the ancient mythology he knows so well.
“He’s taken his love of these myths and translated it and helped me understand why they’re amazing,” marvels our critic’s companion for part 2 of her Mythos diary.
Unlike some of his ancient Greek source material, Stephen Fry really knows how to spin a yarn, writes Karen Fricker in part 1 of her Mythos trilogy diary.
Donna Feore’s production brings top-notch musical theatre talent to the plate.
Gender and queer desire take spotlight in this adventurous spin on Shakespeare’s classic mistaken-identity story.
Two acclaimed productions kicking off Toronto’s Luminato Festival, RIOT and Swan Lake/Loch na hEala, are brash representations of modern-day Ireland’s break from tradition.
The racism of 1935 is still happening today and young theatregoers need to talk about it, says Nigel Shawn Williams, directing for the Stratford Festival.
Just one night after a bomb threat cancelled season opener The Tempest, Donna Feore’s staging of this beloved 1957 musical captivates the audience, writes Karen Fricker.
Soulpepper Theatre production demonstrates that the lines of truth and fiction, goodness and evil, can never be drawn definitively, writes Karen Fricker.
The actors in How He Lied to Her Husband don’t go full-tilt at the farce while acting styles vary in The Man of Destiny, writes Karen Fricker.