Close Login Box
Play at Tarragon is a brisk, lively look at the numbing grind of working-class living in 2019.
Stories like Almighty Voice’s bring the past of Canada’s Indigenous peoples the attention it’s been deprived of for decades.
‘The Election’ builds a narrative around the experiences of average campaign volunteers and folds in Indigenous perspectives and a conceit that serves to aid the visually impaired.
Hard-luck characters’ stories aren’t fully fleshed out but between the songs, the performers and show creator Conor McPherson, what emerges is powerfully melancholy anyhow, writes Karen …
Locker-room mocking of toxic masculinity is not revolutionary but it’s sometimes quite funny and always physically impressive.
Kat Sandler’s newest has feminism, a meaty story and an excellent cast to bring it all to life.
Multimedia project by Odile Gakire Katese is a way of addressing momentous and challenging questions, writes Karen Fricker.
Justly celebrated play puts millennials, hookup culture, alcohol and a lot more under the microscope.
Voice actors, wooden figurines and projections dramatize a sometimes confusing story at touring play now at Toronto’s Theatre Centre.
With Wellington Water Week having just finished its second year and the Festival Players selling out their season, transplants like Graham Abbey and Johannes Debus are building up the artist…
In the first instance of Cirque du Soleil bringing a show out of retirement, the retooled Alegria: In a New Light comes to Toronto in September.
Those who prefer theatre that takes formal risks, comments on pressing societal concerns and pushes the art form in new directions will likely find it hard to invest much in ‘Art,’ write…
Wajdi Mouawad’s play, now at Stratford, goes deep into the Israel/Palestine conflict and offers a profound experience of feeling and thought, writes Karen Fricker.
The Shaw’s design, costume and makeup teams also deserve praise. And Kate Hennig has brought a welcome contemporary sensibility to the text, writes Karen Fricker.
Graham Isador returns to theatre festival with White Heat, about a journalist faced with alt-right hostility; Lauren Gillis brings Safe and Sorry, about pickup culture, writes Karen Fricker.
The lead actors in the Shaw Festival’s production of Victory share their admiration for a play that’s extreme but also ‘incredibly human and funny’.
It may take more time for Cara Gee and Eion Bailey to flesh out their performances to fill the stage, writes Karen Fricker.
The fast-paced version has pleasing performances even if the running time renders part of the climax improbable.
Songs are so good and Christine Dwyer so strong in the lead that it’s a bit hard to accept why she’s with her lout of a husband.
This season’s directors, Liza Balkan and Severn Thompson, tell Karen Fricker about the challenges of producing condensed Shakespeare in the great outdoors.
While the writing is overwrought by contemporary standards, the actors commit to the situation while director Peter Hinton-Davis infuses it with the politics of sex and gender circa 2019, wr…
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.