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“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.
Veteran performer Kimberley Rampersad tries a Shaw Festival feat: onstage in one show, directing another.
Fiona Byrne and Martin Happer play the developing intimacy between their characters effectively, but the dials don’t go high enough on the hijinks around them, writes Karen Fricker.
Audience buy-in is required to make the design and performance come together in adaptation of C.S. Lewis novel, writes Karen Fricker.
Kaitlyn Riordan stands up impressively to a major acting challenge, playing Pierre and Margaret Trudeau plus a journalist in revival of landmark 1980 show, writes Karen Fricker.
Philippe Ducros’ play is full of intense material, which this Arcstage production amps up several notches, but sometimes it becomes overwhelming, writes Karen Fricker.
Judith Thompson wrote ‘juicy scenes’ for her characters in After the Blackout, in which their disabilities are ‘just a by the way’.
Thalia Gonzalez Kane’s play tells the story of a group of 15-year-old girls who start a sex club.
Early years theatre, a European movement to create stage productions for audiences as young as 2 weeks old, comes to Toronto with WeeFestival, writes Karen Fricker.
40 Days and 40 Nights is clearly personal and important to its mid-career, married creators, but shades of Orientalism and mandatory, intimate audience participation makes it uncomfortable a…
The characters are all generous and pretty harmless, and they’re trying to find their way through the experience of difference while frequently falling on their faces, writes Karen Fricker.
Annual Harbourfront event returns this weekend, with new creations flowing out of new social bonds forged among the gathered artists.
Harold Green Jewish Theatre production tells a familiar newcomer-in-a-closed-world story, set in a women’s ritual bath in Jerusalem, writes Karen Fricker.