Announcing the 2023 Dora Mavor Moore Award Nominees
REVIEW: She’s Not Special at Tarragon/Nightwood Theatre
She’s Not Special does not hold back from telling a story about accepting who you are in order to be your greatest self.
REVIEW: Inge(new) at Theatre Myth Collective/Red Sandcastle Theatre
Inge(new) – In Search of a Musical sets out to tackle a lot: it’s not easy to put feminist discourse on stage in a new way.
REVIEW: Gypsy at the Shaw Festival
Gypsy’s strong dramatic skeleton makes it a perfect choice for the Shaw Festival, where it’s playing until October in a hauntingly clear production directed by Jay Turvey.
REVIEW: The Rage of Narcissus at Expandido Theatre Group/Theatre Passe Muraille
Beauclair and Blanco don’t seem to worry whether theatre is an artform worth skipping Netflix for. They know it is. And that willingness to take up space is both slightly wearing and profoundly beautiful.
REVIEW: L-E-A-K at Sara Porter Productions/Theatre Centre
A mix of dance, spoken word, and multimedia components, the often lighthearted nature of L-E-A-K’s composition evokes the delicate seafoam at the ocean’s surface more than the deep, dense waters below it.
The Night Sizwe Banzi Was Born
Photography by Giles Hugo
“No publicity. No tickets. The law prohibits blacks and whites from performing where money is exchanged. Yet, I can look back and say it was the most politically incendiary piece of art I have ever seen.”
REVIEW: Prince Caspian at the Shaw Festival
This Prince Caspian has its flaws, but it should still satisfy anyone with an itch for family-friendly high fantasy.
REVIEW: A Very Old Man with Enormous Wings at the Ottawa Children’s Festival/Riverbank Arts Centre
A Very Old Man with Enormous Wings is a refreshing take on a literary classic that is instructive for all with its themes of spectacle and society’s fanatical mistreatment towards anything outside the norm.
Looking In to Reach Out: In Conversation with Sergio Blanco
Sergio Blanco brings reality and fiction into one with The Rage of Narcissus, combining self-reflection, queerness, and murder.
REVIEW: Tunnel at the End of the Light at Alumnae Theatre/Roland Gossage Foundation/Soldiers in the Arts
I fear Tunnel at the End of the Light will go underseen because it exists outside usual theatrical paradigms. This would be a shame: it is exhilaratingly playful, thematically complex, and has a clearly defined raison d’etre.
REVIEW: Boom X at Kidoons and WYRD Productions, in association with Crow’s Theatre, Theatre Calgary, and The 20K Collective
Boom X is a low-stakes good time at the theatre — with sick guitar solos to match.
Backstage Pass: Tarragon Theatre’s Heather Caplap
We chatted with Heather Caplap about puppets, programming, and what’s new in Tarragon’s education and community engagement department.
REVIEW: Vaches: The Musical at Théâtre Français de Toronto
Vaches: The Musical‘s irony might occasionally keep its audience at a distance, but as a celebration of Casselman’s wacky warmth, the show revels in an infectious, ragtag charm.
REVIEW: Tosca and Macbeth at Canadian Opera Company
Be it the lush and extravagant production of Tosca or the brooding and eerie production of Macbeth, both operas capture the spirit of romantic opera to delight audiences.
REVIEW: The Sound Inside at Coal Mine Theatre
The Sound Inside is classic Coal Mine, a startlingly weighty imported play produced with integrity and verve.
‘The Community We’ve Never Had’: Investigating Power in Performance with AACE
By Jennifer Wigmore By Theresa Tova
Organizing coaches and educators is vital: instead of working in silos, through the AACE community, coaches can now learn from each other.