Lara Arabian and Théâtre français de Toronto have created a provocative, timely new work that intelligently explores the contradictions of immigration, family, and faith
REVIEW: Appropriate is a masterclass in controlled chaos at Coal Mine Theatre
Coal Mine has reclaimed its spot as one of the punchiest, most daring theatre companies in Toronto.
REVIEW: The Supine Cobbler is a hilarious, deeply intimate trip to the abortion clinic at GCTC
The play is strange, which is a loving compliment to Connell’s playwriting, but also entirely familiar; the space used feels endless, a testament to how malleable the play is and the strength of Pearlman’s direction.
REVIEW: Topdog/Underdog opens the Canadian Stage season with a snarl
Tawiah M’Carthy directs a dark, brooding Topdog/Underdog, in a three-hour production that often feels its length, but frequently finds success in the high drama of the play.
REVIEW: asses.masses is an endurance performance that takes boredom as its subject
By the sixth or seventh hour, I indeed felt like a worker at the factory of cultural production. I began to ask myself if the demands of the job were too high, if the compensation was fair, and if I felt fulfilled or alienated from working for the proverbial man.
Telling stories without speaking: Meet the angels of Stratford’s Richard II
“This work is important not only because it lets diversity be seen and celebrated by other diverse people, but also because it gives people who might not share those beliefs the opportunity to see why it’s so important,” says actor Olivia Sinclair-Brisbane. “It’s a chance to make a change.”
Pakistani-Canadian actor Ahad Raza Mir ‘goes back to basics’ with Brampton production of Hamlet
“The South Asian community in Calgary, and even Toronto, is a whole different story than Brampton in terms of size,” says Mir. “I’m excited to have this show come to a larger group of South Asians: most importantly, young people who maybe want to go into the arts who want to be actors.”
REVIEW: Sea Wall at Assembly Theatre is magnificent – and soul-destroying
Jamie Cavanagh offers a magnificent performance as Alex, bringing unimaginable depth to Simon Stephens’ monologue.
A love letter to three Black performers in King Lear at the Stratford Festival
“To each of you: being given the privilege to observe your craft and your personhood is something I will take with me for a long time.”
REVIEW: Give ‘Em Hell is a fast-talking window into a tenacious teen protest in Peterborough
Give ‘Em Hell questions the fairness of ignoring the generation who will be the most affected by decisions made about them.
REVIEW: CANOE brings mystical, operatic flair to Canada’s dark history
Through a minimalist aesthetic and a score that blends classical music with non-conventional elements, CANOE presents a deeply personal portrayal of two sisters grappling with the past.
Kat Sandler’s WILDWOMAN to kick off Her Words Festival at Soulpepper Theatre
WILDWOMAN examines the lives of three women as they wrestle for survival and legacy in the 16th-century French court of King Henry II.
From its new musical incubator to a jam-packed 50th anniversary season, Theatre Aquarius is leading Canadian theatre into a new era
“There’s just a lot of really cool energy in the building right now,” says artistic director Mary Francis Moore. “Theatre Aquarius is an exciting place to be in this moment.”
Director Hillar Liitoja was ‘pathologically uncompromising’ in his pursuit of great art
His creations brought together all the joy and terror and beauty and chaos of being alive.
REVIEW: Illuminarium at the Distillery District is yet another immersive experience for Toronto’s books
Illuminarium’s approach to immersion feels decorative, rather than fully developed — the experience seems to prioritize aesthetics above all else.
The Supine Cobbler is an abortion play that ‘negotiates integrity in a lawless world’ at GCTC
“This play is really interesting, because whatever you think it is, it’s not going to be that,” says actor Maryse Fernandes.
REVIEW: Slick political dramedy The Master Plan is Crow’s Theatre at its best (and most absurd)
For the second year in a row, Crow’s Theatre has opened the Toronto theatre season at the highest possible level.
