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REVIEW: Shakespeare BASH’d brings focus to the mystifying Troilus and Cressida

This spare, thoughtful staging prioritizes a clarity of text that comes through even when the script’s overall trajectory is less than clear.

REVIEW: COC’s elegantly bleak Rigoletto is no laughing matter

As Rigoletto wept, I became distracted by a lone petal belatedly descending from above. An accident, certainly, but one that offered a reminder of opera’s unpredictable magic: that, even among the grandest of designs, a performance’s final form depends upon these ephemeral moments one calls fate.

REVIEW: Primary Trust harnesses anxiety for good at London’s Grand Theatre

Eboni Booth's Pulitzer Prize-winning Primary Trust invites its audience to visualize hopeful futures rather than disasters. This tender production, directed by Cherissa Richards, proposes that imagining such a future is the first step to achieving it.

REVIEW: Canadian Stage’s A Doll’s House weighs the burden of our inherited roles

Hailey Gillis' Nora is not so much a doll as she is a gifted actor, reeling through daffy comedy, seductive calculation, and suicidal ideation with ease.

REVIEW: In Tarragon and Native Earth’s Mischief, the jokes aren’t the point

Mischief may not fully cohere into a singular statement, but it leaves behind something quieter and more human: the feeling of having spent time inside a community, listening to its jokes, its arguments, and its silences. It is a play full of questions — some answered, many not — and it trusts the audience enough to live with that uncertainty.

REVIEW: Talk Is Free’s Company is valiant but imperfect

Playing at The Theatre Centre, it’s an entertaining staging that, like its central character, is still waiting to completely connect.

Preparing to direct Slave Play: A travel guide to Richmond, Virginia

Since reading Slave Play, I’ve asked every romantic partner whether or not they experience a racial dynamic between us in the bedroom. No one has given the same answer. What is it that I am asking them to acknowledge in these scenarios? Who is it that I am asking them to hold? What does it mean to hold someone’s history?

At the 2025 Festival d’Avignon, politics were never far off

I’d performed and directed for festivals in Canada and elsewhere, but it wasn’t at all the same as being on the bum-in-seat side. There I was, in Avignon, rubbing shoulders with the umpteen visitors hungry for a good show. I came away feeling that here, theatre mattered. A lot. In the stony fields of Toronto, that can be easy to forget.

A story with no expiry date: Adapting Fall On Your Knees

At this critical political juncture, as so many forces in the world try to mute and silence women, our Canadian stories merit our advocacy and fervent attention.

Armchairs, tattoos, and an online theatre magazine

When I started at Intermission, my world was limited to the confines of an armchair. Arts journalism was a high it felt dangerously fruitless to chase. The life stretched ahead of me was amorphous and frightening, a chasm filled with hand sanitizer and immigration concerns. It was worth crying over a spilled kombucha and scrubbing at the stain.

Why should you go to the ballet?

My childhood memories of learning to dance were front and centre for me when I attended opening night of The Nutcracker, performed by the National Ballet of Canada at the Four Seasons Centre for the Performing Arts.

Want to see a magic show about race? Wait, what?

You’d be forgiven for the double-take. It’s a fairly common reaction when I tell folks about my work as a magician.