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/By / Apr 21, 2025
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Marlis Schweitzer, Mariló Núñez, and Jamie Robinson, in front of York University campus.

Liam Donovan
WRITTEN BY

Liam Donovan

Liam is Intermission’s senior editor. He lives in Toronto.

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Ordena Stephens-Thompson and Tony Nappo in 'The Neighbours.' iPhoto caption: Ordena Stephens-Thompson and Tony Nappo in 'The Neighbours.'

REVIEW: In Nicolas Billon’s The Neighbours, everyone’s a bystander

Green Light Arts’ The Neighbours, playing at the Tarragon Theatre Extraspace, encourages audiences to reconsider their assumptions about the comfort of spectatorship.

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iPhoto caption: Pip Dwyer, Jeanie Calleja, and Natalia Bushnik in 'Night at the Grand Guignol.' Photo by Jack Woolfe.

REVIEW: Eldritch’s Night at the Grand Guignol features spurting blood and severed eyes

The show hits the pulpy B-movie bullseye at which the indie company has long taken aim. Over the course of four playlets, a catalogue of deaths unfurls — shlockily! gorily! — in macabre locales.

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Q&A: Hybrid conference explores the potential of VR theatre in Canada

Single Thread Theatre’s Performance and Extended Realities Conference features a mix of live performances, interactive digital presentations, and technical deep dives, as well as virtual and in-person installations.

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Members of the North American touring company of 'MJ.' iPhoto caption: Members of the North American touring company of 'MJ.' Photo by Matthew Murphy.

Review of MJ: The Musical among winners at the 2025 Nathan Cohen Awards

The Canadian Theatre Critics Association has announced the winners of the 2025 Nathan Cohen Awards for Excellence in Critical Writing. This year’s prizes for outstanding review and critical essay were adjudicated by Natasha Tripney, international editor of the Stage.

By Liam Donovan
Members of the company of 'Some Like It Hot.' iPhoto caption: Members of the company of 'Some Like It Hot.' Photo by Matthew Murphy.

REVIEW: Inventive choreography powers delightful Some Like It Hot at Mirvish

The gears of Casey Nicholaw’s production are well-oiled. Despite Art Deco set design and plenty of era-appropriate choreography, the show moves with contemporary fluidity.

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Mike Nadajewski in 'All the Cows Are Dead.' iPhoto caption: Mike Nadajewski in 'All the Cows Are Dead.' Photo by Dahlia Katz.

REVIEW: Two critics compare reactions to TIFT’s new musical All the Cows Are Dead

Liam wrote about observing the production's rehearsal process. Shivani viewed the musical without any insider knowledge. On the way home from seeing the show in Barrie, they discuss.

By Liam Donovan, , Shivani Nathoo