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For composer Njo Kong Kie 楊光奇, the word ‘artist’ is a complicated label

At the ping pong table, eating pastries that Njo had thoughtfully laid out, I listened as this artist reflected on the back and forth of a career that’s bounced between multiple genres and disciplines. 

REVIEW: Soulpepper’s The Comeuppance unpacks high-school reunions with deadly, millennial-aged precision

Macabre and drama-filled yet surprisingly gentle, The Comeuppance will probably be most compelling to the around-40 crowd who share its specific touchstones and millennial angst from a high-school experience bookended by Columbine and 9/11.

REVIEW: TfT delivers humour and cruelty in striking rendition of Camus’ Le Malentendu

Director Karine Ricard banishes all earthly joy from the scene, leaving behind an almost lunar coldness.

Tara Beagan wins 2025 Governor General’s Award for drama

Published by Playwrights Canada Press, her multilingual play Rise, Red River connects environmental devastation with the intergenerational impacts of colonial violence.

REVIEW: Lepage’s ethereal The Far Side of the Moon is insomniac theatre

The Far Side of the Moon begins and ends with a large mirror on stage, and the show extracts enigmatic power from the tantalizing question of whether its protagonist is losing himself in his reflection, or moving toward self-discovery.

REVIEW: National Ballet’s Procession tangles the lines of sorrow and sensuality

Procession, the National Ballet of Canada’s brooding and stylized world premiere ballet, rushes to the stage with startling vitality — and does so at a funeral.