The Unexpected Impact of Expectation in Citadel Theatre’s The Fiancée
My expectations are high. It almost feels unfair. Just as my fellow patrons expect me to be some sort of fancy theatre critic, I sit in a fancy theatre and I expect a fancy show.
Finding the Familiar in Die-Nasty’s The Stroganoffs
The building shakes. The whole audience has joined in, one joyful scream in a darkened theatre. This. This is familiar.
Microdosing Normalcy: The Bittersweet Return Home to Hadestown on Broadway
To return to a Canada still starved of this normalcy feels wrong; acrid; frustrating. When I get back to Toronto (or, let’s be real, North York), I’ll simply have to tell my friends and colleagues about the magic of a packed theatre, rows and rows of masks, applause, closeness. They won’t get to feel it themselves for a few months yet, it seems
A Wild Ride Home with Jason Kenney’s Hot Boy Summer
We aren’t laughing about the events of the past two years. We aren’t even laughing at Jason Kenney himself. We’re simply laughing together.
How to Return Home: Dear Evan Hansen at TIFF
In my heart there is anger; sadness; grief for my more naïve self. Because after Dear Evan Hansen, I do not feel as if I’ve been found, as the film’s tagline so bravely promised I would be. I feel instead as if I’ve been left behind to atrophy in the Music Box Theatre some five hundred miles away, a nineteen-year-old ghost in an echoing auditorium.
How to Return Home: Blindness by Simon Stephens
As in-person Toronto theatre slowly re-opens, Intermission’s Editors will be sharing personal reflections on the realities of being back in the theatre. These are not criticisms or reviews. They are not blog posts. They are memories of being caught in the middle of a theatre renaissance. They are an archive. They are history.