The fiction/real life bleed which in the original play comes from acknowledgement of the co-presence of performer and spectators becomes the character (and actor) acknowledging our simultaneous proximity and distance.
Jesus Hopped The ‘A’ Train walks the tightrope between entertainment and advocacy delicately.
Jesus Hopped the ‘A’ Train throws up questions that never get dull: Can you ever justify breaking the law? Should a brutal upbringing excuse violent crimes? Does God love murderers?
Almighty Voice is speaking to us. Are we ready to listen?
Moses’ masterful use of vaudeville beautifully demonstrates how history was altered, causing the loss of Indigenous identity.
It’s a brilliant piece of theatre, embracing a devious timelessness, seeming at once aged and disturbingly current.
You know from the opening picture that this production of A Streetcar Named Desire is going to be different.
Theatre critic Lynn Slotkin has created her annual list of Toronto theatre award winners.
It was frigid the night I saw the production, and when you are freezing and can’t feel your fingers or toes, time-wasting shenanigans wear thin.
Joy to the world—the most inventive, lively, whimsical production of Peter Pan has arrived for the holidays!
Co-creators Mikaela Davies and Polly Phokeev have devised a short, complex, layered story of how the mess a person creates can affect those around them.
Reviews of two productions of A Christmas Carol—Ross Petty Productions and the Grand Theatre, in London, Ont.—that couldn’t be more different.
Of the three productions I’ve seen of Heisenberg—on Broadway in New York, the West End in London, and here in Toronto—this one is the best.
Shields does not present the stories in her play as clichés or provide easy solutions.
Puppets factor heavily in this production, with varying degrees of success.
Candide gets off to a rousing start when Lily Ling on piano and Jamie Drake on percussion play the stirring overture. It’s glorious.