Crypto-Feature

In Canadian Stage’s A Doll’s House, the house is a window within

“It is more about how Nora feels inside the space,” says set and costume designer Gillian Gallow. “It's also that difference between house and home — the house is the object, but the home is actually the feeling.”

CBC’s PlayME debuts 2026 season, starting with Kim’s Convenience

PlayME has featured work by more than 30 Governor General’s Award winners and nominees, making some of the country’s most celebrated plays accessible to listeners nationwide.

REVIEW: Ophis dunks viewers into a gothic experience of Medusa’s psychic landscape

Transcen|Dance Project’s Ophis is a woozy tragedy that courts both playfulness and eroticism, deliberately dissolving the boundaries of stage and audience with an immersive format that’s sometimes thrilling, sometimes terrifying, and sometimes — if you’re a people-pleaser like me — both simultaneously. 

‘Through science, art, theatre, we create’: Antoni Cimolino looks ahead to his final year as Stratford’s artistic director

“You want to choose things that feel important to the moment,” he says about building a Stratford Festival season. “If you choose plays and they don’t resonate, it’s very hurtful. You believe in them and the power of them.”

Rhubarb! Festival director Ludmylla Reis wants artists to embrace ‘the detour’

"We do something formative at some point in the arts, and then we just continue doing that in different fonts until we’re no longer on this earth," says Reis. "The important thing is to know what that is, because you don’t want to be controlled by it. You want to be in control."

Twelve indelible moments of performance from 2025

With the lights fading on another year of fleeting thrills in dark rooms, we asked 12 Ontario performing arts writers to reflect on a moment that stayed with them. The results mainly stem from Toronto theatre productions, but there are a few surprises weaved in.

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.

RUTAS redefines ‘American’ theatre and performance

“I think [Latinx artists] have always been a strong voice, but now we need to be even louder to the rest of Canada,” says multidisciplinary performance artist Carlos Rivera. “The things that we can bring to the table and bring to the stages can show the beauty, and the strain, and the capacities that Latino Americans carry with us in our bodies, in our minds, in our souls.”

With its Spring Double Bill, Toronto Dance Theatre centres community and new voices

For the Spring Double Bill, artistic director Andrew Tay is considering how programming can be a means of supporting emerging artists.

REVIEW: Boundary-pushing TDT double bill features face-riding and odd sensuality

Both pieces in the winter double bill are par for the course with TDT’s recent artistic output: unabashedly queer and consistently experimental.

REVIEW: Jungle Book reimagined needs a little reimagining

Indeed, Akram Khan “reimagines” a historically complex story into a two-hour exposé on the environmental catastrophe. Jungle Book’s captivating visual effects and dynamic physicality brought the opening night audience to their feet. But as the choreographer’s first billing as director, Jungle Book’s storytelling doesn’t always live up to Khan’s skill as a dancemaker.

REVIEW: dance: made in canada

When it comes to dance made in Canada, there’s an overabundance of great work happening.