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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.

REVIEW: Tarragon’s CHILD-ish takes a hopeful and hilarious look at life through kids’ eyes

It’s a giggly good time, if a pinch oversweet.

REVIEW: At Ottawa’s GCTC, you won’t expect what happens when Abraham Lincoln Goes to the Theatre

Sarah Kitz’s production leans into the play’s real strength: its exploration of narrative. The characters attempt to narrativize the play’s events before, after, and even while they take place. But their failure to impose narrative logic onto complex realities only results in escalating cycles of violence.

REVIEW: During this year’s TIFF, two films depicted theatre as a vessel for transcendence

Of the several performing arts-adjacent selections I took in, most affecting were two dramas: Lee Sang-il’s Kokuho and Chloé Zhao’s Hamnet. In both period pieces, theatre creation serves as an emotional outlet for an artist navigating devastating loss.

Tarragon’s upcoming show gives audiences a verbatim taste of children’s wisdom, wit, and weirdness

The first inklings of CHILD-ish came to Drake in 2017. “I got to an age where I started having a lot more kids in my life,” he said. That “got me curious about what adults can learn from kids: playing with and flipping that power dynamic of who’s the learner and who’s the teacher.”

In the darkest months of Yukon winter, it’s all about the Sun Room

I’m here for a week in January as a guest of Nakai Theatre, a hub for theatrical experimentation and outside-the-box programming in Canada’s westernmost territory.

Armchairs, tattoos, and an online theatre magazine

When I started at Intermission, my world was limited to the confines of an armchair. Arts journalism was a high it felt dangerously fruitless to chase. The life stretched ahead of me was amorphous and frightening, a chasm filled with hand sanitizer and immigration concerns. It was worth crying over a spilled kombucha and scrubbing at the stain.

Five questions with Wights playwright Liz Appel

Intermission spoke with Appel over email for a brief Q&A about Wights, now playing at Crow’s Theatre until February 9.

Call for applications: Publishing and editorial assistant

Intermission Magazine is seeking a dynamic and collaborative individual to join our team.

Announcing What Writing Can Do: The 2025 Musical Theatre Critics Lab

What Writing Can Do is timed to coincide with the Grand and Theatre Aquarius’ co-production of Waitress, which will serve as a jumping-off point for discussions throughout the Lab.

REVIEW: A Christmas Story feels fresh at Theatre Aquarius

If you want to catch A Christmas Story before it closes, good luck — the show is close to sold out, and with the talent on that stage, it’s not hard to see why.