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Aisling Murphy
Aisling is Intermission's senior editor and an award-winning arts journalist with bylines including the New York Times, Toronto Star, Globe & Mail, CBC Arts, and Maclean's. She likes British playwright Sarah Kane, most songs by Taylor Swift, and her cats, Fig and June. She was a 2024 fellow at the National Critics Institute in Waterford, CT.
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iPhoto caption: Photo by Roya DelSol.
REVIEW: Tarragon’s Craze lacks focus — that’s what makes it fun
A frenzied test of endurance, Craze whips along like a social media feed on steroids, sprinting from image to image with wild, masculine bravado.
iPhoto caption: Courtesy of the St. Michael's College Troubadours.
A Lord of the Flies adaptation hits the Hart House Theatre stage this weekend
Andrea Perez is set to direct the student-led production, which will reimagine the story through a de-colonialist lens.
iPhoto caption: Photo by Henry Chan.
REVIEW: Erased at TPM sends its greetings from a precarious future
It’s in the moments of poignant ambiguity that Open Heart Surgery Theatre and Theatre Passe Muraille’s Erased really succeeds in firing up the audience’s imaginations, inviting us to try envisioning a better future.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Baram and Snieckus’ Big Stuff uses improv to explore the materiality of grief
The couple’s Second City-tested comic repartee keeps the show moving with delicious lightness.
Why I’m tired of cripface in Toronto theatre
Cripface is when an able-bodied, or able-passing, person performs a disabled experience that isn’t their own. Local theatre companies large and small, indie and established, have engaged in this practice.
iPhoto caption: The Bidding War production still by Dahlia Katz.
REVIEW: The Bidding War is a Lear-worthy extravaganza of housing hell
Ultimately, Albert’s play isn’t just about the house; it’s about a sort of cosmic fairness that has never existed, and how we might feel justified in tipping the scales in our favour after seeing the unscrupulous get rewarded again and again.
iPhoto caption: Production still courtesy of The Bee's Knees.
REVIEW: The Bee’s Knees falls short of its timely premise
The Bee’s Knees might evolve into a stronger project down the line, but at present, the play and production feel swept away by the spangled allure of the 1920s setting.
iPhoto caption: J. Kelly Nestruck headshot courtesy of The Globe and Mail.
An exit interview with Globe and Mail theatre critic J. Kelly Nestruck
J. Kelly Nestruck has left the building. (Or at least the aisle seat.)
iPhoto caption: Photo of Annemieke Wade courtesy of TAPA.
TAPA appoints Annemieke Wade as new executive director
Wade steps into the position with an extensive background in theatre, with past roles including executive director of Roseneath Theatre and Theatre Direct and company manager of Tarragon Theatre.
iPhoto caption: Beowulf in Afghanistan graphic courtesy of GCTC.
Beowulf in Afghanistan to make world premiere at GCTC
As part of its 50th anniversary season, Ottawa’s Great Canadian Theatre Company will program the world premiere of Laurie Fyffe’s Beowulf in Afghanistan, in a production directed by Company of Fools artistic director Kate Smith.
iPhoto caption: My Name Is Lucy Barton production still by Dahlia Katz.
REVIEW: Maev Beaty sparkles at the centre of a sparse My Name Is Lucy Barton
In Rona Munro’s adaptation, My Name Is Lucy Barton loses some bite; it’s debatable how well the idea works as a piece of theatre. That said, Beaty gleams in a rousing solo performance that showcases her range and emotional depth.
iPhoto caption: Interior Design production still by Jae Yang.
REVIEW: Interior Design sparkles with zillennial wit
Interior Design watches its Peloton-using, social media-obsessed heroines from an empathetic vantage point, holding space for these women and their problems.
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