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Aisling Murphy
Aisling is Intermission's former senior editor and the theatre reporter for the Globe and Mail. 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 of Olivia Ansell by Jenna Hum.
“As a newcomer to Toronto, I was immediately inspired by what makes the city tick,” says artistic director Olivia Ansell. “I really embrace this sense that the city has a pulse.”
iPhoto caption: Photo by Mike Meehan.
“Hundreds of pages of text have been cut,” says composer Suzy Wilde. “Many songs have been put on the back burner. That's what writing a musical is: there's a ton of editing that has to be done.”
iPhoto caption: Kelly Wong as Aslan and Élodie Gillett as the White Witch with the cast of 'The Lion, the Witch and the Wardrobe.' Photo by David Cooper.
REVIEW: Shaw Festival’s The Lion, the Witch and the Wardrobe needs a louder roar
Sometimes, theatre transports you to a fantastic new world. Other times, you get a wardrobe full of coats.
iPhoto caption: Photo by Ann Baggley.
“I had this idea to write a play about a group of relative strangers who come together with one common goal,” says playwright Mark Crawford. “I love that kind of narrative: people from disparate parts of a community who come together to form their own little community.”
iPhoto caption: Photo by Dahlia Katz.
The Dora Award-winning, family-friendly opera has returned to mark the opening of Tapestry's new venue on Yonge Street.
iPhoto caption: Top to bottom, L to R: Naguib Keval, Aruna Bhalla, Colin MacLellan, Payge Mildebrath.
How four GTA drama teachers are modelling the importance of connection, empathy, and collaboration
I suspect that most people who work in theatre professionally, and many who don’t, have a story about a high school drama teacher who changed their life. This edition of Speaking in Draft is a celebration of those figures.
iPhoto caption: Photo by Aisling Murphy.
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.
iPhoto caption: Liz Appel headshot courtesy of Liz Appel.
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.
iPhoto caption: What Writing Can Do: The 2025 Musical Theatre Critics Lab
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.
iPhoto caption: A Christmas Story production still by Dahlia Katz.
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.
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