plips

Lighthouse Festival shines a light on Canadian comedies this summer

“When you laugh with a character, you connect with their story,” says artistic director Jane Spence. “You have more empathy and compassion for whatever their journey is. I believe that humour opens us up to each other’s life experiences. It’s what connects us.”

REVIEW: Britta Johnson’s Life After shimmers in large-scale Mirvish transfer

The show’s tender excavation of grief’s ambiguities hasn’t lost any power in its journey to a bigger house; in fact, it’s clearer than ever.

‘Props come with no instructions’: How the Grand and Theatre Aquarius’ Waitress brings diner food to the stage

Ahead of the musical’s upcoming run at Hamilton’s Theatre Aquarius, I spoke with the production’s props and scenic design department to find out how they’re making the pie magic happen.

REVIEW: Tarragon’s wonderful Benevolence reflects on diaspora, community, and place

Playwright-performer Kevin Matthew Wong’s script is heartfelt, conversational, and at times poetic, moving effortlessly between heavier moments of grief and lighter moments of joy and humour.

A York University symposium is inviting artists and scholars to discuss strategies for combatting repression

“I think the fundamental issue is that the foundation of inequity is still intact,” says co-curator Mariló Nuñez. “If you think about when Canadian theatre was first established, the theatre we were watching and learning about was Eurocentric, Western theatre… We place everything against that [perceived] ideal. Until that changes, I don’t think we can really make a change.”

Spotlight: Alanis King

The 40-year career of Alanis King began much the same way that so many careers in theatre do: in front of very small audiences. “The show must go on if you have the same amount of audience members as in the cast,” was King’s motto in the early days. But today, the multihyphenate Odawa artist has no difficulty finding people interested in her work.

REVIEW: Britta Johnson’s Life After shimmers in large-scale Mirvish transfer

The show’s tender excavation of grief’s ambiguities hasn’t lost any power in its journey to a bigger house; in fact, it’s clearer than ever.

Crow’s Theatre announces packed 2025-26 season, including major partnership with Soulpepper

Next season, Crow’s Theatre will stage work by Michael Healey, Dave Malloy, Eboni Booth, Erin Shields, and Tennessee Williams, among others. The company is also launching a three-year partnership with Soulpepper Theatre, which will involve four large-scale 2025-26 co-productions.

Canadian Stage reveals 2025-26 programming

World premieres from local playwrights Erin Shields and Kanika Ambrose feature in Canadian Stage’s 2025-26 season, announced this morning. The lineup also includes a Robert Lepage remount and a pair of Tony Award-nominated dramas.

Pochsy’s back! At VideoCabaret, a Canadian underground theatre icon returns to Toronto

“There are opposites at play at all times — in the show, in the writing, in the performance,” says playwright-performer Karen Hines. “When something gets dark, Pochsy might be super light in the delivery of it. When she’s being facetious or giggly, it might even be as she’s destroying a species."

GCTC to close out season with Rachel Mutombo’s Vierge

Co-produced by Montreal’s Black Theatre Workshop and directed by Dian Marie Bridge, Vierge will run from March 18 to 30 at the Irving Greenberg Theatre Centre in Ottawa.

REVIEW: The Born-Again Crow is an ardent ode to unproductivity

Director Jessica Carmichael’s Toronto premiere production trucks along with the passionate force of an early-2000s emo rock hit, imbuing this systemic critique with rousing, playful life.