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Signy Lynch
Dr. Signy Lynch explores diversity amongst theatre audiences and how they are ‘cast’ by theatremakers, and her research also investigates contemporary diasporic, intercultural, and Black theatres in Canada and theatre criticism. She is an assistant professor at the University of Toronto (Mississauga and CDTPS).
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iPhoto caption: Jane Spidell in 'Twelve Dinners.' Photo by Dahlia Katz.
REVIEW: Family tensions run high in TIFT’s intimate Twelve Dinners
In the now-closed Twelve Dinners, an autobiographical play written and directed by Steve Ross, audiences received intimate access to an unvarnished version of a younger Ross through 12 evening meals with his parents.
iPhoto caption: Members of the company of 'Narnia.' Photo by Dahlia Katz.
REVIEW: Bad Hats’ Narnia is a joyful, heartwarming escape
The spirit of openness and the joy of discovery rule over this Narnia. Open the wardrobe and see.
iPhoto caption: Members of the company of 'Robin Hood.' Photo by Dahlia Katz.
REVIEW: Canadian Stage’s Robin Hood panto is anti-capitalist fun for the whole family
Following Ross Petty’s legacy of scene-stealing, Damien Atkins as the evil Prince John is easily the greatest delight of the show.
iPhoto caption: Lauren Gillis and Alaine Hutton in 'Public Consumption.' Photo by Eden Graham.
REVIEW: Lester Trips’ stylish Public Consumption captures the internet’s profound emptiness
Rather than directly representing online life, Public Consumption speculates — with virtuosity — about how the digital world affects our bodies. And the show's findings are by no means comfortable.
iPhoto caption: Tony Ofori and Daren A. Herbert in 'Moonlight Schooner.' Photo by Dahlia Katz.
Kanika Ambrose’s Moonlight Schooner is animated and visually stunning, but its individual pieces don’t come together as neatly as I would've expected.
iPhoto caption: Photo by Fabian Hammerl.
In A a | a B : B E N D, choreographer Aszure Barton aims to rebuild dance from the inside out
“It’s so easy to over-intellectualize dance in general, but B E N D is about hearing and moving to cool-ass music together,” says Barton ahead of the show's run at the Bluma Appel Theatre.
REVIEWS: Next Stage Festival explores a wide range of stories and styles
Over the past several years, Intermission and the Toronto Fringe Festival have partnered on the New Young Reviewers program, a workshop series and writing group for emerging theatre and performance...
Cake, commuting, and conversation: Here’s what Canadian audiences value when they go to the theatre
This past spring, we invited a group of scholars, artists, and students to gather at the University of Toronto Mississauga to figure out what Canadian audiences want and need from their hosts.
“The joy for me is…being with the performers in the room, because they support each other a lot. And they dance together. They make jokes. There's joy and there’s pain at the same time.”
iPhoto caption: The Jubilant in rehearsal. Clockwise from top left: stage manager Kaelee Brassard-Welch, director Kimberley McLeod, designer Nancy Perrin, assistant director Dan Stanikowski, performer Bethany Joy Radford (on two screens), props master Valerie Bonasso, playwright Elena Eli Belyea (centre). Photo by Kaelee Brassard-Welch.
Zoom lags, Cyborgs, and Brain-devouring Caterpillars
Despite myriad concerns about Zoom, the fusing of the performer’s body with the infrastructure of technology has allowed artists to create work even when performance venues are closed and physical gatherings impossible.
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