Mahabharata Karma (Part 1), The Life We Inherit (Why Not Theatre presented by Canadian Stage)
Krystal Abrigo
Krystal is Intermission's Publishing and Editorial Coordinator. A Scarborough-based writer of Philippine and Egyptian descent who enjoys reading bell hooks, Audre Lorde, and James Baldwin. At any given moment, you can probably find her at a concert, or on a long walk somewhere in Toronto (or elsewhere).
LEARN MOREcicadas, a new eco-thriller by David Yee, begins previews at Tarragon
In a near-future version of Toronto’s Trinity Bellwoods neighbourhood, a house turns on its inhabitants. Unsettling phenomena begin to surface: unexplained leaks, invasive moss, and a persistent, otherworldly hum.
iPhoto caption: Michaela Washburn, Teneil Whiskeyjack, Jesse Fervais, Tracey Nepinak, and Valerie Planche in 'Strife.' Photo by Jae Yang.
Q&A: Matthew MacKenzie on Strife and Indigenous sovereignty in storytelling
In plays including Bears, After the Fire, and The First Métis Man of Odesa, Métis playwright Matthew MacKenzie has centred Indigenous perspectives while examining how identity and power operate within both personal and political spheres.
iPhoto caption: Goodnight Desdemona (Good Morning Juliet). Jessica B. Hill, Praneet Akilla, Ann-Marie MacDonald, Mike Shara, Caroline Toal. Photo by Elana Emer.
Paul Gross, Cabaret, and Ann-Marie MacDonald headline Canadian Stage’s 2026-27 season
Casting highlights include Sara Farb and Allan Louis in Cabaret, Paul Gross returning to Canadian Stage in Creditors, and playwrights Keith Barker and Kate Hennig performing in their own works.
Q&A: How Expandido Arts Collective is reimagining the Medea myth
Originally written in Portuguese as Mata Teu Pai, Passô’s play reimagines the myth of Medea through a contemporary feminist lens.
This year’s Bealtaine Theatre Festival features a Ulysses adaptation and a solo show about a chicken
The 2026 edition will unfold at the Corleck, a new waterfront performance venue set to officially open in November. Bealtaine audiences will be among the first to experience the space.
Playwright-performer Coleen Shirin MacPherson refers to herself as “colonized upon arrival,” born in Canada yet shaped by migrations and erasures that predate her birth. “I don’t have an ancient song or a lullaby that connects us across generations,” she tells her child. That absence — of song, language, and unbroken tradition — propels the Cahoots Theatre production.

Comments