VideoCabaret and Crow’s Theatre collaborate on fall Cliff Cardinal premiere
The world premiere of Cliff Cardinal’s (Everyone I Love Has) A Terrible Fate (Befall Them), presented by VideoCabaret in association with Crow’s Theatre, has been extended through November 4, ahead of its first preview on October 10.
Cardinal, an associate artist at VideoCabaret, plays multiple characters in this darkly comedic one-man show about life, death, and the terribleness in between.
The show is Cardinal’s third collaboration with director Karin Randoja, who has specialized in creating and directing original devised performances for over 30 years. In April, Cardinal and Randoja will re-mount the playwright’s acclaimed solo show Huff at Crow’s Theatre, the same venue where he premiered his hit 2021 play William Shakespeare’s As You Like It, A Radical Retelling.
Joining Randoja is a design team made up of Alex Williams (sound), Raha Javanfar (lighting), Sage Paul (costumes), and JB Nelles (set and props).
The show officially launches VideoCabaret’s ambitious new programming at its Deanne Taylor Theatre in Toronto’s east end. Other programming coming to the venue includes: The Winter Solstice: Vox Pop Cabaret in December, the Deanne Taylor New Works Incubator in January, the Michael Hollingsworth Writing Circle in February, and Perfect Tattoo — a new play by Anton Piatigorsky — next summer.
Plus, in April, the storied company will partner with Nightwood Theatre to present Rose Napoli’s new play Mad Madge at the Theatre Centre.
(Everyone I Love Has) A Terrible Fate (Befall Them) is co-produced by Aaron Rothermund, VideoCabaret’s new artistic producer and general director, along with Layne Coleman. In a press release, Rothermund shared their gratitude for their recent appointment, saying that they recognize “the distinct honour of working with [founding artistic director] Michael Hollingsworth and… Coleman to further develop the legacy of VideoCabaret.”
(Everyone I Love Has) A Terrible Fate (Befall Them) runs at the Deanne Taylor Theatre from October 10 to November 4. Tickets are available here.
iPhoto caption: Photo courtesy of the Grand Theatre.
London’s Grand Theatre announces 2026-27 season
A Dolly Parton musical and the Canadian premiere of a drama by Matthew López are among the productions in the Grand Theatre’s 2026-27 season.
iPhoto caption: Ordena Stephens-Thompson and Tony Nappo in 'The Neighbours.'
REVIEW: In Nicolas Billon’s The Neighbours, everyone’s a bystander
Green Light Arts’ The Neighbours, playing at the Tarragon Theatre Extraspace, encourages audiences to reconsider their assumptions about the comfort of spectatorship.
iPhoto caption: Pip Dwyer, Jeanie Calleja, and Natalia Bushnik in 'Night at the Grand Guignol.' Photo by Jack Woolfe.
REVIEW: Eldritch’s Night at the Grand Guignol features spurting blood and severed eyes
The show hits the pulpy B-movie bullseye at which the indie company has long taken aim. Over the course of four playlets, a catalogue of deaths unfurls — shlockily! gorily! — in macabre locales.
Q&A: Hybrid conference explores the potential of VR theatre in Canada
Single Thread Theatre’s Performance and Extended Realities Conference features a mix of live performances, interactive digital presentations, and technical deep dives, as well as virtual and in-person installations.
iPhoto caption: Members of the North American touring company of 'MJ.' Photo by Matthew Murphy.
Review of MJ: The Musical among winners at the 2025 Nathan Cohen Awards
The Canadian Theatre Critics Association has announced the winners of the 2025 Nathan Cohen Awards for Excellence in Critical Writing. This year’s prizes for outstanding review and critical essay were adjudicated by Natasha Tripney, international editor of the Stage.
iPhoto caption: Members of the company of 'Some Like It Hot.' Photo by Matthew Murphy.
REVIEW: Inventive choreography powers delightful Some Like It Hot at Mirvish
The gears of Casey Nicholaw’s production are well-oiled. Despite Art Deco set design and plenty of era-appropriate choreography, the show moves with contemporary fluidity.
Comments