Wayne Burns

In Canadian Stage’s A Doll’s House, the house is a window within

“It is more about how Nora feels inside the space,” says set and costume designer Gillian Gallow. “It's also that difference between house and home — the house is the object, but the home is actually the feeling.”

CBC’s PlayME debuts 2026 season, starting with Kim’s Convenience

PlayME has featured work by more than 30 Governor General’s Award winners and nominees, making some of the country’s most celebrated plays accessible to listeners nationwide.

REVIEW: Ophis dunks viewers into a gothic experience of Medusa’s psychic landscape

Transcen|Dance Project’s Ophis is a woozy tragedy that courts both playfulness and eroticism, deliberately dissolving the boundaries of stage and audience with an immersive format that’s sometimes thrilling, sometimes terrifying, and sometimes — if you’re a people-pleaser like me — both simultaneously. 

‘Through science, art, theatre, we create’: Antoni Cimolino looks ahead to his final year as Stratford’s artistic director

“You want to choose things that feel important to the moment,” he says about building a Stratford Festival season. “If you choose plays and they don’t resonate, it’s very hurtful. You believe in them and the power of them.”

Rhubarb! Festival director Ludmylla Reis wants artists to embrace ‘the detour’

"We do something formative at some point in the arts, and then we just continue doing that in different fonts until we’re no longer on this earth," says Reis. "The important thing is to know what that is, because you don’t want to be controlled by it. You want to be in control."

Twelve indelible moments of performance from 2025

With the lights fading on another year of fleeting thrills in dark rooms, we asked 12 Ontario performing arts writers to reflect on a moment that stayed with them. The results mainly stem from Toronto theatre productions, but there are a few surprises weaved in.