Interested in checking out what’s on this week? We’ve rounded up some reviews so you can pick the play that’s right for you. 


Globe and Mail – J. Kelly Nestruck

“And the new Toronto cast provides a chance for some Canadian performers you may know from ‘supporting’ or ‘featured’ roles to take the lead in this kinetic ensemble production directed by Christopher Ashley.”

Toronto Star – Carly Maga

“This new cast reveals humour as one of the driving forces behind the musical’s identity and message — it builds bonds, it invites, and it makes unimaginable circumstances bearable to start, and eventually joyous.

NOW Magazine – Susan G. Cole

“Christopher Ashley, who won a Tony award for direction, keeps everyone moving non-stop, ingeniously recreating the vibe on a plane, on a careening bus or in a packed bar. If anything, it all moves at almost too much of a breakneck speed.

The Slotkin Letter – Lynn Slotkin

“It’s a wonderful story told in this glorious musical and yes, in these troubled times, this show is needed. See it and take Kleenex.”

Stage Door Christopher Hoile

“The result is a musical where the acting and singing of the cast and the folk music–inspired playing of the nine onstage musicians combine in the united goal of telling a story in the most effective way possible.”


Photo by Dahlia Katz

Toronto Star – Carly Maga

“This extremely collaborative form of Every Brilliant Thing is a very literal way of inviting the audience into the approachable, accessible, even lighthearted tone that the play uses to discuss depression and suicide,”

NOW Magazine – Glenn Sumi

“Thomson is an engaging and empathetic performer, carefully navigating every step of her character’s journey,”

Slotkin Letter – Lynn Slotkin

Every Brilliant Thing is a wonderful piece of theatre for what it says about life and how a theatre audience of strangers becomes a cohesive community celebrating those things that make up a life.”

MARY POPPINS, Young People’s Theatre

Toronto Star – Karen Fricker

“More timely and very welcome is YPT’s approach to casting, which scrambles ethnicity and sometimes gender. Mary is played with winning crispness by homegrown musical theatre star Vanessa Sears;”

NOW Magazine – Christopher Hoile

“The show wins as a first-time theatre-going experience since Allison relies on the old-fashioned resources of the theatre rather than on projections or electronic effects to bring the magic of the show to life.”

Slotkin Letter – Lynn Slotkin

Mary Poppins (The Broadway Musical) is a perfect show for the holidays, any day, families, children, adults and those in between. It’s joyous, not sugar sweet, touching, and thought provoking.”

THE MESSAGE, Tarragon Theatre

Photo by Cylla Von Tiedemann

The Globe and Mail – Simon Houpt

“If Sherman takes that as a cue – like a McLuhan lecture, The Message is perhaps overstuffed with ideas, leaving little room for it to earn the emotional salvation it desires”

Toronto Star – Karen Fricker

“So it’s 2003 all over again at Tarragon, but the gender politics of this play and production would have been dated even then.”

Slotkin Letter – Lynn Slotkin

“I was grateful for the fearless performances of the actors who got right into the process both serious and eye-brow crinkling. But the play/medium is a muddled message.”

THE PHILOSOPHER’S WIFE, Paradigm Productions


Toronto Star – Carly Maga

The Philosopher’s Wife is a dark, violent and intellectually rigorous medieval version of Pygmalion, geared for the modern age, portraying religion and science as dangerously fallible (along with patriarchy), and instinctual, non-verbal methods of knowledge and communication as a potential saviour.”

NOW Magazine – José Teodoro

“Director Leora Morris stages the show in the round on set designer Shannon Lea Doyle’s vast, gloomy platform, from which pools, wood stoves and dungeons seamlessly emerge. The production builds its alternate past without undue exposition: some scenes are talky, others intensely physical.”

Slotkin Letter – Lynn Slotkin

“With Christopher Ross-Ewart’s almost constant rumbling soundscape and the fine use of the moody lighting, Leora Morris has created a world with turmoil just under the surface.”

THE RUNNER, Theatre Passe Muraille

Photo by Graham Isador

The Globe and Mail – J. Kelly Nestruck

The Runner will leave you breathless” (4 stars, subscribers only)

Toronto Star – Karen Fricker

“But the powerful direction and design choices, a committed, wrenching performance from Rand, and well-advised brevity (the show lasts about an hour) make a strong impact and leave the audience to sort through the urgent questions raised.”

NOW Magazine – José Teodoro

“The terror of The Runner, however, is derived from the sense that nothing is immune to splintering into fragments – not the victims of violence, nor the fraught state of Israel, nor the beleaguered psyche of this noble man charged with attending to the remains of harrowing acts of savagery.”

Slotkin Letter – Lynn Slotkin

“It’s an emotional exhausting,  eye-opening, gripping piece of theatre and I did what I usually do when I see something as moving as this about a troubling subject: I sobbed all the way to the car.”