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REVIEW: Canadian theatre has a thing for The Lehman Trilogy. Does it work at Theatre Calgary?

The real drivers of Theatre Calgary’s production are its three performers. And boy, do they ever drive. Each performance pulses with unmatched and unrelenting vivacity, made all the more impressive by the stamina required from the ambitious three-and-a-half-hour runtime.

REVIEW: Excellent singing elevates lacklustre productions in Faust and Nabucco

Both operas in the Canadian Opera Company’s current fall repertoire, Faust and Nabucco, include stellar performances from world-class singers in productions featuring directorial and design choices that abandon historical accuracy and realistic mise-en-scène to varying degrees of success.

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.

UnCovered returns to Musical Stage Company with U2 and the Rolling Stones

“What you see in the audience is really the tip of a very long collaborative iceberg,” says Wong, artistic associate at Musical Stage Company and arranger, orchestrator, and music supervisor for UnCovered. “It’s a really diverse cast of voices and styles, and they’re all bringing their A-game. It’s starting to get really exciting in the room.”

At Next Stage 2024, two shows complicate the meaning of a night out

Gemini, by Louise Casemore, and Prude, by Lou Campbell, explore the hospitality industry and bar culture from different perspectives.

REVIEW: In Ronnie Burkett’s darkly intelligent Wonderful Joe, gentrification hits like a meteor

When Siminovitch-winning puppet virtuoso Ronnie Burkett chose the focus of his latest play, was he thinking of TO Live’s $421-million plan to redevelop its St. Lawrence Centre for the Arts?