Shes-Not-Special-review

REVIEW: Aportia Chryptych marks many firsts for Canadian opera

While representation is important, re-telling stories of Black Canadians comes with even greater responsibility.  Our stories are not monoliths, nor should they exist within a digestible social narrative. Imbued with...

REVIEW: The Legend of Daddy Hall feels like coming home

Home is not a place, it’s a feeling, and Come Home — The Legend of Daddy Hall feels like I came home. I was taken on a journey watching this play and came out honoured to be a witness to such an incredible story. I encourage you to do the same.

REVIEW: shaniqua in abstraction at Crow’s Theatre blends razor-sharp humour with biting cultural critique

This play is such a delight to watch, and I would definitely go again. I live for this quality of performance, and I’m looking forward to how this play will continue to inspire Black Canadian theatre to come.

REVIEW: Three Sisters weaves together joy, fear, and the Biafran Civil War

In this conversational review of Three Sisters, contributors Kemi King and Aisha Lesley Bentham reflect on a masterful production helmed by Mumbi Tindyebwa Otu.

REVIEW: In 3 Fingers Back, Donna-Michelle St. Bernard explores the extremes of war

3 Fingers Back ain't no regular play about war. We don't see or hear the destruction of the land or the cry of the people. Instead, Donna-Michelle (DM) St. Bernard's double bill of plays is more intimate, an inward crawl to what she calls the repetitive stress patterns that constitute the world.

REVIEW: speaking of sneaking and The Last Epistle of Tightrope Time reflect each other in palindromic layers

Think of both of these plays not side-by-side but instead facing each other and reflecting to us, the audience.