Every play is fantastic: A small-city theatre critic’s manifesto
My top priority as a critic will be to furnish every marketing team with as many easily quotable compliments as possible. I’ll do this dutifully and without ambivalence.
My top priority as a critic will be to furnish every marketing team with as many easily quotable compliments as possible. I’ll do this dutifully and without ambivalence.
Hello from the new leadership team of Intermission Magazine!
We hired an AI theatre critic. Her breath is immaculate. She’s not once crammed a sandwich down her throat on the walk to the theatre, savouring the onions, the oil. She’s never been bloated, and she’s never, ever, been the monster to blame for a mid-play fart.
You’re a bridge between the art and its contemporary audience, and you have a job to do. You have obligations — to the artists, of course, always, but to the audiences, too.
Grand Ghosts’ score is bone-chilling from the first note to the last.
To whom are we accountable as critics, and as citizens?
My letters to you are a once-a-year digestif, an acknowledgment of gratitude, of lineage, of love.
Solstice d’hiver, my first live theatre-going experience of 2022, truly does feel like a homecoming; a gasp of air; a pause from pandemic and asinine convoy.
With just a few days left in the 2021 Toronto Fringe, the second roundup of reviews from the Toronto Fringe New Young Reviewers Program is here!
After weeks of workshops and watching shows, the first roundup of reviews from the Toronto Fringe New Young Reviewers Program are here!
I will be with you, listening with you. It’s not something you can do alone.
Sometimes you get dreams about a king, sometimes you get dreams about a baby, and sometimes, you get dreams about a flood.
The events that take place in our lives don’t define us but give us the motivation to keep trying to be the truest versions of ourselves.
Next Stage isn’t happening this year. Like most arts festivals, it’s been halted by COVID. In this peculiar time of rest, many theatres have been re-evaluating their practises, seeing who they’ve left out of the programming and how they may better serve their communities.
The fiction/real life bleed which in the original play comes from acknowledgement of the co-presence of performer and spectators becomes the character (and actor) acknowledging our simultaneous proximity and distance.
Toronto’s theatre critics just announced their favourite shows of the year for 2018.