Critics who aren’t Indigenous, Black or people of colour aren’t invited to ‘bug.’ Yolanda Bonnell explains why by Karen Fricker - Theatre Critic

The Indigenous theatre artist says “bug” is an artistic ceremony, which she says “does not align with colonial reviewing practices.”

Harry and Meghan as a Second City sketch? A look at how the comedy group improvises its shows by Karen Fricker - Theatre Critic

What’s the method behind the Second City magic? We put these questions to the director of “She The People.”

Sex, pregnancy, miscarriage, childbirth: Hannah Moscovitch explains why she put some of her most intimate experiences into her plays by Karen Fricker - Theatre Critic

‘Many women have the exact same set of experiences that I do. No one talks about it,’ Moscovitch tells Karen Fricker. And, yes, it’s been scary, but she plans to keep putting personal …

Measha Brueggergosman and Jully Black forged a relationship through adversity — now they’re bringing their bond to the stage by Karen Fricker - Theatre Critic

The R&B and opera divas star in ‘Caroline, or Change’ and reflect on friendship, hardship and the generations of Black women who have come before.

A barn-burning performance by Daren A. Herbert is the highlight of Soulpepper’s ‘Jesus Hopped the ‘A’ Train’ by Karen Fricker - Theatre Critic

The Toronto production has all the signature elements of Stephen Adly Guirgis’s work, but the other performances are not as full-tilt as Herbert’s, writes Karen Fricker.

Fast, bloody and maybe confusing: This ‘Julius Caesar’ is very 2020 by Karen Fricker - Theatre Critic

An expertly designed play and a deeply intense viewing experience, this take on Shakespeare might baffle those who don’t know the play.

‘Talking about fury’ gave rise to ‘The Guilty Feminist’ podcast, in Toronto on Sunday by Karen Fricker - Theatre Critic

Comedian Deborah Frances-White says her podcast — coming to the Danforth Music Hall on Sunday — suits a ‘time of revolution.’

Canadian Stage is slaying its deficit and making ambitious plans by Karen Fricker - Theatre Critic

Venerable theatre company has made big strides erasing its deficit — now it can make ambitious plans

Capitalism and average people’s crises of conscience provide the heart of new Toronto play by Karen Fricker - Theatre Critic

Monologues illustrating the tension between how we live and what we believe form most of ‘Consumption Patterns,’ opening Jan. 8 as part of the Next Stage festival.

A terrific cast brings the whimsy of Bikini Bottom to life in ‘The SpongeBob Musical’ by Karen Fricker - Theatre Critic

Although two and a half hours is long for an entertainment this unsubtle, writes Karen Fricker.

Bend It Like Beckham’s co-creator explains what the film and musical are really about by Karen Fricker - Theatre Critic

It’s about negotiation between generations, Gurinder Chadha tells Karen Fricker ahead of the opening of Bend It Like Beckham onstage in Toronto.

In Young People’s Theatre’s ‘Pinocchio,’ the boy of wood transforms emotionally and spiritually as well as physically by Karen Fricker - Theatre Critic

After the MMIWG report ‘Tapwewin: Her Inquiry’ tries to fill in 500 years of blanks by Karen Fricker - Theatre Critic

“The inquiry as it was constructed was not looking far enough back,” said Yvette Nolan. “It doesn’t talk about why or how we got to this moment.”

‘The Pianist of Willesden Lane’ preserves memories of the Holocaust with music by Karen Fricker - Theatre Critic

Written by Mona Golabek and Lee Cohenm, this 90-minute solo piece involves Golabek sitting at a piano playing works by many of the great classical composers, and telling the eventful and ins…

Three singers, one Prince song: behind the scenes of Musical Stage Company’s latest UnCovered concert by Karen Fricker - Theatre Critic

Gutsy acting, menacing props and spooky sounds: this Trout Stanley is a wild ride by Karen Fricker - Theatre Critic

In the Mush Hole, the terrible legacy of residential schools is impossible to ignore by Karen Fricker - Theatre Critic

The production by Kaha:wi Dance Theatre, the title of which is a nickname for the Mohawk Institute Residential School in Branford, draws on interviews with and writings by residential school…

‘Almighty Voice and his Wife’ is a big, bold play, realized through restraint, at Soulpepper by Karen Fricker - Theatre Critic

A play that’s now part of the Canadian theatre canon becomes not only a success, but a first of its kind, at Toronto’s largest not-for-profit theatre.

‘The Jungle’ makes clear that working this hard isn’t working by Karen Fricker - Theatre Critic

Play at Tarragon is a brisk, lively look at the numbing grind of working-class living in 2019.

With new Soulpepper production and more, Indigenous history is entering the spotlight at last by Karen Fricker - Theatre Critic

Stories like Almighty Voice’s bring the past of Canada’s Indigenous peoples the attention it’s been deprived of for decades.

New play tells the federal-election story as seen from the grassroots — and the land by Karen Fricker - Theatre Critic

‘The Election’ builds a narrative around the experiences of average campaign volunteers and folds in Indigenous perspectives and a conceit that serves to aid the visually impaired.

Girl from the North Country makes strikingly moving theatre out of Bob Dylan songs by Karen Fricker - Theatre Critic

Hard-luck characters’ stories aren’t fully fleshed out but between the songs, the performers and show creator Conor McPherson, what emerges is powerfully melancholy anyhow, writes Karen …

‘Un Poyo Rojo’ is silly, sexy, sweet and sort of slight by Karen Fricker - Theatre Critic

Locker-room mocking of toxic masculinity is not revolutionary but it’s sometimes quite funny and always physically impressive.

Yaga is a hilarious, ambitious vehicle for great actors to strut their stuff by Karen Fricker - Theatre Critic

Kat Sandler’s newest has feminism, a meaty story and an excellent cast to bring it all to life.

Canadian theatre can be unwelcoming to immigrant artists, but the IMPACT Festival has space for them by Karen Fricker - Theatre Critic

The Book of Life is a powerful reflection on the Rwandan genocide by Karen Fricker - Theatre Critic

Multimedia project by Odile Gakire Katese is a way of addressing momentous and challenging questions, writes Karen Fricker.

Actually’s brilliant actors lead audience into risky territory about sex by Karen Fricker - Theatre Critic

Justly celebrated play puts millennials, hookup culture, alcohol and a lot more under the microscope.

No Foreigners explores the culture that is a suburban Chinese mall, ingeniously and in detail by Karen Fricker - Theatre Critic

Voice actors, wooden figurines and projections dramatize a sometimes confusing story at touring play now at Toronto’s Theatre Centre.

How David Cromer and David Yazbek wove music deep into The Band’s Visit by Karen Fricker - Theatre Critic

In Prince Edward County, culture is increasingly becoming one of the charms by Karen Fricker - Theatre Critic

With Wellington Water Week having just finished its second year and the Festival Players selling out their season, transplants like Graham Abbey and Johannes Debus are building up the artist…

Elena Lev was 12 when she first appeared in Cirque du Soleil’s Alegria. She and the show are back 25 years later by Karen Fricker - Theatre Critic

In the first instance of Cirque du Soleil bringing a show out of retirement, the retooled Alegria: In a New Light comes to Toronto in September.