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It’s a problem ingrained in the very fabric of the theatre industry. There’s little infrastructure to support crucial backstage workers.
But with the Mirvish title change, the show no longer dupes audiences into thinking they’re getting Shakespeare, which was part of the fun.
Yes, you should see this scorching Canadian premiere of “Fairview,” but you should also read the play afterward.
The North American tour will be in town until Aug. 20 and for ardent fans of the show it’s not a moment too soon.
This production, though handsomely budgeted and ably sung, can’t quite overcome the fundamental inadequacies of “Rock of Ages” as a theatrical text.
We’re just now starting to see the long-term payoff of the legacy of “Hamilton” and the show’s stunning North American tour will ensure the conversation doesn’t stop.
The show’s 2020 Toronto run was cut short due to the pandemic. Now, Morgan Anita Wood and DeAundre’ Woods lead as one of musical theatre’s most iconic romantic couples.
As opening night for ‘Yerma’ approaches, Diana Bentley and Ted Dykstra couldn’t be more grateful for the Coal Mine community’s support for their new venue.
Shakeil Rollock, creator, director and choreographer of “Okay, you can stop now,” says personal histories and the news cycle intersect in more ways than we might assume.
Despite an at-times unearned length, “Fifteen Dogs” is a must-see for its performances, including Tom Rooney at the top of his game as a lovelorn poodle.
The TV star makes his Mirvish debut this month in “Pressure,” a British play about the meteorologists who advised Eisenhower while planning D-Day in 1944.
‘Girls and Boys’ made a splash in Stratford last summer, a quick jaunt from the behemoth Stratford Festival. Its upcoming remount will play at the Streetcar Crowsnest in Toronto.
Petty took his final bow Saturday, bidding adieu to Toronto’s yearly Christmas pantomime after 25 years.
MacDonald says she always saw her groundbreaking novel “as a 3D experience for the reader.” Part One opens in Toronto Jan. 20.
This “Alice in Wonderland” is nothing short of a delight — and Bad Hats Theatre puts on a very good show.
When retail stores deck the halls for holiday shopping, they’re using many of the same tenets of design that make theatrical productions pop, according to experts in both fields.
This isn’t the “Moby Dick” of your high school English classroom and these aren’t the puppets from days of Jim Henson yore.
From Jac Yarrow’s offstage charisma to his vocal chops, it’s clear why Sir Andrew Lloyd Webber chose him as his leading man.
“The staying power of ‘’da Kink in My Hair’ is rooted in authenticity. And truth,” says Anthony. “Everyone wants to feel seen, heard, listened to, loved, accepted.”
“It’s especially lovely because I’ve been chosen by my peers,” says groundbreaking director Brassard.
The Ontario native got their start in the street dance sub-genres “popping” and “locking.” When “& Juliet” came knocking, they knew it was the right project for them.
Playwright, librettist and screenwriter Ambrose has seen firsthand the barriers to immigration. “They’re unfairly skewed to people from certain regions of the world.”
Andrew Broderick, a “Canadian Idol” alum and frequent face on Ontario’s most famous stages, leads in “Choir Boy” by “Moonlight” screenwriter Tarell Alvin McCraney.
Moscovitch’s corporate drama ‘Post-Democracy’ premieres at Tarragon Theatre in November.
“Being a Canadian expat out here in the States, I’ve seen this rise of xenophobia firsthand. And it’s felt very scary at times,” says Sundeep Morrison.
Haley McGee and director Mitchell Cushman are a dream team, two masterminds with a penchant for controlled chaos and mess, and they’re both at the top of their game.
Studio 180’s take on Paula Vogel’s gorgeous play corrects the record of Sholem Asch’s “God of Vengeance,” and it does so with heart and grit.
“This is an age-old tale. And it’ll always be around because it will always matter,” says Jasmine Rogers on the staying power of “Mean Girls.”
“Ultimately, it’s all to serve,” said Wahsontí:io Kirby, who acts in “1939” and contributed Mohawk translations of Shakespeare’s “All’s Well That Ends Well.” “The spirit…
“Indecent” premiered on Broadway in 2017 when Vogel was 65 and had already won a Pulitzer Prize for “How I Learned to Drive.”
Donna-Michelle St. Bernard’s haunting story of child slavery and community loss is unspeakably sad — and impeccably well staged.