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Sometimes funny, often touching production at Buddies in Bad Times Theatre explores the many ways women are made to disappear.
Award-winning playwright Dominique Morisseau “wanted to make sure that the show can speak to a generation that did not grow up on The Temptations.”
Drag show inside tent at Passe Muraille doesn’t communicate its identity perfectly, but Pearle’s flock seems devoted all the same.
Thought-provoking play about online crimes, including child murder is very much of the moment.
The star-crossed lovers at the heart of Shakespeare’s tragedy get a second chance to put things right — or do they? — in new production at Young People’s Theatre.
Popular theatre director Weyni Mengesha is returning to Toronto to take over the role left vacant after Albert Schultz’s resignation.
Show at Toronto’s Young Centre doesn’t lean on character or a linear story so much as the impressive musical talents of Motion and DJ L’Oqenz.
The dark comedy dramatizes the events surrounding an odd but true fact, that scientist Isaac Newton once stuck a sewing needle in his eye.
The play has some wry commentary on the art world but suffers from a muddled plot, an unlikeable main character and comedy that mostly misses, writes Carly Maga.
Offerings include critically acclaimed shows The Red Horse Is Leaving and 4 ½ (ig)noble truths.
Two-thirds of Sharon, Lois & Bram return to Young People’s Theatre with Sharon, Bram & Friends, a concert of old hits and a few new tunes.
The castle is a natural fit for this campy attraction, but as truly chilling immersive theatre, it falls short, writes Carly Maga.
The Canadian Stage’s season opener is high-stakes theatre that fuses the destruction of the earth with the destruction of ourselves.
Season-opener at Tarragon, directed by the playwright, does powerful job of making Shakespeare’s Othello tragically potent in 2018.
Artistic director’s long run, ending June 1, began with company deep in crisis. It ends with the company secure but seeking a stronger brand.
As the opener of the Buddies 40th anniversary season, the world’s oldest queer-dedicated theatre company, this new production of Gertrude and Alice takes inspiration from Gertrude Stein’…
Toronto theatre company celebrates its 40th by looking both forward and back, beginning with a play about queer icons Gertrude Stein and Alice B. Toklas.
Redfeather inspired the 1918 opera Shanewis and now, the musical I Call myself Princess by Jani Lauzon.
Two women see their path through life diverge in a promising, moving new creation from Soulpepper.
You won’t be laughing when this play at Stratford — by star Italian playwright Eduardo De Filippo — ends, writes Carly Maga.
Performances investigate toxic masculinity, misogyny in Scott Wentworth’s direction of Shakespeare play
Shakespeare in the Ruff joins a trend this summer of staging the Bard with women in lead roles.
Along with the enduring appeal of ABBA’s chart-toppers and a good sequined, bell-sleeved jumpsuit, Phyllida Lloyd’s production ages successfully thanks to the performances, writes Karen …
Uncut version of 1903 play, plus Brigadoon and The Ladykillers, coming to theatre fest next year.
With two new streams, Presentations and Labs, annual festival exposes its audiences to ‘the future of performance’.
No need for gender-switching in As You Like It, even in a year full of that tactic, writes Carly Maga.
Darkness flees this production after the first scene, but the comedy that comes after doesn’t entirely succeed, writes Carly Maga.
Finding a talented local with a resumé full of inclusion and collaboration does much to help theatre company move forward and address past criticism, writes Carly Maga.
A new version of the musical about a town devastated by the decline of northeastern England’s shipbuilding industry and the looming closure of the Swan Hunter shipyard is coming in early 2…
Bartlett Sher’s production of the Broadway Classic The King and I, presented in Toronto by Mirvish Theatre, makes a valiant effort to deliver a polished, old-fashioned musical for audience…