In Two Birds One Stone two friends, one Jewish, one Palestinian, tell their stories and try not to get too political by Carly Maga - Theatre Critic

In the play, Greenblatt embarks upon a birthright trip to Israel. Jabr, feeling oppressed in Nablus, seeks several paths out of Palestinian territory, writes Carly Maga.

Shaw Festival’s Chekhov-inspired familial tale builds a legacy of its own by Carly Maga - Theatre Critic

Sarena Parmar’s first produced play, The Orchard (After Checkhov), will frame future viewings of Checkhov’s original work.

The Baroness and the Pig’s education story should’ve been held back by Carly Maga - Theatre Critic

The friendship at the heart of the story isn’t believable, dooming this Shaw Festival production, writes Carly Maga

Illusions, mind-bending and fine dining meld into a magical show by Carly Maga - Theatre Critic

Scottish illusionist Scott Silven awes in At the Illusionist’s Table, which runs in Casa Loma twice daily throughout the run of Luminato.

As Stratford’s Prospero, Martha Henry has firm grasp on her magic by Carly Maga - Theatre Critic

The Phantom of the Opera’s charm is unshakable three decades later by Carly Maga - Theatre Critic

The beloved story is back in Toronto at the Princess of Wales Theatre.

To Kill a Mockingbird digs for a deeper Atticus Finch at Stratford Festival by Carly Maga - Theatre Critic

Great performances from adults and kids alike elevate a production that doesn’t quite reach its noble goal of updating Harper Lee’s classic story for 2018.

An Ideal Husband’s lightheartedness, choreographed transitions make for enjoyable take on Oscar Wilde’s comedy by Carly Maga - Theatre Critic

Director Lezlie Wade’s mantra at the Stratford Festival this year seems to be clarity, precision and fun. Despite the gravity of the story, her production of the 1889 play keeps its light …

Long Day’s Journey into Night’s excellent cast can’t quite quicken its pace at Stratford Festival by Carly Maga - Theatre Critic

The first act crackles in Miles Potter’s production, but then the fog of Eugene O’Neill’s moody masterpiece starts to set in, writes Carly Maga.

Gregory Prest masters the high art of playing the fool in Soulpepper’s La Bête by Carly Maga - Theatre Critic

David Hirson’s 1991 rhyming comedy becomes more than a cautionary tale in Tanja Jacobs’ gender-balanced production.

Music Music Life Death Music blends story with song in new ‘absurd’ production by Carly Maga - Theatre Critic

One Little Goat’s latest production keeps in line with theatre’s penchant for off-kilter stories and speeches, trading realism for poetic rhythms and metaphors.

There’s a disconnect between frivolous and sombre moments in Shaw Festival’s Grand Hotel by Carly Maga - Theatre Critic

Production about strangers intersecting at a luxury hotel in 1928 has an almost lethal dose of cynicism, writes Carly Maga.

LULU v. 7 reimagines retrograde treatment of women’s sexuality by Carly Maga - Theatre Critic

In engaging with Frank Wedekind’s work, co-creators Susanna Fournier, ted witzel and Helen Yung work through anger to find love on the other side.

Annie’s optimism for ‘Tomorrow’ aims for relevance today by Carly Maga - Theatre Critic

Though the plucky orphan girl’s sunny disposition might clash with modern cynicism, Annie is still the earworm musical fans know and love, writes Carly Maga.

Evan Placey’s play Girls Like That is intoxicating but also frustrating by Carly Maga - Theatre Critic

With all its wonderful elements, it’s a shame Placey ends the play with a sombre estimation of female friendship

London’s Grand Theatre has grand ambitions by Carly Maga - Theatre Critic

Artistic director Dennis Garnhum of the London, Ont., theatre keeps going bigger and better. Up next: seats have been removed to recreate a racetrack for Chariots of Fire.

There’s no place like Fun Home by Carly Maga - Theatre Critic

In a new Canadian production, the heartfelt musical brings Alison Bechdel’s memoir about growing up in a funeral home vividly to life, writes Carly Maga.

This is an identity play that leaves you wondering whose identity it’s about by Carly Maga - Theatre Critic

Jivesh Parasram’s Take d Milk, Nah? speaks to the divide between the mainstream and the marginalized in a bold way.

Category E’s performers and script make for potent cage match by Carly Maga - Theatre Critic

Director and actors dig into playwright Belinda Cornish’s creation, complete with its broad animal-experimentation metaphor.

Here’s Storefront Theatre’s response to sexism, racism, homophobia and more: the Feminist F--k It Fest by Carly Maga - Theatre Critic

New theatre festival takes on reproductive health, sexual harassment and assault, sexist and racist stereotypes and more April 11 to 22.

Confusion stifles the intentions of Mixie and the Halfbreeds by Carly Maga - Theatre Critic

The script aims to address issues of mixed identities, but it moves too quickly and leaves the audience behind.

Two women, two views about mixed race identity. Together they created Mixie and the Halfbreeds by Carly Maga - Theatre Critic

Adrienne Wong and Julie Tamiko Manning put their differing views of their mixed heritages into their play, opening April 3 in Toronto.

This Les Misérables without music has powerful moments, but others miss their mark by Carly Maga - Theatre Critic

Overall, the production is missing the typical Theatre Smith-Gilmour wit and physical invention, writes Carly Maga.

Desire for comedy trumps message in Soulpepper adaptation of Orwell classic Animal Farm by Carly Maga - Theatre Critic

Anthony MacMahon’s version of the middle-school staple, directed by Ravi Jain, turns George Orwell’s drama into a comedy. Despite some strong performances, the play veers into unwieldly …

Jani Lauzon’s version of The Monument is about more than a rapist and his saviour by Carly Maga - Theatre Critic

Mejra’s decision to save Stetko’s life and make him her dependant reflects how Canada’s Indigenous people must continue to live with systems and people that hurt them.

The confessions of 1920s housewives are at the heart of What a Young Wife Ought to Know by Carly Maga - Theatre Critic

Playwright Hannah Moscovitch finds herself increasingly drawn to authentic stories about female experience.

Nina Lee Aquino and her cast bring new perspectives to Canadian theatre classic The Drawer Boy by Carly Maga - Theatre Critic

Filipino-Canadian director cast Black and Ojibwa actors in Theatre Passe Muraille production about an actor living with two farmers to research a play.

Cottagers and Indians’ drama by the lake could use higher stakes by Carly Maga - Theatre Critic

Review

George F. Walker's Fierce has his signature humour and snappy dialogue but needs more development by Carly Maga - Theatre Critic

Short play about two women, a psychiatrist and her patient, bonding over their troubled pasts feels too contrived, writes Carly Maga.

Come From Away takes off in Toronto production by Carly Maga - Theatre Critic

With sustained critical praise and box office draws and the official seal of approval from our U.S. neighbours, the opening matinee audience cheered with unabashed pride, writes Carly Magda.

Kim Coates makes a remarkable return to the stage as Rooster Byron in Jerusalem by Carly Maga - Theatre Critic

Some references in Jez Butterworth's play about the state of England didn't register, but its magical realism fits well on the otherworldly set created inside Toronto’s Streetcar Crowsnest.