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Director Joel Greenberg’s production at CAA Theatre of J.T. Rogers’ play about a daring real-life peace mission overcomes slightly thin characterizations.
The actors who star in the hit musical set in Gander, Newfoundland, got a chance to meet some of the real people they play.
Ho — Ophelia in Why Not Theatre’s Prince Hamlet and the author of Iphigenia and the Furies — gravitates toward the Greek tragedies because they were his first experience of theatre, he…
There is valuable information in this theatre production about Japanese Canadian experiences, although the delivery can be confusing, writes Karen Fricker.
Red ink has dogged the Toronto theatre company for 30 years but now, thanks to an American ‘turnaround king,’ artistic director Brendan Healy says it will soon be able to think bigger.
Nam Nguyen’s Pho is a hilariously energetic look at Vietnamese culture while Julie Phan’s Fine China looks at the painful relationship between a father and his daughters, writes Karen Fr…
In Soulpepper’s first original musical, based on Gertrude Stein’s The World Is Round, the actors and friends play 9-year-olds.
Characters could be considered representative of a crisis in Western culture around destructive and self-destructive behaviours, but that theme plays out perhaps too much in deep background,…
The second play in Susanna Fournier’s Empire Trilogy is very beautiful and deeply unpleasant, writes Karen Fricker
Critic Karen Fricker catches and reviews half of the dozen shows in the festival during a packed weekend.
In taking this story on for the indie company Saga Collectif, playwright Ho Ka Kei grappled with the question of where he and his collaborators, mostly queer folks and people of colour, coul…
The anchor of the play is Philip Riccio as Clark, who through understated but profound character work draws the audience into Clark’s psyche and his dilemma, writes Karen Fricker.
It gets a bit overextended at the end but the Toronro production of The Play That Goes Wrong delivers on its promise: a laugh-filled night where nothing goes right.
Theatre professionals offer their thoughts on the state of the industry in Toronto — the changes that have come and those that are still needed.
Orphan Black stars aims to ‘honour and respect’ Faye Dunaway’s turn as Diana Christensen in the 1976 film version, but also tries ‘to own it for myself,’ she tells the Star’s Kar…
Circus show by 7 Fingers at CAA Theatre uses performers’ relations as inspiration for their top-notch, wow-factor feats.
The Vancouver-born actor passed his audition ‘with flying colours’ to pay the title role in the Toronto production of Broadway smash Dear Evan Hansen.
With Cirque du Soleil and 7 Fingers opening shows here this week, and Champions of Magic next week, Karen Fricker looks at the appeal of this style of entertainment.
A piece of advice for audiences is to pay attention right off the top, as information provided then informs everything that follows.
Songs, jokes and meta-jokes in an intimate space are just what this time of year needs, writes Karen Fricker.
Powerful direction and design choices, a committed solo performance and well-advised brevity make a strong impact.
After several weeks of controversy, Buddies in Bad Times is back to the business of its 40th anniversary season with a welcome revival of this 2012 hit.
Petty, who’s staging The Wizard of Oz, sees pantos as a response to the negativity coming from the U.S. while Torr, whose Torrent Productions is presenting Cinderella, touts pantos for bri…
Andrew Lloyd Webber’s musical adaptation of the hit film is too long, yet it gets better as it goes along, thanks to an impressive cast of young talent who play their own instruments, writ…
There is a disconnect between the wild imaginative power of Monkey’s adventures and the limited material means through which they’re conveyed, writes Karen Fricker.
R.H. Thomson is in bravura form as McLuhan, but play’s female actors are sorely underused, writes Karen Fricker.
Middletown, now at Toronto’s Streetcar Crowsnest, shows off authorial voice found, the writer says, after exhausting work on Wall Street.
Michael Rubenfeld took mother Mary Berchard, a daughter of Holocaust survivors, to Poland to work some things out in their relationship. He came back with a documentary play.
Director Ken Gass’s new approach with female actors of varied cultural and ethnic backgrounds comes across as projecting the experiences of others.
YPT’s version of the beloved musical also takes a welcome approach to casting, with Vanessa Sears playing Mary with winning crispness, writes Karen Fricker.
Surprise, uncertainty, even risk are part of the experience for those who take the theatrical voyage that begins in Barrie, Ontario and ends in London, England three days later.