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For performer Sky Gilbert, trigger warnings are ‘dangerous for art.’ The Coal Mine Theatre, on the other hand, plans to change what it stages to avoid triggering audiences, writes Karen …
More than a glimpse at the inner workings of leveraged buyout schemes, production offers a vantage on the mentality of those whose world is defined by them.
Jenny Brizard soars in title role as four theatre companies pool their efforts for a demanding play that should be produced more often.
Bigre has made people laugh across Europe, but transporting it to Toronto brings an element of risk for Pierre Guillois, writes Karen Fricker.
New play is part of Lisa Ryder’s efforts to rupture societal taboos around such experiences, which are widely shared and yet still not much talked about in the mainstream.
Sina Gilani’s rewriting of Euripides’ Iphigenia at Aulis is fluid and mature, but the production’s talkiness sometimes gets in the way of his ideas, writes Karen Fricker.
Cast members get individual chances to shine in show dwelling on life in Toronto now, notably the TTC and the real-estate madness.
This isn’t Ibsen’s Nora but the one from Lucas Hnath’s ‘cheeky’ reimagining of the characters in A Doll’s House, Part 2.
Stringing together one research example after another and interspersing them with vignettes about how hard it is to make art do not make a particularly meaningful contribution to the convers…
Venezuelan-Canadian Augusto Bitter’s show at Passe Muraille marks him as a talent to be watched.
Playwright Lianna Makuch and her team have done a remarkable job tying together a journey in search of family roots with thoughtful commentary on present-day, war-torn Ukraine, writes Karen …
Australian show created by and for women of colour to showcase their story is in Burlington this weekend and Toronto in April
Ambitious choice by upstart theatre company to use jail as venue undermines the considerable gifts of cast.
Jocelyn Bioh’s School Girls deals with serious issues like shadism but also ‘the loudness, the humour, the fun of African women,’ the actors tell Karen Fricker.
‘Incorporating dance into complex text is like walking a tightrope,’ says choreographer Dottor of her work with playwright and director MacKenzie.
Tense climate doesn’t much change in show until March 3 performed at an intriguing Toronto site.
Accompanied by U of T professor Kathleen Gallagher, Kushnir interviewed young people in five countries for play that opens this week at Streetcar Crowsnest.
First presented in a workshop version in the 2015 RISER Project, Adam Paolozza’s Paolozzapedia still has a strong work-in-progress vibe, writes Karen Fricker.
The world premiere play Mules, about a first-time drug smuggler (Eva Barrie), holed up in the washrooms at Vancouver Airport with her trafficker (Anita Majumdar), waiting for the goods to re…
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.