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Fiona Byrne and Martin Happer play the developing intimacy between their characters effectively, but the dials don’t go high enough on the hijinks around them, writes Karen Fricker.
Audience buy-in is required to make the design and performance come together in adaptation of C.S. Lewis novel, writes Karen Fricker.
Kaitlyn Riordan stands up impressively to a major acting challenge, playing Pierre and Margaret Trudeau plus a journalist in revival of landmark 1980 show, writes Karen Fricker.
Philippe Ducros’ play is full of intense material, which this Arcstage production amps up several notches, but sometimes it becomes overwhelming, writes Karen Fricker.
Judith Thompson wrote ‘juicy scenes’ for her characters in After the Blackout, in which their disabilities are ‘just a by the way’.
Thalia Gonzalez Kane’s play tells the story of a group of 15-year-old girls who start a sex club.
Early years theatre, a European movement to create stage productions for audiences as young as 2 weeks old, comes to Toronto with WeeFestival, writes Karen Fricker.
40 Days and 40 Nights is clearly personal and important to its mid-career, married creators, but shades of Orientalism and mandatory, intimate audience participation makes it uncomfortable a…
The characters are all generous and pretty harmless, and they’re trying to find their way through the experience of difference while frequently falling on their faces, writes Karen Fricker.
Annual Harbourfront event returns this weekend, with new creations flowing out of new social bonds forged among the gathered artists.
Harold Green Jewish Theatre production tells a familiar newcomer-in-a-closed-world story, set in a women’s ritual bath in Jerusalem, writes Karen Fricker.
Evan Placey’s Girls Like That and Christine Quintana’s Selfie have their roots in real-life stories that involve sexual consent.
Actors have standout moments in Canadian Stage production, but audience is given too much information, writes Karen Fricker.
Performers in show opening Tuesday in Toronto discuss the rewards and challenges of playing the lead in Fun Home.
Play emerged out of Dauda’s recovery process as an alcoholic, but it’s her look at history and culture where the most interesting discoveries lie, writes Karen Fricker.
The play’s inability to put a finger on what goes wrong in its English school setting seems more evasive than intriguing, writes Karen Fricker
Launched in 2016, PlayME podcasts of contemporary Canadian works have since had over 600,000 downloads in 90 countries.
Soheil Parsa’s second staging of the work asks all the big questions.
A new pared-down adaptation of the Victor Hugo classic takes Louise Pitre back to her breakthrough role.
Set in 1920s Ottawa, Hannah Moscovitch’s play adds to an important conversation about gender inequity and female sexuality, writes Karen Fricker.
French-language company established in 1967, which has boosted its audience with English surtitles, unveils its 2018-19 season.
Beatboxer Ball-Zee holds the a cappella event together, but the conceit that he’s manipulating all the others stifles the energy in show’s first half, writes Karen Fricker.
Play about the aftermath of the Trojan War resonates in wake of the fall from grace of former artistic director Albert Schultz.
Métis director Jani Lauzon hopes to change minds about the realities of truth and reconciliation through Factory Theatre production.
Casting an Indigenous and a Black actor as farmers who suppress past trauma reframes Michael Healey’s classic as a parable of colonization, writes Karen Fricker.
Despite strong performances and an adventurous production, elements of After Wrestling leave our critic perplexed.
Hannah Moscovitch’s play focuses fully on a woman’s inner life and her sexuality, anchored by a magnificently realized performance by Maev Beaty, writes Karen Fricker.
Play by David Yee, in which two actors manipulate figurines projected on a screen, explores a Chinese mall in all its cultural, linguistic and generational diversity,
An intermission was axed, songs were cut, a new one was added and a Broadway hit was born. As the Canadian cast of Come From Away makes its Toronto premiere, we talk to the creators about ho…
Play now on at CAA Theatre doesn’t look as lavish as one would hope, but fine performances and a well-paced production do justice to Mike Bartlett’s script.
Sons of Anarchy's Kim Coates stars in Jerusalem, at Streetcar Crowsnest, as a countercultural folk hero who lives in a battered trailer in the forest.