539 stories by "Karen Fricker - Theatre Critic"
Stephen Fry's account of the Trojan War is typically gripping, but Karen Fricker wishes for more personal commentary on the ancient mythology he knows so well.
"He's taken his love of these myths and translated it and helped me understand why they're amazing," marvels our critic's companion for part 2 of her Mythos diary.
Unlike some of his ancient Greek source material, Stephen Fry really knows how to spin a yarn, writes Karen Fricker in part 1 of her Mythos trilogy diary.
Donna Feore's production brings top-notch musical theatre talent to the plate.
Gender and queer desire take spotlight in this adventurous spin on Shakespeare's classic mistaken-identity story.
Two acclaimed productions kicking off Toronto's Luminato Festival, RIOT and Swan Lake/Loch na hEala, are brash representations of modern-day Ireland's break from tradition.
The racism of 1935 is still happening today and young theatregoers need to talk about it, says Nigel Shawn Williams, directing for the Stratford Festival.
Just one night after a bomb threat cancelled season opener The Tempest, Donna Feore's staging of this beloved 1957 musical captivates the audience, writes Karen Fricker.
Soulpepper Theatre production demonstrates that the lines of truth and fiction, goodness and evil, can never be drawn definitively, writes Karen Fricker.
The actors in How He Lied to Her Husband don't go full-tilt at the farce while acting styles vary in The Man of Destiny, writes Karen Fricker.
Veteran performer Kimberley Rampersad tries a Shaw Festival feat: onstage in one show, directing another.
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.
