539 stories by "Karen Fricker - Theatre Critic"
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.
Play's racial themes are all too relevant, and it gathers steam in the second half, writes Karen Fricker.
There's also beauty and humour in Jackie Maxwell's staging of Stephen Karam's play, but size of the theatre keeps audience at a distance.
New play at Passe Muraille can't reconcile its dramaturgical impulses or the directions in which the story heads, but the characters and their experiences are fresh and intriguing, writes Ka…
Five instructors offer clear solutions to help make school, and professional theatre, a safer space for young actors.
Kat Sandler's latest creation drops us into the aftermath of a police shooting and we find not only thoughtful drama but rip-roaring comedy.
Progress curators explain why local audiences should see work like Race Cards, Dis Merci and LOST in TRANS.
Theatre company has not yet begun search for successor to Matthew Jocelyn, who leaves in June.
Genevieve Adam's Dark Heart has written seven rich characters whose lives are revealed to be intertwined in fascinating and often quite unexpected ways, Karen Fricker writes.
