She Stoops to Conquer, directed by Martha Henry, also has an unexpected introduction but this time the surprise comes, not from the director's departing from the text, but from her returning…
The 2015 Dora Mavor Moore Awards were presented tonight at Harbourfront Centre, honouring the best of Toronto's stage scene
Robert Cushman sifts through the nominations and makes his picks for the Dora Awards
Stratford lends considerable heft to the Bard's not-quite-Shakespearean 17th-century-crowd-pleaser
The Apprenticeship of Duddy Kravitz: The Musical boasts a proficient score and some excellent performances, but the story's point has been blunted and, consequently, its energy sapped
Dilworth's production is beautiful, sensitive to every modulation in the text
Kinky Boots sashays into Toronto and it's got a message or two to share
There's probably no classical ballet that tests an entire company's technical mettle more than The Sleeping Beauty
Tutus and tulle twirl on stage in Sleeping Beauty at the National Ballet of Canada
To cut to the chase: Hay is the angriest Katharina I have ever seen
Jillian Keiley's production of The Diary of Anne Frank is very much a Production
Although "Mordecai Richler" and "musical theatre" may seem anathema to one another, when the Segal Centre officially opens its singing adaptation of The Apprenticeship of Dudday Kravitz on J…
Sparks fly onstage, flicker offstage at Mirvish Theatre's Once mass blind date event
The show Titanic wipes the film Titanic off the face of the ocean
Climb Ev'ry Mountain," from The Sound of Music, bores me to metaphorical tears; "You'll Never Walk Alone," from Carousel, moves me to real ones
Eugene de Kock at first doesn't understand why the psychologist Pumla Gobodo-Madikizela has come and compares their encounter to 'The Silence of the Lambs'
Today's top choreographers are pushing the boundaries with provocative works that make the audience work as well
It's a terrific thriller, with its suspense, along with its wit, played to the limit in Miles Potter's scintillating Stratford production
The most striking thing about this play full of conflict is that it has no unsympathetic characters, no evil people: only evil spirits
There is an extraordinary freshness about the new Hamlet at Stratford, the best Shakespeare production on the main Festival stage since the last Hamlet at Stratford
Fourteen years later, Goudie's role at the Gander airport has gone from being a part of history to a part in a play, as her story is featured in Come From Away
When the Shaw Festival is good, it's very very good: see The Lady from the Sea (and, with a couple of caveats, Sweet Charity). When it's bad, see, or don't, Peter and the Starcatcher
What's extraordinary about the Shaw Festival's production is how well it works without the Fosse staging
The Shaw Festival's opening production of You Never Can Tell begins as a pain and ends as a delight
This, then, is a bedroom farce in which nobody gets any sex and hardly anybody gets any sleep