It's rare to see an hour-long show so affecting that encompasses hundreds of years, many miles and several generations but feels intimate, immediate and personal, writes Carly Maga.
Donaldson, a long-time collaborator with the feminist company, takes over from Kelly Thornton in May.
The relationship in this play about a First World War romance would border on the almost manipulatively saccharine if not for the chemistry between the real-life couple playing the leads, wr…
There is valuable information in this theatre production about Japanese Canadian experiences, although the delivery can be confusing, writes Karen Fricker.
The Tapestry Opera-Theatre Passe Muraille co-production has spiky-yet-musical score with clever ensemble singing, and there's no place else you can hear singers handle lyrics like "those Che…
The show about love, money and how we invest in relationships is part of the Progress Festival of international work, writes Carly Maga.
Alvin Ailey Dance Theater launches its 60th anniversary tour at Toronto's Sony Centre amid ongoing racial bigotry against the Black community.
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.
The co-founder with Daniel MacIvor of da da kamera was most recently part of the leadership of Canadian Stage.
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 Fricke…
One has to surrender to a narrative that doesn't always make sense, but the Soulpepper cast and its warm heart make it easy to overlook the faults of this new musical, writes Carly Maga.
In Soulpepper's first original musical, based on Gertrude Stein's The World Is Round, the actors and friends play 9-year-olds.
Jeanine Durning's new version of This Shape, We Are In for the Toronto Dance Theatres involves every dancer in its creation and every audience member in the experience.
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,…
Weyni Mengesha and Emma Stenning are putting Soulpepper Theatre's troubles behind it and want to build a company in which everyone's voices are heard, they tell Karen Fricker and Carly Maga.
The Great Hall's stateliness is fitting for a rendezvous with rich, powerful and mysterious Count Dracula, but the written text needs improvement, writes Carly Maga.
The second play in Susanna Fournier's Empire Trilogy is very beautiful and deeply unpleasant, writes Karen Fricker
The National Theatre School Festival, formerly known as the Sears Drama Festival, was founded in 1946.
Fournier was beginning to feel her trilogy of plays about a fictional imperial civilization was 'unstageable,' but a New Chapter grant helped kick-start a project that includes The Scavenger…
Critic Karen Fricker catches and reviews half of the dozen shows in the festival during a packed weekend.
Damien Atkins' one-man show brings a lot of low-budget creativity to framing his colourful tales, though there's no clear resolution to the mystery here.
Matthew MacKenzie's followup to the award-winning Bears gives us a sometimes alienating journey, as two couples cope with the aftermath of the Fort McMurray fire, writes Carly Maga.
It's not even clear that the writer of Nightwood Theatre's production of Grace at Streetcar Crowsnest, directed by Andrea Donaldson, was present at Thursday's opening night, since no one kno…
Immersive theatre has been arguably the biggest stage movement of the last decade, but its purveyors worry the word is starting to lose its meaning, writes Carly Maga.