4,600 stories from Toronto Star
Deepening, twisting story of self-help entrepreneur is closing soon, and theatre fans looking to be made uncomfortable should check it out.
Songs, jokes and meta-jokes in an intimate space are just what this time of year needs, writes Karen Fricker.
Trying to get two Iranians and a Syrian into Trump-era America to perform a drama that is inherently sympathetic to refugees was, to put it mildly, daunting. But the producers did not give u…
Slava's cause is coming to clown: the veteran performer Slava Polunin makes the case for the spirit his Academy of Fools company brings to Bluma Appel Theatre this month with Slava's SnowSho…
Powerful direction and design choices, a committed solo performance and well-advised brevity make a strong impact.
After several weeks of controversy, Buddies in Bad Times is back to the business of its 40th anniversary season with a welcome revival of this 2012 hit.
Petty, who's staging The Wizard of Oz, sees pantos as a response to the negativity coming from the U.S. while Torr, whose Torrent Productions is presenting Cinderella, touts pantos for bring…
As charming as the concept is, playwright Duncan Macmillan's focus on a list of brilliant things skirts over the nitty gritty of his own story, and having audience members read off cue cards…
Andrew Lloyd Webber's musical adaptation of the hit film is too long, yet it gets better as it goes along, thanks to an impressive cast of young talent who play their own instruments, writes…
Gilbert claims company is no longer a gay and lesbian theatre, but Carly Maga writes that the controversy isn't really about Gilbert, it's about addressing systemic inequality and deeply ing…
Pizano treats both her own history and her parents' as well as the emotionally complicated issue of euthanasia with softness and humour, writes Carly Maga.
With her sophomore effort, the young playwright show she has lots to say, and she's going to say it loud and fast.
The touring version of the new musical doesn't always work, but the Oompah Loompahs are a treat, writes Carly Maga.
Tickets for new performances of the beloved Canadian musical go on sale Nov. 24.
Siphesihle November, Siphe for short, is the only corps de ballet member dancing the demanding lead role of Puck in the National Ballet's production of The Dream.
In Like Mother, Like Daughter, real-life moms and daughters ask each other sometimes deep questions. Themes like the sacrifices that moms make rang true for Carly Maga's mother.
Longtime Toronto arts manager leaves Crow's Theatre, where she helped spearhead the campaign to build Streetcar Crowsnest.
Take the 17th-century story The Changeling, add melodrama, interplanetary warfare and lasers, and an esthetic debt to Star Trek and you have this Eldritch Theatre soap opera in space, writes…
There is a disconnect between the wild imaginative power of Monkey's adventures and the limited material means through which they're conveyed, writes Karen Fricker.
We Keep Coming Back is part therapy session, part ethnography study, part storytelling, and part high-tech analysis of the many ways trauma embeds itself into family, national, and personal …
R.H. Thomson is in bravura form as McLuhan, but play's female actors are sorely underused, writes Karen Fricker.
Middletown, now at Toronto's Streetcar Crowsnest, shows off authorial voice found, the writer says, after exhausting work on Wall Street.
Michael Rubenfeld took mother Mary Berchard, a daughter of Holocaust survivors, to Poland to work some things out in their relationship. He came back with a documentary play.
Creator Hofesh Shechter sees humanity's end coming within a century, but new work coming to the Bluma Appel theatre this week is, he says, full of communion.
The National Ballet of Canada's dancers acquit themselves most honourably, with Lunkina giving a detailed, insightful performance that earned one's sympathy for a complex character, writes M…
