Click Here to read the rest of our reviews from Toronto Fringe 2023. The Family Crow: A Murder Mystery (A) Adam Francis Proulx and The Pucking Fuppet Co. have spread their wings for a pun-drenched whodunnit that stands out as a clever and entertaining highlight of this year’s Fringe. The central figure in this saga […]
Click Here to read the rest of our reviews from Toronto Fringe 2023. Frankenstein(esque) (A) Many reimaginings of an iconic work coast on the original’s charm while their own contribution droops off the text, just happy to be there. Silent Protagonist Theatre’s Frankenstein(esque) is a worthy homage to Mary Shelley’s classic but also so much […]
Click Here to read the rest of our reviews from Toronto Fringe 2023. The Camp Campy Campfire Show (A) Bursting with energy, this interactive camp-themed kids show is a barrel of fun. Each character has their own unique foibles and relatable problems to help kids normalize common struggles that might otherwise make them feel isolated […]
Click Here to read the rest of our reviews from Toronto Fringe 2023. Aliya Kanani: Where You From From (A-) Trying to describe Aliya Kanani to a perspective audience member is a fun challenge. The first word that springs to mind is chaotic (in the best way). Once she takes over the stage, she […]
Click Here to read the rest of our reviews from Toronto Fringe 2023. Corporate Finch (A) A moody, twisty drama from playwright Taylor Marie Graham that plays beautifully with space, light, and sound, Corporate Finch was the highlight of our first day at Fringe. It’s as moving as it is scary, anchored by two […]
Originally set to premiere in 2020 after a long development process, it feels as though Britta Johnson & Sara Farb’s musical collaboration Kelly vs. Kelly has been in the “hotly anticipated” category forever. It’s easy to understand why with buzzy proven talents writing the book (Farb) and music & lyrics (Johnson) and all The Musical […]
Though indie theatre is still scrambling to exist, Toronto’s mid-tier theatre scene finally feels well and truly alive again. This April was the first time since early 2020 that there were so many openings that critics had to pick and choose and I’m thrilled to report that I haven’t seen a bad thing all season. […]
The success of Hannah Moscovitch’s new play Post Democracy largely comes down to wether or not Jesse LaVercombe manages to make you think he’s generally a somewhat okay guy. The rest of the production is strong in less crucial ways. Teresa Przybylski’s stylish set has a cleverly critical total lack of character and is […]