Incredibly acted and written in a way that is both engaging and unique, Obsidian Theatre Company and Tarragon Theatre showcase an honest, vulnerable, funny, painful and real look at relationships. Relationships are hard. I know, what a revelation, right? But it is true and that work can make or break people. It can create […]
A Fear And Loathing-esque road trip journey is elevated and driven by powerful and heartfelt performances for a story about friendship, history, love, and regret. D. Halpern’s story starts off with a return to nostalgia through camcorder video tapes. Well edited and shot by designer Seamus Easton, the beginning montage evokes feelings of past […]
The National Ballet of Canada’s 2025/26 season is off to a strong start with a pair of contrasting productions that showcase the company’s range and up-and-coming stable of talent, though one is far more inspiring than the other. First at bat was what’s sure to be the season MVP (I saw it the night […]
Shrek the Musical (Young People’s Theatre) Young People’s Theatre’s production of Shrek the Musical is lean, green, and utterly joyful. It’s one of the biggest productions in the company’s 60-year history and that investment pays off with a strong ensemble, William Layton’s vibrant set design, and an overall high standard of production that could easily […]
The Musical Stage Company’s Uncovered series is a staple on Toronto stages. Each instalment of the theatre-y concert/concert-y theatre fundraiser famously reinterprets a different massive artist (or artists)’s songbook with the help of big name and up-and-coming talent. The central recipe still works: great singers (at least a couple each year who are too big […]
Dissonant Species (written by Michel Gordon Spence and Heather Marie Annis) sings a story about trying to understand. Trying to understand music, trying to understand sound, trying to understand people. Like a jumbled up music sheet with various timings and key changes and sounds with no set patterns. It is a piece that drums an […]
The trouble with adapting most children’s books is that they are very light on plot. Niagara’s Carousel Players’ two-person production of Where the Wild Things Are (originally adapted for the stage by TAG Theatre in Glasgow) suffers from this problem- it’s only 65 minutes long and still feels like they’re filling for time. What felt […]
When we watch Christoph Willibald Gluck’s Orfeo ed Euridice at the Canadian Opera Company, we are offered more than a simple narrative — we’re invited into a space of ritual and reflection. Christophe Gayral’s staging (originally conceived by Robert Carsen in 2011) evokes how I imagine an ancient Greek tragedy performed: stripped of excess, yet […]