Be sure to check out our Full List of Fringe Reviews The Comedy of Errors (A) Shakespeare BASH’D bows out of the Fringe Festival with a fast and slick final show that is the most flat-out successful play I’ve seen so far at this year’s festival in terms of pulling off what it sets out […]
I have just one rule about adaptations and that one rule makes or breaks my assessment of said adaptation’s worth, every time. I need there to be a reason it’s been adapted. In adapting Victor Hugo’s novel into the Schönberg & Boublil musical, Les Miserables gains the group-think momentum of a rousing war anthem and the haunting ache […]
From June 29 to July 10, seven of our Toronto staffers- Kelly Bedard, Duncan Derry, Kymberley Feltham, Lisa McKeown, Beth McNeil, Lorenzo Pagnotta and Whitney Richards- reviewed 100+ plays in this year’s Fringe Festival. Special thanks to the Fringe Staff & Volunteers (especially Will King in the press office who handled all our ticket requests) […]
Outdoor performances in London can be a gamble. If it rains, all the audience cares about is that they were in a dry, covered space. Luckily, Iris’ Theatre production of Much Ado About Nothing is so entertaining that, even with a little rain, the show must go on and the audience is not too annoyed […]
Despite my love for all things Shakespeare, it has been over ten years since I last saw A Midsummer Night’s Dream performed live.* Therefore, Hamlet Isn’t Dead’s intimate production of A Midsummer Night’s Dream at Westbeth Artists Community was an enjoyable re-introduction to one of Shakespeare’s most beloved comedies with a strong, energetic ensemble of […]
A mixture of confusion and admiration is felt throughout Iqbal Khan’s production of Macbeth at Shakespeare’s Globe. The admiration is due to the quality of the acting; the confusion has its roots in the particular choices on the director’s part. The first point to mention is the fact that the Macbeth couple has a little […]
Set in Newfoundland in 1985, director Jillian Keiley’s production of Shakespeare’s irresistible pastoral is simple, lighthearted and creative. A bare stage gets its sense of place from the actors (designer Bretta Gerecke‘s comical ’80s costuming, accents of varying effectiveness) and the audience. The crowd is armed with grab bags full of participatory aids like bleating […]
Shakespeare can sometimes seem unapproachable to a younger audience because it is difficult to understand the language…