REVIEW: Mononk Jules is a powerful exploration of Indigenous Canadian history that asks more questions than it answers
This is a powerful, deeply-felt performance about the treacherous but necessary work of tracing personal and political histories.
This is a powerful, deeply-felt performance about the treacherous but necessary work of tracing personal and political histories.
As a memoir, Charlie Petch’s play has significant power, and the writing — laced with occasional jaunts into poetry — often resonates.
This month, New Zealand’s Indian Ink Theatre Company brings its semi-improvised comedy Mrs Krishnan’s Party to Meridian Arts Centre in North York.
As a new parent, I was thrilled at the prospect of returning to the theatre and introducing my baby to what, at one time, used to take up two or three nights a week of my life.
This buzzy production of Stoppard’s classic is the ride of a lifetime, so strap in and hold onto your hats.
Both pieces in the winter double bill are par for the course with TDT’s recent artistic output: unabashedly queer and consistently experimental.
Coal Mine Theatre’s first-ever world premiere generates an otherworldly atmosphere and luxuriates in the Dionysian with glorious style.
In Shakespeare BASH’d’s intimate, stripped-down production of The Two Noble Kinsmen, we discover why even lesser Shakespeare is still worthwhile in the ways it explores different kinds of love and desire.
As the production gradually unveils its splendours, the company’s impressive capacity for magic becomes clear.
If we’re not building a theatre that can hold the contradictions of our time, let alone the contradictions that make humans human, we probably shouldn’t be making theatre.
At its core, Shadow is less about the threat of AI and more about how deeply ableism affects us all — even those of us who are not disabled.
It’s an absolute pleasure to see art in its process phase, in motion, unfolding, and awaiting input from an audience.
From the very beginning of playwright Matei Visniec and director Siavash Shabanpour’s Migraaaants, the show’s narrator is domineeringly captivating.
A pair of one-man plays by Daniel MacIvor, now playing at Factory Theatre, explore what it means to watch.
Considering how dangerous the play still feels on the page, the bottled-up nature of Craig Pike’s production left me disheartened.
By laughing at the mention of Trump, whose ethnic nationalist and white supremacist ideologies still reverberate through global policies and politics, what precisely are we signalling?