Intermission Magazine Home
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Against a bloody backdrop, Trident Moon pays homage to the power of resilience
Playing at Crow’s Theatre and set during the 1947 partition of India, the intense fictionalized drama offers a graceful depiction of several women’s high-stakes struggle to resist.
iPhoto caption: Photo by Olya Glotka.
REVIEW: At Factory Theatre, Kelly Clipperton’s new solo show transforms memory lane into a catwalk
Supported by Naomi Campbell’s glamorously grounded direction, which glides over the keys of sharply contrasting emotional scales, Clipperton paints a quippy, unapologetic, nostalgically referential portrait.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Against a bloody backdrop, Trident Moon pays homage to the power of resilience
Playing at Crow’s Theatre and set during the 1947 partition of India, the intense fictionalized drama offers a graceful depiction of several women’s high-stakes struggle to resist.
iPhoto caption: Photo by Olya Glotka.
REVIEW: At Factory Theatre, Kelly Clipperton’s new solo show transforms memory lane into a catwalk
Supported by Naomi Campbell’s glamorously grounded direction, which glides over the keys of sharply contrasting emotional scales, Clipperton paints a quippy, unapologetic, nostalgically referential portrait.
Alan Cumming and Ari Shapiro promise to hold nothing back in thoughtful but naughty cabaret
“Cabaret is like a smorgasbord,” says Cumming ahead of the show's engagement at The Rose in Brampton. “You can turn on a sixpence. [It’s about] shocking you with the extremes of what might happen. I think we certainly live up to that.”
iPhoto caption: Photo courtesy of Grand Theatre.
London’s Grand Theatre unveils 2025-26 season, including three musicals
The Grand Theatre has announced its six-show subscription season, which features three musicals, a pair of comedies, and the winner of the 2024 Pulitzer Prize for Drama.
Reviews
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Against a bloody backdrop, Trident Moon pays homage to the power of resilience
Playing at Crow’s Theatre and set during the 1947 partition of India, the intense fictionalized drama offers a graceful depiction of several women’s high-stakes struggle to resist.
iPhoto caption: Photo by Olya Glotka.
REVIEW: At Factory Theatre, Kelly Clipperton’s new solo show transforms memory lane into a catwalk
Supported by Naomi Campbell’s glamorously grounded direction, which glides over the keys of sharply contrasting emotional scales, Clipperton paints a quippy, unapologetic, nostalgically referential portrait.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: In Canadian Stage’s Fat Ham, revenge is a dish best served smoked
Fat Ham is self-aware of its nature as an adaptation, twisting the audience’s familiarity with both Hamlet and Blackness to disrupt their assumptions of who these characters are as people.
iPhoto caption: Photo by Kyle Purcell.
REVIEW: How Shakespeare BASH’d transformed The Merchant of Venice into a tense, layered tragedy
Julia Nish-Lapidus’ recently closed production sensitively explored the issues raised in Mark Leiren-Young’s Playing Shylock without purporting to offer any answers.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: The Secret to Good Tea balances poetry and humour at London’s Grand Theatre
This co-production with National Arts Centre Indigenous Theatre offers deeply personal insights into under-acknowledged aspects of Canada’s colonial past and present.
iPhoto caption: Table for Two (L) photo by Dahlia Katz, Blind Dates (R) photo by Jae Yang.
REVIEW: Table for Two and Blind Dates expand our understanding of love
Both productions suggest that the most important love story is the one we’re all still writing: the journey of embracing ourselves and our experiences.
Spotlight
iPhoto caption: Aurora Browne for Intermission Magazine. Photo by Dahlia Katz.
“It’s a joy just to be in the room with a bunch of people,” says Browne, who returns to the stage this fall in The Bidding War at Crow’s Theatre. “I love working. I love theatre. I love the whole process. I love being at the read. I love the coffee and the rehearsal. I love the smell of the theatre. I love the feeling of opening night.”
iPhoto caption: Norm Foster in an undated headshot.
“I'm really proud that people want to see my work and want to see my new stuff,” says Foster, whose new play "Lakefront" plays at Lighthouse Festival Theatre through the end of the summer. “That makes me want to keep writing. Whenever I think, ‘Oh, maybe I’ve written my last play,’ I go, ‘No, I think I've got a few more in me. Let's keep going.’”
iPhoto caption: Vanessa Sears for Intermission Magazine. Photo by Dahlia Katz.
“If I want to be the most expansive, detailed, versatile artist I can be, the only way to do that is to keep learning, questioning, exploring, and working,” says Sears, currently starring as Juliet in the Stratford Festival’s production of Romeo and Juliet. “If that’s not where the open doors are, then I will go elsewhere.”
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Artist Perspectives
iPhoto caption: Set design by Camellia Koo,
Costume design by Judith Bowden,
Lighting design by Leigh Ann Vardy,
and photo by Dahlia Katz. Features Samantha Hill and Amaka Umeh.
A story with no expiry date: Adapting Fall On Your Knees
At this critical political juncture, as so many forces in the world try to mute and silence women, our Canadian stories merit our advocacy and fervent attention.
Armchairs, tattoos, and an online theatre magazine
When I started at Intermission, my world was limited to the confines of an armchair. Arts journalism was a high it felt dangerously fruitless to chase. The life stretched ahead of me was amorphous and frightening, a chasm filled with hand sanitizer and immigration concerns. It was worth crying over a spilled kombucha and scrubbing at the stain.
iPhoto caption: Production still from The Nutcracker courtesy of the National Ballet of Canada.
Why should you go to the ballet?
My childhood memories of learning to dance were front and centre for me when I attended opening night of The Nutcracker, performed by the National Ballet of Canada at the Four Seasons Centre for the Performing Arts.
iPhoto caption: Photo by Grace Mysak.
Want to see a magic show about race? Wait, what?
You’d be forgiven for the double-take. It’s a fairly common reaction when I tell folks about my work as a magician.
Why I’m tired of cripface in Toronto theatre
Cripface is when an able-bodied, or able-passing, person performs a disabled experience that isn’t their own. Local theatre companies large and small, indie and established, have engaged in this practice.
iPhoto caption: Writer and theatre artist Sophie Rivers in Yellowknife, N.W.T.
What can Toronto theatre learn from Yellowknife?
Growing up in Toronto, the Northwest Territories were always a distant idea, a place I knew only from colouring in elementary school maps. But over the summer, I came to see Yellowknife in a different light.