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Photo of Kelly Clipperton in Let's Assume I Know Nothing, and Move Forward From There. 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.

By jonnie lombard

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.”

By Nathaniel Hanula-James
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.

By Liam Donovan
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.

By Alisa Palmer
Production photo of Canadian Stage's Fat Ham. 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.

By Stephanie Fung
Production photo from The Merchant of Venice at Shakespeare BASH'd. 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.

By Ilana Lucas