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Ryan Borochovitz
Ryan Borochovitz (he/him) is a Toronto-based dramaturg, director, playwright, and academic. He is currently a PhD Candidate in the Centre for Drama, Theatre, and Performance Studies at the University of Toronto, and holds an MA in Theatre Theory and Dramaturgy from the University of Ottawa. He is the founding artistic director of the (essentially defunct) independent production company, Sad Ibsen Theatre. He currently serves as the co-artistic producer – former literary manager – of Cup of Hemlock Theatre, for whom he produces and occasionally hosts the theatre enthusiasm podcast, The Cup.
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iPhoto caption: Sara Topham in Hedda Gabler at the Stratford Festival. Photo by David Hou.
Gatekeep, gaslight, girlboss: The delight of female rage in theatre
Personally, I support women’s rights and women’s wrongs — especially when it comes to my girl Hedda. And it seems that at least two Ontario directors share my viewpoint, with Hedda Gabler opening twice in the same month at Stratford and at Coal Mine Theatre in Toronto. What makes her story so appealing?
iPhoto caption: Photo by Rick Clifford
REVIEWS: Toronto International Film Festival 2024
A filmed production of an experimental Egyptian opera, a TV series penned by Jordan Tannahill, and the moviemaking debut of Broadway director Marianne Elliott are among the offerings at this year’s TIFF with connections to the world of theatre.
iPhoto caption: Kailin Brown in the Broadway National Tour of Chicago. Photo by Jeremy Daniel.
I’m not a woman, I just play one
“As a performer, my job is to play a character, and if that character is right for me it doesn’t matter what gender they are,” writes non-binary actor Kailin Brown. “What matters is that I can make a difference in someone’s life who can relate to the character, or to me as the actor.”
iPhoto caption: Promotional image from The Tempest: A Witch in Algiers at Shakespeare in the Ruff. Photo courtesy of Shakespeare in the Ruff.
REVIEW: The Tempest: A Witch in Algiers brings new meaning to a classic tale
You may think you know the story of The Tempest, Shakespeare’s shipwrecked saga about wizards, spirits, and nobility on a remote island. But in The Tempest: A Witch in Algiers, playwright Makram Ayache invites new consideration of canonized characters,
iPhoto caption: Starr Domingue and Olivia Sinclair-Brisbane in Something Rotten! at the Stratford Festival. Production stills by David Hou.
Yes, those standing ovations at Something Rotten! are real — just ask Portia and Bea
Two mid-show standing ovations? Really? Yes, really. Or so say the leading ladies of Something Rotten!. For those who’ve spent the summer living under a rock, Something Rotten! (written by...
iPhoto caption: A stock image of Lighthouse Festival Theatre in Port Dover.
Lighthouse Festival Theatre announces 2025 season, curated by incoming artistic director Jane Spence
Lighthouse Festival Theatre, located in Port Dover and Port Colborne, has announced its jam-packed 2025 summer season.
iPhoto caption: Michelle Urbano, artistic director of Crossroads Theatre (formerly Shakespeare in Action).
Following a major rebrand, Crossroads Theatre is redefining summer theatre in Toronto
“If we start to think about the arts as a health service, I feel like that shift in thinking could do a lot for the arts, and a lot for the people of Toronto,” says Michelle Urbano, artistic director of Crossroads Theatre (formerly Shakespeare in Action).
iPhoto caption: Photo by Dahlia Katz.
Soulpepper and Outside the March effectively drown Uncle Walt’s highly manicured public image in acetone, leaving the audience with a grotesque portrait that feels at once comically exaggerated and painfully accurate.
REVIEW: Yes, Bad Roads is hard to watch – that’s the point
Bad Roads is ultimately a play about looking and listening. It’s about trying (and sometimes failing) to be a witness when the world refuses to offer easy answers. It’s certainly not a fun night at the theatre, but if you have the stomach for it, it’s one that’s worthy of your focused, active attention.
Laying The Seagull at Soulpepper’s Feet: In Conversation With Daniel Brooks
"I look to the theatre [as] something that actually takes me away from the moment, for a moment. Not escapism — perspective."
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