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Liam Donovan
Liam is Intermission’s publishing and editorial assistant. Based in Toronto, his writing has appeared in Maisonneuve, This Magazine, NEXT Magazine, and more. He loves the original Super Mario game very much.
LEARN MOREREVIEW: Canadian theatre has a thing for The Lehman Trilogy. Does it work at Theatre Calgary?
The real drivers of Theatre Calgary’s production are its three performers. And boy, do they ever drive. Each performance pulses with unmatched and unrelenting vivacity, made all the more impressive by the stamina required from the ambitious three-and-a-half-hour runtime.
REVIEW: Excellent singing elevates lacklustre productions in Faust and Nabucco
Both operas in the Canadian Opera Company’s current fall repertoire, Faust and Nabucco, include stellar performances from world-class singers in productions featuring directorial and design choices that abandon historical accuracy and realistic mise-en-scène to varying degrees of success.
Cake, commuting, and conversation: Here’s what Canadian audiences value when they go to the theatre
This past spring, we invited a group of scholars, artists, and students to gather at the University of Toronto Mississauga to figure out what Canadian audiences want and need from their hosts.
UnCovered returns to Musical Stage Company with U2 and the Rolling Stones
“What you see in the audience is really the tip of a very long collaborative iceberg,” says Wong, artistic associate at Musical Stage Company and arranger, orchestrator, and music supervisor for UnCovered. “It’s a really diverse cast of voices and styles, and they’re all bringing their A-game. It’s starting to get really exciting in the room.”
At Next Stage 2024, two shows complicate the meaning of a night out
Gemini, by Louise Casemore, and Prude, by Lou Campbell, explore the hospitality industry and bar culture from different perspectives.
REVIEW: In Ronnie Burkett’s darkly intelligent Wonderful Joe, gentrification hits like a meteor
When Siminovitch-winning puppet virtuoso Ronnie Burkett chose the focus of his latest play, was he thinking of TO Live’s $421-million plan to redevelop its St. Lawrence Centre for the Arts?
REVIEW: In Ronnie Burkett’s darkly intelligent Wonderful Joe, gentrification hits like a meteor
When Siminovitch-winning puppet virtuoso Ronnie Burkett chose the focus of his latest play, was he thinking of TO Live’s $421-million plan to redevelop its St. Lawrence Centre for the Arts?
Toronto Fringe unveils 2024 Next Stage programming
The Toronto Fringe has announced the lineup for the 17th annual Next Stage Theatre Festival, running at Buddies in Bad Times Theatre from October 16 to 27.
REVIEW: Buddies’ superb Roberto Zucco journeys through a violent, fragmented metropolis
A richly ambiguous tonal collage, Buddies in Bad Times Theatre's Roberto Zucco plays like a desperate search for meaning.
Aluna Theatre drops 2024 RUTAS Festival lineup
The festival showcases a lineup of interdisciplinary talent from across the Americas, with programming connected around the theme of “personal cartographies.”
REVIEW: 1s1 Theatre’s Qalb marries autobiography with ASL poetry
Since much of Qalb is about distance — between mind and heart, justice and reality, me and you — it’s a powerful statement of hope to conclude with the bridging of a gap.
“I warn my friends before they come — I’m like, ‘it’s a long show!’” says Jordin Hall, who plays Posthumus in Stratford's Cymbeline. “And then by the end, they’re all usually like: ‘it didn’t feel that long.’ That’s the greatest compliment they can give us — that we kept them hooked for three hours of crazy, not-often-done Shakespeare.”
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