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Michael Kras
Michael Kras (he/him) is a Hamilton-based playwright, director, performer, magician, and teaching artist focused on writing vital new-generation stories including the Voaden Prize-winning play The Team (Essential Collective Theatre/Theatre Aquarius), No Big Deal (Roseneath Theatre), finsta (Boca del Lupo), and The Year and Two of Us Back Here (Broken Soil Theatre). Michael is also an in-demand magic director & designer, with credits including Harry Potter and the Cursed Child (resident magic associate, Mirvish), The Extinction Therapist (magic director, Theatre Aquarius), and A Christmas Carol (illusion design associate, Florida’s Maltz Jupiter Theatre).
LEARN MOREREVIEW: Into the Woods signals a promising way forward for musical theatre in Ottawa
It’s wonderful to have companies like Ovation Productions bring in strong talent as well as highlight the great artists already living in our midst.
REVIEW: Interior Design sparkles with zillennial wit
Interior Design watches its Peloton-using, social media-obsessed heroines from an empathetic vantage point, holding space for these women and their problems.
REVIEWS: Next Stage Festival explores a wide range of stories and styles
Over the past several years, Intermission and the Toronto Fringe Festival have partnered on the New Young Reviewers program, a workshop series and writing group for emerging theatre and performance...
PlayME releases trailer for new audio drama Tunnel Runners
Launching on October 30, the series follows Cam, a 16-year-old gifted student whose struggles with anxiety and depression lead him into a labyrinth of hidden subway tunnels beneath Toronto.
REVIEW: 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.
In many ways, theatre artists and magicians have the same job. We push the bounds of a live experience to startle audiences into confronting their realities. We aim to tell stories that linger. For a magician, there’s no such thing as “it can’t be done.” It can always be done, one way or another.
The Rise of Hamilton (the City, not the Musical)
“Hey Toronto friend! Wanna come see my show in Hamilton?”
“I mean, maybe, I dunno.”
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