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Steffi DiDomenicantonio
Pronounced Dee-doh-men-ee-can-toe-nee-oh, Steffi is a Dora-nominated performer based in Toronto who has acted and sung on stages across North America. She’s your average Italian French Canadian musical theatre–nerd slash Liza Minnelli–lookalike who loves cats, karaoke, eyeliner, sushi, Lady Gaga, and poutine. (All at once or separately and in no particular order.)
LEARN MOREAt 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: 13 Plays About ADHD All At The Same Time is true to its title
While the play’s structure may occasionally leave you feeling as scattered as its protagonists, its heart, humour, and raw honesty will keep your thoughts churning well into the night.
Speaking in Draft: Byron Laviolette
“Right now, the creation-to-production process for a lot of people is from the Toronto Fringe to — hopefully — some theatre recommender grants, to a workshop production, to maybe an actual production,” says What The Festival co-founder Byron Laviolette. “But the realities of mounting a show at the Fringe don’t translate to a two-week run at the Extraspace at Tarragon. Peoples’ appetites are different. Yet we don’t train or support people to translate their shows into those different contexts."
REVIEW: Goblin:Macbeth might just leave you gobsmacked
While most of the entertainment comes from the goblins’ antics whenever the Shakespearean text is paused or subverted for comic effect, the secret sauce to this whole endeavour is that it really is an honest-to-goodness staging of that text, designed to showcase the performers’ near-virtuosic mastery of the material.
REVIEW: The Thanksgiving Play wriggles in performative wokeness
In 2024, is there a way to produce an engaging, culturally sensitive play about the first American Thanksgiving for elementary schoolers? The Thanksgiving Play, penned by Native American playwright Larissa FastHorse and now playing at Mirvish’s CAA Theatre, poses that question in its first five minutes, then throws the query out with the cranberry sauce in its madcap exploration of a devised theatre piece at an unnamed primary school.
6 in the Six: The Greatest Showmance
In the moment, the showmance sounds cute. But will it be worth it if (and when) it all comes crashing down and falls apart?
“Showmance” is not a real word; it was invented by people in the acting industry. For those of you not familiar with the term, this is how Steffi DiDomenicantonio’s dictionary defines the word: two co-stars are working together in a show and are playing love interests. Time passes and the onstage feelings get confused for real-life feelings.
For me, English is more cerebral and French is more visceral. One comes from my head and the other comes from my gut.
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