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Amira Benjamin
Amira Benjamin is an undergraduate student at the University of Ottawa in sociology and anthropology. She is interested in all forms of journalism, especially arts and community reporting. You can find them critically analyzing Marvel movies or filling up a Pokedex. They are a member of the 2023 cohort of the IBPOC Critics Lab, supported by Intermission Magazine and the Stratford Festival.
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iPhoto caption: Liz Appel headshot courtesy of Liz Appel.
Five questions with Wights playwright Liz Appel
Intermission spoke with Appel over email for a brief Q&A about Wights, now playing at Crow’s Theatre until February 9.
iPhoto caption: Poster courtesy of the Grand Theatre.
High-octane crime caper makes Ontario premiere at London’s Grand Theatre
This January, the Grand is diving into the world of diamonds, deals, and deceit with Arun Lakra’s Ocean’s Eleven-inspired Heist.
iPhoto caption: The team behind The Nine Lives of Ross Fordham poses for a photo. Photo courtesy of Theatre Aquarius.
Theatre Aquarius’ newest musical weaves a family tapestry out of stories and songs
Police officer Ross Fordham’s grandchildren and great-grandchildren are the talents behind the production, which opens on January 10 at Theatre Aquarius in Hamilton.
Call for applications: Publishing and editorial assistant
Intermission Magazine is seeking a dynamic and collaborative individual to join our team.
iPhoto caption: What Writing Can Do: The 2025 Musical Theatre Critics Lab
Announcing What Writing Can Do: The 2025 Musical Theatre Critics Lab
What Writing Can Do is timed to coincide with the Grand and Theatre Aquarius’ co-production of Waitress, which will serve as a jumping-off point for discussions throughout the Lab.
iPhoto caption: Photographed productions from L to R, top to bottom, with the photographer in brackets: seven methods of killing kylie jenner (Dahlia Katz), Big Stuff (Dahlia Katz), De Profundis (Dahlia Katz), Goblin:Macbeth (Jae Yang), Salesman in China (David Hou), Dana H. (John Lauener), Earworm (Dahlia Katz), Age Is a Feeling (Dahlia Katz), Honey I’m Home (Eden Graham).
Our favourite theatre productions of 2024, in Toronto and beyond
End-of-year lists are personal. When it comes to theatre, the question isn’t really what shows you liked most, but which ones left the strongest imprint, continuing to pinball around in your mind and heart even after the set is gone and the cast no longer recalls their lines.
iPhoto caption: Snow in Midsummer production still by David Cooper.
REVIEW: Snow in Midsummer is a timeless, brilliant tragedy
Directed by NAC English Theatre artistic director Nina Lee Aquino, the gorgeous details of the production allow audiences to feel the gravitas of every character.
iPhoto caption: Wendy and Peter Pan production still by David Hou.
Wendy and Peter Pan explores the power of love — and grief
“Part of what gets me through the very emotionally tumultuous ending of the story is remembering that Wendy has to live for the family members who are still there,” says Cynthia Jimenez-Hicks, who plays Wendy in the Stratford Festival’s production of Wendy and Peter Pan. “I just think that that's such a beautiful part of this adaptation.”
REVIEW: Ottawa’s undercurrents festival explores a vast sea of emotions and styles
Curated by Ottawa Fringe, the 14th rendition of undercurrents festival has concluded, having brought fresh, fiery theatre productions to audiences in Canada's capital.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Prison Dancer at the NAC is a rehabilitating tale of humanity
Carmen Leilani De Jesus, Romeo Candido, and Nina Lee Aquino have created a contemporary classic with Prison Dancer.
iPhoto caption: Photo by Jeremy Daniel.
REVIEW: Hairspray in Ottawa is a sugar-sweet song and dance down memory lane
Did someone order some Hairspray? Well, it’s arrived at the National Arts Centre, and it’s more than ready to win your heart over.
REVIEW: The Supine Cobbler is a hilarious, deeply intimate trip to the abortion clinic at GCTC
The play is strange, which is a loving compliment to Connell’s playwriting, but also entirely familiar; the space used feels endless, a testament to how malleable the play is and the strength of Pearlman’s direction.
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