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Aisling Murphy
Aisling is Intermission's former senior editor and the theatre reporter for the Globe and Mail. She likes British playwright Sarah Kane, most songs by Taylor Swift, and her cats, Fig and June. She was a 2024 fellow at the National Critics Institute in Waterford, CT.
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iPhoto caption: Top to bottom, L to R: Naguib Keval, Aruna Bhalla, Colin MacLellan, Payge Mildebrath.
How four GTA drama teachers are modelling the importance of connection, empathy, and collaboration
I suspect that most people who work in theatre professionally, and many who don’t, have a story about a high school drama teacher who changed their lives. This edition of Speaking in Draft is a celebration of those figures.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Pride and Prejudice gets a postmodern makeover at London’s Grand Theatre
In spite of some missed opportunities, Pride and Prejudice ends up a lighthearted recontextualization of its source material, which should appease all but the most stolid Janeites.
iPhoto caption: 'A Strange Loop' photo by Dahlia Katz.
Announcing the winners of the 2025 Toronto Theatre Critics’ Awards
The Toronto Theatre Critics’ Awards jury has announced its 2025 results — 22 winners across 17 categories, plus a pair of special citations.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Takwahiminana explores what healing means when the past never quite lets go
While playwright Matthew MacKenzie’s lyrical storytelling is always a delight, there’s something astringent and detached about Takwahiminana that produces a distancing effect, preventing it from reaching the emotional highs of his other recent work.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Waitress blends retro charm with contemporary flair at Hamilton’s Theatre Aquarius
This co-production with the Grand Theatre stands up to its Broadway counterpart and makes for a truly delightful night out.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: A Strange Loop cycles between audacious spectacle and deeply personal reflection
A Strange Loop challenges the conventions of large-scale musical theatre while carving its radical place in the Broadway canon.
iPhoto caption: Photo by Aisling Murphy.
In the darkest months of Yukon winter, it’s all about the Sun Room
I’m here for a week in January as a guest of Nakai Theatre, a hub for theatrical experimentation and outside-the-box programming in Canada’s westernmost territory.
Armchairs, tattoos, and an online theatre magazine
When I started at Intermission, my world was limited to the confines of an armchair. Arts journalism was a high it felt dangerously fruitless to chase. The life stretched ahead of me was amorphous and frightening, a chasm filled with hand sanitizer and immigration concerns. It was worth crying over a spilled kombucha and scrubbing at the stain.
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.
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: A Christmas Story production still by Dahlia Katz.
REVIEW: A Christmas Story feels fresh at Theatre Aquarius
If you want to catch A Christmas Story before it closes, good luck — the show is close to sold out, and with the talent on that stage, it’s not hard to see why.
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