The Darkest Dark review

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.

Speaking in Draft: Marcia Johnson

"The whole reason I started writing was to give myself work, because I just wasn't getting lead roles, I wasn't getting interesting roles, and I knew that I could carry them off," says Johnson. "My goal when I wrote You Look Great Too was for people to say, ‘Oh my gosh, yes, she can play a lead’ — and then I would never have to write again. Then it turned out that writers were more in demand. I thought ‘OK, maybe I’ll write a few more plays.’"

REVIEW: Here For Now’s Dinner with the Duchess is an aching étude on the cost of creative passion

Dinner with the Duchess is a tallying of an artistic life’s costs that builds a symphony out of simple presentation, resounding long past the final note.

REVIEW: Wights sizzles with ambition at Crow’s Theatre

While the play’s genre-straddling form feels slightly too ambitious for its concept, this sheer ambition is exciting, challenging audiences to think, while warning us that we can only go so far with words.

Announcing the winners of the 2024 Nathan Cohen Awards

The Canadian Theatre Critics Association has announced the winners of the 2024 Nathan Cohen Awards for Excellence in Critical Writing, including two writers from Intermission.

GCTC solo show traces the complex journey of parenting a trans child

“At the end of the day, the play is trying to show the messiness of parenthood, that it's not about perfection,” says Why It’s imPossible playwright Sophia Fabiilli ahead of the show’s run at the Great Canadian Theatre Company in Ottawa. “It's about finding where the discomfort is.”