Ilana Lucas

Discover CRAZE at Tarragon Theatre, a co-production with Modern Times Stage Company. This play, inspired by 'Who's Afraid of Virginia Woolf?', features a diverse cast and an AI unit named Buddy. Directed by Mike Payette, the show delves into themes of global issues and generational flaws in a modern context.

Featuring generations of Harris' family as creators and performers, the production employs a handcrafted raven cloak and raven transformation mask, as well as original compositions and projections, to celebrate the Gitxsan people. 

If the 2020s have occasionally uncomfortably reminded you of the 1920s, you’re not alone. Two Toronto theatre companies are currently using work from and about that turbulent decade to comment on present issues. At the Red Sandcastle, The Flare Productions presents Sophie Treadwell’s seminal work of feminist and Expressionist theatre, MACHINAL, a 1928 play very loosely based on the real-life story of Ruth Snyder, executed at Sing Sing Prison for the murder of her husband. At the Theatre Centre, Tall Poppy Productions presents a new work written and directed by Judy Reynolds, THE BEE’S KNEES, a fictional tale of one of the first women to run for Canadian parliament in the early 1920s.

Matt Baram and Naomi Snieckus, a Second City comedy duo who are also married in real life, present a funny and meaningful meditation about what our things mean to us in BIG STUFF, using anecdotes and gentle audience participation to commune over the items we just can’t bring ourselves to toss.

Schreck’s script, a hit in New York that made its way to Broadway in 2019, is extremely accessible and sprightly in its deconstruction of the mythic text.

The Next Stage Festival, curated and run by Toronto Fringe, plays at Buddies in Bad Times Theatre until Sunday, October 27.

Coverage of the first three shows in Toronto Fringe's annual curated festival.

BroadwayWorld spoke to co-creator George Reinblatt about the show’s 20-year trajectory, translating its local references for European and Asian audiences, and how the horror-comedy is really more comedy than horror, despite all that blood.

The 1999 ABBA jukebox juggernaut is back again at the Ed Mirvish Theatre, full of cheery, dance-heavy numbers, a simple, wacky plot, and plenty of shiny spandex outfits.

Read BroadwayWorld's review of THE THANKSGIVING PLAY, which has made it to Toronto as part of Mirvish’s 2024/25 season. Learn more about the play by Larissa FastHorse.

In a contest between the hungry, unstoppable id of the wolf and the thoughtful, selfless superego of the crane, the audience comes out the winner.

As the characters erase and rewrite the messages that both literally and figuratively surround them, shaping the story with little other than chalk and resolve, Lauzon and Riordan’s complex, beautiful play surprises in its ability to create joy in the midst of heartbreak.

BroadwayWorld spoke to Travis Knights of THE MARS PROJECT about his love of Tap, his goal to spread the art form across Toronto’s Black community, and the lightness that comes from dancing in altered gravity.

It couldn’t be clearer why Chris Abraham decided now was the time to stage this play about the challenge that a former pastor and the former caregiver to his late wife pose to a sitting conservative governor’s platform on the eve of a pivotal vote. And that, paradoxically, might be the problem.

It comes in many forms, each one its own type of exquisitely agonizing rejection. The job application or the one to the program that could define your future, thrown out, perhaps unanswered. The child forced to walk behind their two closer friends when there’s not enough room on the sidewalk. The feeling of being found wanting for the simple quality of being yourself, relatives and supposed friends turning away, or of being judged inadequate and dismissed out of hand before you’ve even been met.. The romantic brush-off. The birthday party attended only by the celebrant.

The Toronto Fringe’s 12-day extravaganza has concluded! Over 40,000 tickets were sold to 76 different shows around the city, from companies both local and international. With plenty of free arts programming at the Fringe Tent behind the Tranzac Club, the Fringe is a thrilling glimpse into the future of Toronto theatre.

BroadwayWorld spoke to this year’s curator, Aeris Körper artistic director Mayumi Lashbrook, about this year’s theme of play, the artists who transform porches and lawns into spaces for discovery, and why PORCH VIEW DANCES brings joy to the community.

Reviews of Madame Winifred's Circus of Wonders, Rooted: A Musical Poem, Girls' Night Cabin Fever, How Lucky Are We, The First Jew in Canada: A Trans Tale, and Are You Lovin' It?

Reviews of Gulp, Bus Stop, and Rosamund

Reviews of Monks, Stiff and Sons, Tape, Moe: A Rap Opera, and Crosstown