Ilana Lucas - Page 3

“It was all a game,” sneers Maggie Hale (Margo MacDonald), lead “enforcer” of THE ELEPHANT GIRLS, the notorious gang of women that swept through London in the 1920s.

What did our critic think of ROMEO AND JULIET at Canadian Stage?The romantic tragedy and big emotions of Shakespeare’s famous tale of star-crossed lovers are difficult to successfully present in an age of irony. This is especially true in outdoor summer theatre, where the atmosphere lends itself more to a fun romp than heartbreak. But a tale of intractable families who nurture their hatred over everything else should feel sadly immediate regardless of where it’s performed.

It’s the end of the 2025 Toronto Fringe, which has entertained audiences for the past 12 days with more than 100 shows in 22 venues. Which was your favourite?

What did our critic think of TORONTO FRINGE FESTIVAL REVIEW ROUNDUP 4 at Toronto Fringe?

Keep on Fringing! This roundup includes two shows in the Next Stage Festival (JUSTICE FOR MAURICE HENRY CARTER and SONGS BY A WANNABE), this year being held simultaneously with the Fringe at its Soulpepper venues. 

The Toronto Fringe is in full swing, and if you're not seeing any of the 100+ shows available from now to Sunday, what are you doing with your life? BroadwayWorld continues its coverage with reviews of WHO DRINKS MOCKTAILS ON THE BEACH?, MILK MILK LEMONADE, and DON'T FALL IN.

What did our critic think of TORONTO FRINGE FESTIVAL REVIEW ROUNDUP 1 at Toronto Fringe?

JOIN CANADA, EH? reminds us to be grateful for Canada's number one export: comedians. With all this geopolitical chaos in our own backyard, laughter is hard to come by, especially at these exchange rates.

BroadwayWorld talked to Harris and Rubinstein about why they created shows where the audience determines the order, how we make emotional connections to objects, and what constitutes “good grief.”

Michael R. Jackson’s A STRANGE LOOP is a striking text and meta-text, calculatedly raw and messy, archly vulnerable, and sacredly profane.

Second City’s Duel Citizens, in the company’s 90th mainstage review, tells our southern neighbour to get off our collective lawn in its usual sprightly and entertaining fashion.

Touching and funny, earnest yet practical, Wong’s play is a small gem with a flowing, well-crafted narrative and crystal clear characterization.

Within the larger space of Buddies in Bad Times’ Chamber, set designer Jung-Hye Kim’s constrained, small box of a playing space looks like it could be either a present or a trap, a Kinder Egg of theatre housing Vanessa Sears’ luminous solo performance.

The god Krishna (a dryly funny Neil D’Souza) asks this of one side of an all-consuming inter-family war, cousins against cousins, in the second half of Why Not Theatre’s two-part production of MAHABHARATA, the Sanskrit epic of fate, death, and cycles of violence, now presented by Canadian Stage after premiering at the Shaw Festival in 2023.

“And now here is my secret, a very simple secret: It is only with the heart that one can see rightly; what is essential is invisible to the eye.” This classic line from THE LITTLE PRINCE encapsulates both the achievements and pitfalls of Landon Krentz, Theatre Passe Muraille and Inside Out Theatre’s co-production of a play based on the deceptively simple 1943 novella that’s beguiled children and philosophy majors for more than 80 years.

In Caleigh Crow’s THERE IS VIOLENCE AND THERE IS RIGHTEOUS VIOLENCE AND THERE IS DEATH OR, THE BORN-AGAIN CROW at Buddies in Bad Times, rage is the thing with feathers. The production, a collaboration between Buddies and Native Earth Performing Arts, celebrates the flame of righteous anger when powerful people suppress others, deferring to systems rather than offering even the slightest bit of relief or kindness that is in their power to give.