Directed by Sabryn Rock, behind Theatre Passe Muraille’s hit Our Place, watson’s show is an 85-minute series of sketches about the joys and frustrations of being a Black woman right here, right now.
Toronto Dance Theatre’s Spring Double Bill, highlighting East Asian choreographers of different dance backgrounds, is as welcome as a spring bloom.
BroadwayWorld spoke to MAD MADGE director Andrea Donaldson about what audiences can expect from this collaboration, described as “paying homage to Jane Austen and Tina Fey in the same breath.
When the ground beneath your feet starts, to move it's an unmooring, dangerous feeling.
BroadwayWorld Toronto spoke to ALL IS LOVE star Brueggergosman-Lee about her love for the show and the company, the importance of taking risks, and how her upcoming Governor General’s Lifetime Achievement Award is really an encouragement to keep creating.
As the name suggests, UNCLEARING can be somewhat opaque in its messaging to the audience, but it doesn’t stop it from being a stimulating evening.
Produced by Côté Danse, Ex Machina and Dvoretsky Productions, THE TRAGEDY OF HAMLET is on at the Elgin theatre for five short days, and it’s a respectable addition to Ham Mountain, a visually inventive production that never lets its stage magic overshadow the dancers behind and in front of the c
When actress Jordan Baker opens her mouth, the voice we hear isn’t hers; it’s the voice of Dana H.
Petch’s show blends stories of their experiences from behind the hot dog cart to behind the hospital desk with a discussion of the principles of de-escalation, along with highlighting incidents of when they feel they failed to properly follow these tenets.
Good Old Neon’s DEAD ELEPHANTS, now being performed in the Daniels Spectrum’s Aki Studio, packs more pachyderms into its devised script than you might think possible in such a small space, though none of the fine beasts are ever seen on stage.
BroadwayWorld spoke to Makambe K.
In AS I MUST LIVE IT, Reece’s poetic, autobiographical solo show at Theatre Passe Muraille, it’s clear that he’s found a voice that thoughtfully and lyrically grapples with the intricacies of life and identity.
The story of the ascendance of young Aladdin from “street rat” to sultan in Agrabah, this morality tale about the importance of pure-heartedness, self-determination and using your power to help others is a straightforward, fun show that expands slightly on the original film’s memorable musical
Flacks, a well-known writer who has provided material for anything from Workin’ Moms to Kids in the Hall, airs her dirty, guilty laundry with all five stages of grief and a side of sharp, rueful humour.
Shelby Handley, Armand Antony, and Alexandra Brynn read the miniscule cues you emit with the tiny movements of your eyes, the twitching of your facial muscles, and even the rhythm of your breathing, in order to figure out exactly what you’re thinking.
With important messages for policymakers and babymakers alike, the urgent performance is part political statement, part a cappella concert, and all cri de coeur about the frustrations of being a parent when nothing is affordable and nobody cares.
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