Review: EL TERREMOTO at Tarragon Theatre
When the ground beneath your feet starts, to move it's an unmooring, dangerous feeling.
Ilana Lucas - Page 6
Interview: Measha Brueggergosman-Lee of Opera Atelier's ALL IS LOVE
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.
Review: UNCLEARING at Harbourfront Centre
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.
Review: HAMLET, PRINCE OF DENMARK at Elgin Theatre
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
Review: DANA H. at Factory Theatre
When actress Jordan Baker opens her mouth, the voice we hear isn’t hers; it’s the voice of Dana H.
Review: NO ONE'S SPECIAL AT THE HOT DOG CART at Theatre Passe Muraille
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.
Review: DEAD ELEPHANTS at Aki Studio
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.
Interview: Makambe K. Simamba of THREE SISTERS at Soulpepper
BroadwayWorld spoke to Makambe K.
Review: AS I MUST LIVE IT at Theatre Passe Muraille
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.
Review: ALADDIN at Princess Of Wales
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
Review: GUILT: A LOVE STORY at Tarragon Theatre
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.
Review: MIND OVER MATTER at The Rec Room
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.
Review: UNIVERSAL CHILD CARE at Canadian Stage
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.
Review: CASEY AND DIANA at Soulpepper
Green’s play is a terrific achievement; its urgent structure, indelible characters, and alternately witty and wrenching dialogue make it a highlight of this or any theatre season.
Review: DION: A ROCK OPERA at Coal Mine Theatre
The tight, 70-minute DION is a visually compelling show which puts you right in the middle of the dangerous merriment, with terrific performances and some banger musical numbers.
Interview: Jonathan Corkal-Astorga of DE PROFUNDIS at Soulpepper
BroadwayWorld spoke to Jonathan Corkal-Astorga about Soulpepper's production of DE PROFUNDIS, a new musical based on the letter Oscar Wilde wrote to his former lover while imprisoned in Reading Gaol.
Review: NATASHA, PIERRE, AND THE GREAT COMET OF 1812 At Streetcar Crowsnest
The musical is based on a section of Tolstoy’s War and Peace, but it’s anything but staid and traditional.
Review: MIGRAAAANTS at Theatre Passe Muraille
Putting the audience onto the same boat as its characters and letting us feel the intense, heated gaze of its captain exemplifies what MIGRAAAANTS does best, which is to take us on a journey.
Interview: Steven Hao of THE TWO NOBLE KINSMEN at Shakespeare BASH'd
Steven Hao, playing Pirithous and The Wooer in THE TWO NOBLE KINSMEN, spoke to BroadwayWorld about the unusual aspects of Shakespeare’s last play, why Theseus is Iron Man, and the joys of putting on one of the few works in the Shakespearean canon that's a 'hidden gem' without 500 years of baggage.
Feature: Ilana Lucas Picks The Top Toronto Theatre of 2023
It’s been a strong year for Toronto theatre.
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