The standout productions at Soulpepper this year have been the marathons: the two-part Angels in America and the three-part The Norman Conquests. Both, it's announced to nobody's surprise, a…
A young man and woman, probably early twenties but maybe late teens, confront one another in front of what looks like a garbage dump, though it sports a sign saying that no garbage is allowe…
The Double returns in a needlessly expanded form, while Savage in Limbo is a well-orchestrated saloon drama
Puppetry is an enviable skill. So is improvisational comedy. The performers of Puppet Up! Uncensored are adept at both, which puts them in a special league of accomplishment
Sarah Berthiaume's Yukonstyle is a great improvement on her preceding play The Flood Thereafter, in which a supposed mythological overlay obscured a couple of good domestic scenes
The Norman Conquests, now being given a smashing production by Soulpepper, is an early block in the Alan Ayckbourn building, but in itself it typifies the whole enterprise, sharp in percepti…
The restaged version of Les Misérables that has arrived in Toronto has some individual merits, but the musical itself is as miserable as ever
Who says our theatres don't have consistent artistic policies?
PIG is a British play being given its world premiere at Buddies in Bad Times, apparently because it was deemed too hot to handle on its home turf
In his solo show, John Cleese offers an easygoing illustrated memoir, offhandedly and expertly delivered with the aid of a face-mic, a teleprompter, and a sense of timing that's fast, dry an…
The Invisible Woman makes Dickens himself a none-too-visible man, or at least an opaque one. It's reasonably enjoyable, but Ralph Fiennes, in his second outing as actor-director, brings to i…
Shakespeare in the Ruff made their debut last summer with a promising but uneven Two Gentlemen of Verona. This year, they really deliver
This production is thoroughly compelling on its own terms; coming one night after Othello, that other racial Venetian play, it constitutes a grand slam that might be a landmark for Stratford
Judith Thompson's The Thrill is a play that holds the attention while gradually forfeiting belief. It's stronger on speeches that on scenes, and has a large structural flaw. It is extremely …
The new Stratford Othello is red hot. That goes for the way it looks, sounds, feels and takes possession
John Murrell's Taking Shakespeare is a modest but charming play with some barbs to it. A young man named Murph, an undergraduate faced with flunking, is sent for special coaching
Soulpepper's new production lights up nearly every moment of the marathon while returning the company itself to the level of acting magnificence that distinguished its earliest days
Now, at last, the Shawfest has brought us Arcadia, the play generally regarded as Stoppard's masterpiece, and has given it, by way of further amends, a sparkling production.
Great Expectations is, by Dickensian standards, a medium-sized novel, and Soulpepper's dramatization doesn't have to skimp very much in terms of plot
Orton's Entertaining Mr. Sloane was his first play and, when staged in London in the 1960s, made him an instant celebrity
If Faith Healer is excessively demanding but somewhat nourishing, Enchanted April is excessively undemanding and not nourishing at all
Ker Wells' production of Macbeth is carried out with intelligence and imagination, and cast, for the most part, with actors who are equal to their roles
If Rooney's Vladimir is a fine performance, Stephen Ouimette's Estragon is a great one: as down at heart as at heels, and perversely glorying in his destitution.
One of the great things " actually the greatest thing " about Joss Whedon's film of Much Ado About Nothing is how natural it sounds.
The list of nominees for this year's Dora Awards provokes a mix of head-nodding, brow-smiting, and eye-rolling.