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(Originally published for Out Theatre Voice.) I remember a post-show talk after a noir version of A Midsummer Night’s Dream at one of Italy’s major theatres. An older woman protested, “This is not how Shakespeare did it.” The director looked her dead in the eye and replied,

(Originally published for Stage Door.) After last year’s acclaimed Red, Riot King Art Market returns to the Theatre Centre with The Moors, a dark comedy by American playwright Jen Silverman, whose Witch (2018) played in Toronto earlier this year. Set in a remote moorland manor, the play mocks Emily

(Originally published for Stage Door.) House of Beida and Buddies in Bad Times Theatre are presenting the world premiere of Zaiba Baig’s two new plays as a double-bill subtitled The Begging Brown Bitch Plays. The plays offer a revealing glimpse into the compositional voice of Baig, best-known

(Published for Stage Door.) There is a difference between running towards something and running away from something. The first is an act of insubordinate hope; the second, a symptom of diffuse and unanchored fear. Anywhere by Michael Ross Albert lingers on the latter, following two characters trapped in constrained lives

(Published for Stage Door.) There is a moment, roughly three quarters into Roast Productions’ Cyrano, when the stage fills with movement. Roxanne, Yan, and the ever-present chorus drift into a loose, carefree dance to the notes of “Alors on danse” by Stromae. The mood is light, almost indulgent, and

(Originally published for Stage Door) Buddies in Bad Times Theatre has been reconfigured like a Greek theatre, with the audience seated on three sides of the room and an orchestra-like playing space at the centre. There, five performers stand unaware of our presence, facing different directions with their eyes