“It is no exaggeration to say that this show affected me more deeply than any show in a very long time.” Details of “Bangarra Dance Theatre: Spirit” in Arpita Ghosal’s review
Canadian Stage’s celebrates Toronto’s varied stories, voices and views with WE ARE STORY, its 2nd annual FREE family-friendly event on Sun, Aug 19 at High Park. Autumn Smith describes the day’s performances, interactive artist stations and the “Territorial Tales” youth project.
The timing of Njo Kong Kie’s exquisite Picnic in the Cemetery seems like uncanny prescience. The concert theatre opened at Canadian Stage’s Berkeley Street Upstairs Theatre just 3 days after the Yonge Street Tragedy that shook Toronto to its core. It was a brutal reminder of the fragile preciousness of life and the irrevocable end brought […]
Ngozi Paul is a familiar name and an audience draw. Her work spans stage and screen in Canada, the US, the UK, and even countries in Africa. And her range is astonishing. While her name is most often associated with the now-classic play and award-winning TV show da Kink in My Hair, her credits are vast. […]
Baritone Geoffrey Sirett will don the titular overcoat as Akakiy Akakiyevich in the world-premiere production of Morris Panych and James Rolfe’s THE OVERCOAT: A MUSICAL TAILORING in Toronto and Vancouver.
Voices³: Tanya Tagaq + Laakkuluk Williamson Bathory is at once a traditional, contemporary and futuristic performance — and a phenomenal pairing. What seems certain is a powerful, challenging and unique experience.
I am gifted with the opportunity to ask five questions of dance legend Peggy Baker. . . what should they be? It’s not as if a dancer-choreographer of her renown needs a larger spotlight. In fact, she devotes a considerable effort to shine the spotlight on others through her mentorship, teaching, and collaborations. She has […]
Ellen Denny: “Usually I’m in plays written by men who are often dead, so it’s exciting to not only be in a piece by a woman but someone my age.”
Amelia Sargisson breaks down how SiHP’s approach to King Lear & Twelfth Night as vital, modern texts, along with a PWYC admission, make them truly barrier-free.
Scott Sneddon finds SIHP’s gender-swapping brilliantly effective, making King Lear at once recognizable & surprising, filled with strong performances & rich commentary.