Natasha Powell invites the Coltrane-curious to “The Room Upstairs”
“Jazz dance education is important and always urgent for me: helping people understand that this practice is a living and breathing art form…” ~ Natasha Powell
Guillaume Côté and Sonia Rodriguez reunite in “The Tragedy of Hamlet”
“It’s quite incredible, crazy even, that we think Shakespeare is all about words. But here we are … able to tell the story without them” ~ Sonia Rodriguez
Daniel Maslany walks a blurred line in Andrew Kushnir’s deeply personal new play, “The Division”
“This play is not a history lesson. It engages with history to bring it into the now in a really powerful and immediate way.” ~ Daniel Maslany
Review: Strong premise and performances at the noble heart of “Hamlet, Sweet Prince”
“Where the production finds its most compelling footing is in specific casting choices and standout performances.” ~ Arpita Ghosal
Review: Opera Atelier’s beautiful “Pelléas et Mélisande” marks another ambitious first
“This Pelléas et Mélisande is an incredibly ambitious —and often exquisitely beautiful— undertaking.” ~ Arpita Ghosal
Jasmine Case on playing the “strong, independent woman” Letitia in “Clyde’s”
“This play speaks to those who feel judged in the world… it shows we can choose ourselves and push past other’s expectations of us.” ~ Jasmine Case
Sandra Laronde’s “She Holds Up the Stars” soars big
“To create something that has all those different disciplines that feed each other—and the seams don’t show—that’s the hard part of it. And that’s the exciting part of it.” ~ Sandra Laronde
“Room Of Keys” reimagines the recital form and unlocks new rooms in “Bluebeard’s Castle”
Interview with David James Brock about the hybrid recital play “Room of Keys,” presented by Piano Lunaire
Lindsey Middleton and Raquel Duffy are in the wondrous and wild “The Moors”
Interview with Raquel Duffy and Lindsey Middleton about Jen Silverman’s “The Moors,” presented by Riot King
Review: Cat-and-mouse thriller “Anywhere” grabs by the neck
“Under the assured direction of Cass Van Wyck, this production leans into the script’s slipperiness with confidence, anchored by Kaitlin Race and Anne van Leeuwen” ~ Arpita Ghosal
Joanne Robertson’s new book with Shirley (Fletcher) Horn centres resilience
“I can’t take credit for Shirley’s voice, When writing her stories down, I could hear her in my ear. I could feel the strength and courage in her voice. I saw her tears. And I heard her giggles and laughs.” ~ Joanne Robertson
Review: Lively and vulnerable, it’s a not-so “Drowsy Chaperone”
“Capping off its season of Canadian musicals, Shifting Ground Collective’s revival at Theatre Passe Muraille taps into that ebullience with an obvious affection for both the musical and the form it parodies.” ~ Arpita Ghosal