Ilana Lucas - Page 2

BroadwayWorld spoke to this year’s curator, Aeris Körper artistic director Mayumi Lashbrook, about this year’s theme of play, the artists who transform porches and lawns into spaces for discovery, and why PORCH VIEW DANCES brings joy to the community.

Reviews of Madame Winifred's Circus of Wonders, Rooted: A Musical Poem, Girls' Night Cabin Fever, How Lucky Are We, The First Jew in Canada: A Trans Tale, and Are You Lovin' It?

Reviews of Gulp, Bus Stop, and Rosamund

Reviews of Monks, Stiff and Sons, Tape, Moe: A Rap Opera, and Crosstown

Reviews of Rat Academy, Poz, The Bluffs, and 1 Santosh Santosh 2 Go

Reviews of Gringas, Far-Flung Peoples, and Paternal Guidance

Reviews of Colonial Circus, Elephant Song, Daniel In Love (For One Night Only), and Cabaret of Murder at the Toronto Fringe Festival

Reviews of SEE YOU TOMORROW and ARTIFICIALLY INTELLIGENT at the Toronto Fringe

Reviews of Chloe and Meraki, Doctor Dolittle, Crime After Crime (After Crime) and Unfurnished

BroadwayWorld spoke to Cooperman about her life of rebellion, her role in Adam Sandler’s You Are So Not Invited to My Bat Mitzvah, and why she finds humour in even the greatest tragedy.

BroadwayWorld spoke to Bahr about the real-life inspiration behind the show, her time on Curb and Hacks, and the value of near-death experiences.

THE LAST TIMBIT isn’t here for a long time; after all, doughnuts go stale quickly. It’s here to be an Experience, and an Experience it is.

Tennessee Williams’ sprawling classic about what happens when the unstoppable force, fading, fluttering Southern belle Blanche DuBois (Amy Rutherford), meets the immovable object of her brother-in-law, pragmatic, animalistic Stanley Kowalski (Mac Fyfe) proves a night of searing theatre, with Weyni Mengesha’s effectively musical direction providing an electric backdrop for a simmering contest of wills.

The frequently witty and always entertaining offering from the comedy troupe will make you happy that you put on pants and left the house.

McGee snaps spellbinding shots of existence, exquisitely distilling an emotion, moment, or rumination until it’s almost unbearable. As she goes on through the decades, you can hear a pin drop; that is, when audience members aren’t laughing or sobbing with recognition.

BroadwayWorld spoke to two of the show's creators, Bravo Niagara! Festival of the Arts founder Alexis Spieldenner and Emmy Award-winning writer Howard Reich, about the real-life inspiration behind the ballet, three generations of artistic collaboration, and why these stories need to be told.

Like its main character, R.A.V.E. is weighed down by some overly ambitious intersectional goals; however, as a party and as an emotional experience, it earns a R.A.V.E. review.A.V.E. at Outside The March?

Director Moya O’Connell’s take on Henrik Ibsen’s play, in a new version by Liisa Repo-Martel, emphasizes the power of triangles, relationship groupings that seem stable but which are easily unbalanced by such an act of bisection. With a dynamite cast, an accessible adaptation, and the claustrophobic feeling of being trapped in Hedda’s living room, this HEDDA GABLER is as fiery as its heroine’s desire to burn down everything around her.

BroadwayWorld spoke to Lianna Makuch, the production’s director, about the show’s ability to make global issues personal, its unique design, and how she’s been Matt and Mariya’s “third wheel” from the very beginning.

What did our critic think of SWAN LAKES AND MINUS 16 at Harbourfront Centre?