Ilana Lucas - Page 6

BroadwayWorld spoke to co-creator George Reinblatt about the show’s 20-year trajectory, translating its local references for European and Asian audiences, and how the horror-comedy is really more comedy than horror, despite all that blood.

The 1999 ABBA jukebox juggernaut is back again at the Ed Mirvish Theatre, full of cheery, dance-heavy numbers, a simple, wacky plot, and plenty of shiny spandex outfits. <span style="background-color: rgb(238, 245, 249);">See what our critic had to say. </span>

Read BroadwayWorld's review of THE THANKSGIVING PLAY, which has made it to Toronto as part of Mirvish’s 2024/25 season. Learn more about the play by Larissa FastHorse.

In a contest between the hungry, unstoppable id of the wolf and the thoughtful, selfless superego of the crane, the audience comes out the winner.

As the characters erase and rewrite the messages that both literally and figuratively surround them, shaping the story with little other than chalk and resolve, Lauzon and Riordan’s complex, beautiful play surprises in its ability to create joy in the midst of heartbreak.

BroadwayWorld spoke to Travis Knights of THE MARS PROJECT about his love of Tap, his goal to spread the art form across Toronto’s Black community, and the lightness that comes from dancing in altered gravity.

It couldn’t be clearer why Chris Abraham decided now was the time to stage this play about the challenge that a former pastor and the former caregiver to his late wife pose to a sitting conservative governor’s platform on the eve of a pivotal vote. And that, paradoxically, might be the problem.

It comes in many forms, each one its own type of exquisitely agonizing rejection. The job application or the one to the program that could define your future, thrown out, perhaps unanswered. The child forced to walk behind their two closer friends when there’s not enough room on the sidewalk. The feeling of being found wanting for the simple quality of being yourself, relatives and supposed friends turning away, or of being judged inadequate and dismissed out of hand before you’ve even been met.. The romantic brush-off. The birthday party attended only by the celebrant.

The Toronto Fringe’s 12-day extravaganza has concluded! Over 40,000 tickets were sold to 76 different shows around the city, from companies both local and international. With plenty of free arts programming at the Fringe Tent behind the Tranzac Club, the Fringe is a thrilling glimpse into the future of Toronto theatre.

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.