Digital bullying, especially in the context of sexual orientation, is a formidable force. YPT, along with Mr. Malhi’s robust performance bravely faces the issue with both subtlety and power. It is suggested that “they will hate you.” Hopefully, this strong production will help young people to learn how to face or change this inevitability.

The third section is all Solstice Tait. Her brilliant dance at times is balletic fluidity as she is calmed and then transitions into staccato rhythm that climaxes with grand mal-like seizures as the emotion becomes severe

The Shaw producers clearly knew how to respect Irving Berlin’s material and built a stunning show around stunning songs. We often use the term ‘ensemble’ to describe a particularly tight cast, but we can consider ‘Holiday Inn’ to be an ‘ensemble’ of leadership in that every department – music, acting, lighting, sets, choreography, costumes – was on full creative display.

Ryan deSouza’s musical direction also embraces the mirthful antics of this production. Common street instruments fill the house with seasonal cheer. The opening of the second act pulls us in, as a simple rhythmic bell ringing charms us into our seats. The harmonies of the cast were magical.

‘Angel’ is an exalted work of music and dance worthy of Milton, Rilke, and a superb cast.

The evening had a true “cabaret” style feel to it with some high barstool seating and a rustic circular stage with red drapery. Dixon’s opening wail on the harp produced the infectious beginning.

The strength in Ms. Johnson’s script [Serving Elizabeth] is in the constant interplay between the two plots. This is also a strength of the costumes. They define characters and the generations.

With courage and boldness the festival produced Tomson Highway’s 1986 searing story of ‘The Rez Sisters’, a complex and weighty play

The strength of this production comes from both what the media release calls ‘a heartfelt raw blend of powerful prose and poetry with the rhythm of hip hop’ and the unique staging of the action.

The strength of this production is the performance itself as Ms. Anitafrika, who is Jamaican, uses a great range of voices, characters, and colloquial language to immerse us in the politics of the island nation.

Ms. Ting is clearly an accomplished violinist as she works through renditions of some of John Cage’s major works. Some of her work includes creative dissonance that parallels the chaos with her mother

Although the philosophy tends to grapple with too much, some clearer messages emerge at the end as we understand that each ‘person’ has their own path and no specific plan is better or worse

“The electrifying original music gives Ms. Pitre an opportunity to display her full range of vocal skills. She builds subtle moments as emotion grows and also knows the right timing for unleashing big thrilling notes. Her story is wide ranging, but it is clear that music is at the heart of her life and career.”

One note of humour touches ironically on these paragraphs as one character is described as someone who “doesn’t laugh and doesn’t cry – he should grow up to be a theatre critic.”

Translating a play into audio only is surely a difficult task but ‘The Walls’ is an excellent candidate. The set is stark enough to be easily described with a dull plain room and walls with no windows. The dialogue is prominent especially with the chilling, insincere voices of the interrogators.

Her final moments with the 4’33” performance are breathtaking – she stands with her violin, holding it with reverence, almost caressing it as a child. The scene is not so much about silence or ambient noise, but more about how we listen…

Resounding boasts “live immersive audio entertainment” with an uptick in audio technology. The sound was brilliantly clear and some special stereo effects were clever, but there was no distinction from any usual audio production.

“Set during the unending Afghan war the listener is exposed to horrifying scenes of unspeakable atrocities. Through intimate conversations among Canadian soldiers, we learn of terrifying wounds, repugnant torture, and Sophie’s choice-like life and death decision making.”

Even as a simple reading, Galluccio’s words and characters live – good news as we anticipate a more fulsome production in the future.

“As theatre goers continue to embrace digital programming, knowing well enough that it is less than ideal, we are blessed to have producers, creators, and performers rise to the occasion and offer their visions, talent and hard work through alternative media.”