‘The Events’ at least takes us into the arena where the audience is challenged with the many elements involved in such a tragedy. Severe right wing politics and anti-immigration sentiments are the surface of the story, but Greig combs further depths.

It was twoish hours well spent. You can’t complain about an evening that includes Tchaikovsky, feathers, fans, and makeup by the kilogram. I don’t know if I’ll ever see eight men en pointe at the same time again.

Ms. Benger is equally outfitted with a spectacular range of voice required for challenging Sondheim music. Her opening ‘Sunday in the Park’ sets the standard for the balance of the show.

Oh, did I also say this Canadian premiere is one helluva bold and riveting production with enthralling performances? It most definitely is…

In 1992, Brian Francis put a personal ad in a local newspaper. He was 21 years old, not completely out of the closet, and looking for love. Twenty-five men responded to his ad, twelve with whom Francis met up. He did not reply to the other thirteen - until now.

There were moments either of raucous excitement or extreme intensity where Ms. Parmentier and Mr Van Houtven’s voices did not carry well and I couldn’t hear them clearly and in what they were saying. Hopefully, they will be mindful as performances continue since so much is conveyed to us through their dialogue.

For the first couple of minutes once ‘Brain Storm’ started, I was perplexed by what I was seeing with the movement of the actors…then there was my epiphany.

t is the artistic and physical magnificence of these dancers that elevates the searing indigenous story of a circle of life and the call of respect for the earth…Stunning visuals are rooted in the acrobatic flexibility of the performers. Many moments of amazing solo work contrasts with moments of exhilarating intertwining of duets and groups.

Heightened moments of tension were beautifully staged while one person spoke and the other two remained in complete intensity and focus without any upstaging in Grand Canyon’s Theatre production of Canadian playwright Judith Thompson’s ‘Watching Glory Die’.

I was taken on a wild adventure ride through an immersive technology and multimedia to the urban jungle of Mowgli’s childhood in the forests of India…And I loved every 65 minutes of it.

Star power aside, this cast is lead by the searing work of Rachel VanDuzer as daughter Ava.  The only non-academic in the story, Ms. VanDuzer must distinguish herself as an innocent casualty

I felt those same tears welling up in my eyes at the conclusion of this phenomenal ‘Caroline, or Change’ that I also felt at the conclusion of the Broadway and Canadian productions of ‘Come from Away’. I looked around and there were other audience members who quietly wiped said tears from their eyes as well.

What was intriguing about Stewart Arnott’s direction of ‘Marjorie Prime’ and Gillian Gallow’s design work was the effort made to not make this look like a science fiction piece.  This underscores the futuristic story with even more integrity..

An initial look at ‘Jesus Hopped The A Train’ plot might draw comparisons to television’s long running ‘Law and Order’. There’s more going on here, however, as these characters have been cut open by events regarding how the legal system has permeated their lives. And it’s for the worst.

‘This is How We Got Here’ deals with grief but there is more underlying the text. Playwright Keith Barker states his play “is about trying to find a connection after experiencing a devastating loss.” How very true this statement is.

I can’t even begin to imagine the hardships that a Syrian immigrant and refugee encounters and experiences in leaving a homeland and beginning a new life somewhere else. Performers Ahmad Meree and Nada Abusaleh are quite good in capturing those moments of emotional intensity in both plays needed without it going over the top into histrionics

Reminiscent of ‘The Iceman Cometh’, Lynn Nottage’s bar teems with the lot of human frailty.  This cast’s strength is in stomping on the accelerator and not letting go, reminding us of Stan’s unfettered philosophy – “shit follows you everywhere.”

Thankfully, Lucy Peacock reprises her Stratford role as the deliciously and dastardly Satan. Qasim Khan and Amelia Sargisson also return as Adam and Eve. Eight other fine cast members were selected for the Montreal run.

Canadian playwright Hannah Moscovitch viscerally overturned the #metoo movement on its head with a sizable goose egg bump at the premiere of her ‘Sexual Misconduct of the Middle Classes’ at Toronto’s Tarragon Theatre on the Mainstage.

And it’s one helluva of a terrific play that demands to be seen…

In Act 2, Kaisha Lee’s sultry performance of St. Louis Blues was a knockout, and the sound of the applause at the end of her number reinforced it even further. It has been years since I’ve heard barbershop singing, and ‘I Open My Mouth to the Lord’ was captivating to hear and to listen to every single lyric and word sung.  Heavenly!