“The very first thing that occurred to me when I heard that Benedict Cumberbatch and Jonny Lee Miller were going to appear together in a production of Frankenstein was that all three of us had performed as Sherlock Holmes, mine being the least illustrious (by far) of the three. I put that thought on the shelf and turned my attention to the particulars of this production.”

Doing a show on Zoom with everyone in the comfort of their own space (company and audience alike) requires some creativity to deal with direct interaction between characters. This was done with ease by having the character say what they were doing and to whom. At first it was a little distracting but didn’t take long for this to be as natural to the flow of the show as if they had been performing the actions on stage.

With breathtaking theatricality, stinging poignancy, biting humor, and deep empathy, The Siblings Play gives voice to multicultural New Yorkers rarely seen on the stage.

“How to Have an Affair has all the right pieces but lacks the defined presence of an unseen character that is central to the story.”

‘“Anywhere” finds sophistication in its simplicity, a quiet, unsettling beauty about humanity’s unwavering ability to keep moving forward, one foot in front of the other, no matter how challenging the walk.”

At times, the production reminded me of a glitzy Las Vegas show revue…Nevertheless, that glitter and glitz flee quickly away leaving me feeling distant from the emotional element surrounding Ms. Summer’s checkered past in a failed relationship with one of her many lovers.

“The premise and process of “P*ssyc*ck Know Nothing” is rooted in a small note in the program: the company, anchored in an aim of “radical inclusivity,” created this play.”

Al Pacino revisits “The Basic Training of Pavlo Hummel “ the first of its kind to explore the national trauma of Vietnam. His reading on Sunday, March 9, has as much relevance today as it did 40 years ago.

Townsend’s performance of the elegy (this is far more than a reading) evidence’s Muldoon’s deep respect and enduring love for the American visual artist Mary Farl Powers who died of breast cancer in 1992 after refusing any treatment.

“The Karamazovs” is a playful kaleidoscope of the traditional and contemporary, a passionate retelling of a timeless struggle between justice and love that will leave you haunted and resilient.

‘“Suicide Forest” is a bilingual phantasmagoria that excavates the Japanese-American consciousness and its intimate relationship with sex, suicide, and identity through a simultaneously witty and horrifying juxtaposition of time and space jumps that proves Haruna Lee to be a writer and performer unparalleled on stage today.”

It is in this risk taking where ‘The Negroes Are Congregating’ becomes a powerful form of an immediate and live connection we make with others and to others…To be honest, ‘The Negroes Are Congregating’ is a risky play that sometimes did create discomfort for me and for my invited guests…

‘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.

This certainly is a controversial production that will cause conversation and possibly disagreement on the way home from the theatre. The question is the verdict.

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.

I like sketch comedy, and I love the idea of a sketch comedy festival…But at a certain point, the folks behind TOsketchfest have to think about whether or not it’s worth trying to realise their vision on a shoestring… I’m sure they’ll put on great shows and sell a lot of eight-dollar Steamwhistles. But every night like last night only does the sketch scene harm. 

“Drumfolk is ultimately a riveting and entertaining evening, never heavy-handed in its careful examination and triumph over history, but majestic, self-assured, powerful with every breath and beat.”

This is not the whimsical song of rose-cheeked von Trapp children skipping over mountains escaping Nazis. Christopher Morris and Daniel Brooks’ project is a harsh and blinding invasion of hypocrisy – the audience is not meant to be comforted.

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