Canadian playwright Trina Davies’s The Trophy Hunt feels like an overly deliberate writing exercise in which she plays three variations on the theme of African big-game hunting. (Why Africa? Why not the Canadian North, which would bring things closer to home?)...

BikeFace is clean, simple, and it does its job, kind of like a glass of water — or a good bike. In her solo show, writer/performer Natalie Frijia tells us about her cross-Canada cycling trip. The travelogue includes elements you’d probably anticipate: mishaps (like...

About an hour into this 90-minute show, I checked my watch and my companion leaned over to whisper, “Time has slowed.” As in Amélie the movie, sweet nothing happens in Amélie the musical — well, nothing interesting. Amélie is a shy young Parisienne and, for a lot of...

Oddly, I found The Legend of White Woman Creek both hypnotic and boring. Katie Hartman, who wrote the piece with partner Nick Ryan, who’s running the lights, performs solo. Starting out as an academic who specializes in the paranormal, she summons the ghost of...

Playwright Lili Robinson has some great instincts. Mx, Robinson’s exploration of her combined African and white heritage, starts with a monologue from Mz. Nancy (Alisha Davidson looking gorgeously imposing in a red sequined dress, scarlet-and-gold headscarf, and...

I’m in love with Larry. In green coveralls and what looks like a paper cut-out beard, clown Candice Roberts plays Larry in this solo show. The guy’s a hoser — complete with an Ottawa Valley accent — a man’s man, who isn’t woke enough for the woman he wants to date....