Let’s be clear: Much Ado About Nothing is about something. Director John Murphy’s production accesses the play’s depths, but only intermittently. Too often, it gets distracted by its own inventive surfaces. Shakespeare sets his comedy in Messina, Italy, and Murphy...

The Arts Club is living off the avails of puppet sex. In the best scene in Hand to God, which is currently playing at the BMO Theatre Centre, two puppets go at it like they’ve just discovered Sesame Street’scopy of the Kama Sutra. And Avenue Q, which the Arts Club...

Just entering the theatre for the premiere performance of Children of God, you could tell what a monumental opening this was going to be. Corey Payette’s new musical speaks from the heart to one of the most important subjects facing all inhabitants of the territory...

The Piano Teacher is honest, smart, moving, and exquisitely performed. Sometimes, when people write about artistic expression, they bullshit. I’m thinking about Stephen Sachs’s play Bakersfield Mist, for instance. In that script, an art expert almost has a literal...

Redpatch doesn’t work—at least it doesn’t work for me. I’m a white guy and Redpatch deals with the experience of a Métis soldier during WWI, so some might feel inclined to dismiss my criticism. But the company invited me to review the show, so here goes. Raes Calvert...

There are gaping holes in director Kim Collier’s production of Angels in America, Part One: Millennium Approaches, but it’s still worth seeing. When you first encounter Ken MacKenzie’s set, it’s stunning. The walls of the Stanley Theatre segue into the set itself, in...