February 7, 2026February 5, 2026 ross

The Interview: Gabriella Sundar Singh and the Solitude of Witness

February 6, 2026February 6, 2026 ross

The Interview: Sitting in Discomfort as a Tool: Steven Hao on Directing Mike Bartlett’s “An Intervention”

January 27, 2026January 27, 2026 ross

The Grand Theatre’s “Primary Trust” Finds Grace in Loneliness and Connection

January 25, 2026January 25, 2026 ross

Hailey Gillis Captivates in Canadian Stage’s Tense and Revelatory “A Doll’s House”

January 23, 2026January 23, 2026 ross

When “Make Banana Cry” Leaves You Waiting, Watching, and Wondering

January 20, 2026January 19, 2026 ross

A Table, a Knock, and a Thousand Spirits in “Pu Songling: Strange Tales”

January 2, 2026January 2, 2026 ross

Bringing the Shaw Festival to the City: Theatre, Access, and a Waterfront Home

December 30, 2025December 30, 2025 ross

A Ghost Story Whispers for Christmas Eve: “The Woman in Black” at the CAA Theatre

December 18, 2025December 17, 2025 ross

Stories That Wouldn’t Leave Me: FrontMezzJunkies’ Top Theatrical Experiences of 2025 from NYC, Toronto, and Beyond

December 13, 2025December 12, 2025 ross

“Rogers v. Rogers” at Crow’s Theatre: A Corporate Tragedy Told with Wit, Bite, and an Uneasy Kind of Catharsis