Traditional arts journalism is in decline. Now more than ever, this independent website and our podcast fill a growing void.
We've had over 1.5 million page views, and are grateful that you are here.
We rely on readers — and a handful of advertisers who share our values — to make our work possible. When we raised funds for our podcast, The "Performers Podcast," the average donation from people like you was $96.
Now we hope you’ll join us in augmenting our coverage of arts in the region by making a one-time donation today.
This is a listing for the 2009 season.
For the current 2019 shows click here.
Good enough to justify a trip to...
The Wall Street Journal has a great feature story raving about The Importance of Being Earnest, saying it alone is worth a trip to Stratford. Teachout has positive notes about Three Sisters and adds that Colm Feore’s performance in Macbeth “leaves no doubt that he’s one of the finest classical actors around.”
A feature story, scroll down to: “[Feore’s] performances couldn’t be more different. His proboscis-enhanced Cyrano is overtly demonstrative, at least when it comes to swordplay and wordplay; his Macbeth more resolutely introspective. And it’s Cyrano who wins by more than a nose. (Sorry.)”
A very thoughtful piece, it’s an example of how online reviews need not be constrained by editorial space or time. ” …this is a production worth seeing – for Colm Feore and Yanna McIntosh first and foremost.”
” …taut, thoroughly fresh “Macbeth” is a poetic and theatrical triumph…What makes this “Macbeth” so compelling is the director’s respect for Shakespeare’s words, for the way the words illuminate and explain the characters, for the gunpowder contained in the poetry.”
“His [Feore’s] real ace is his command, both technical and intellectual, of the text. He continually comes up with surprising new readings that turn out to be absolutely valid. He acts the language… fully displayed here by only two other actors: Geraint Wyn-Davies, the suavest Duncan I’ve ever seen, and Tom Rooney.”
“…fine supporting performances elsewhere in this Scottish/African power struggle. As King Duncan, Geraint Wyn Davies – who was a formidable Polonius in Hamlet last year – once again creates a gull you are sorry to see culled. As Malcolm, Duncan’s son, Gareth Potter has power, charisma and a firm grasp of the text…”
“…in the end, despite a potentially great cast, a lot of technical fireworks and an interesting setting (colonial Africa in the 1960s), this Macbeth commits the most unpardonable sin of all: not murder, but dullness.”