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Jasmine Case Embraces Youth, Imagination, and the Unexpected in “This Feels Like the End”
John D. Huston’s “Civilized” confronts the truth about residential school and Canada’s colonial past
Review: Circlesnake’s hilarious “13 Plays About ADHD” puts neurodiversity in focus
Artist Spotlight
What We're Reading
Duncan Stenhouse on his love for jazz, opera and new beginnings at the Canadian Opera Company
Review: “Wonderful Joe” celebrates wonder in a world of loss
Review: “Goblin: Macbeth” gleefully celebrates the magic of theatre
Stunning new novel “However Far Away” explores settling and home
“The easy answer is engagement”: Craig Lauzon on comedy, satire and cultural authenticity in “The Thanksgiving Play”
Carlos Rivera’s “Rosa”: A Journey of Survival, Resilience and Renewal
In his new film, HAUI is amplifying Aunt Harriet’s voice
Review: Alumnae’s “Low Pay? Don’t Pay!” pays out big laughs
Review: “SAMCA” is a haunting exploration of womanhood, motherhood and mythology
Amanda Peters’ new story collection avoids “trauma trap” in favour of light and hope
Review: All’s NOT well – “1939” shows Truth and prods Reconciliation
Srutika Sabu: A funny thing happened on the way out of medicine
Interview: Emily A. Weedon crafts a chilling new world in Autokrator
Anne Plamondon: Choreographing emotional landscapes in “Feel no more”
Interview: Lily Chu’s new novel “The Takedown” is a rom-com with heart and substance
Author Stephanie Wrobel’s new thriller invites you to “The Hitchcock Hotel”
Fear of wolves and respect for tradition inform David Danzon’s Mukashi, Mukashi
Review: “Infinite Life” meditates on our pain and prescribes connection
Rebecca Gibian translates and directs “How to Survive in the Wild”
Nestor Lozano Jr’s Tink brings new dimensions to a reimagined classic, Wendy and Peter Pan
Jesse Gervais debuts role of Jules Tonnere in The Diviners
Beau Dixon is Peter Mortensgaard in Crow’s Theatre’s Rosmersholm
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