The strong cast helps pull off an unconventional mix of live Sufjan Stevens songs, video-game antics, and family resentment.
Some of the pieces on view are so visually appealing and formally accomplished that they draw us in before confronting us with social and political messages.
Bad Hats Theatre's reimagined classic brings creative touches and a contemporary score to the story.
Pinocchio prods us to reconsider what’s important—namely, real connections with real people; families, no matter how dysfunctional or nontraditional; and the kind of whacked-out community Theatre Replacement’s annual gift celebrates each year.
Elaine Ávila’s musical focuses on an aspiring fado singer whose parents fled fascist Portugal for Canada's West Coast.
The Father marks the debut of Mindy Parfitt’s new theatre company, the Search Party, and what a gutsy, brilliant choice it is.
Anon is a difficult role, but Ashley Cook is a captivating lead actor.
Playful performances, handsome set design, and contemporary relevance help the beloved musical live up to its reputation.
One man tries to make sense of his life within the carnage of a senseless world.
Director Amiel Gladstone guides a quintet of seasoned performers through a sharp script.
URP’s production of American Idiot is a spectacular celebration of punk-rock band Green Day’s music, told through a high-energy, theatrical experience.
Artist, writer, activist, environmental lawyer, and knowledge-keeper, Williams-Davidson is a powerful force in the preservation of Haida language, laws, and culture.
Structured as a mental-health review board hearing, the dynamically yet sensitively performed show is a comic breakdown of how she became "certified" eight times.
Carousel Theatre for Young People’s production also provides a few lessons in Cree, which is presented her as "the language of the mosquitoes".
Strikingly staged pieces travel a full spectrum of human emotions and showcase fresh talent.
The animistic and the ceremonial flowed into a mesmerizing ode to a 65,000-year-old culture, in Australian company's Vancouver debut.
The American conceptual artist aims to erase herself amid the 170-plus pieces, which span her early-1970s student days to today.
The solo show unpacks the actor's Indo-Caribbean-Hindu-Canadian heritage with engaging conversational style and inspired audience involvement.
Bahareh Yaraghi's Jess most clearly exemplifies how high the “cost of living”, financial and emotional, really is.
Solo performer Joel De la Fuente adeptly flips between characters in recounting a story of discrimination and heroic dissent.