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.
It takes a while to hit its stride, but the projections are beautiful and the wild last quarter has to be seen to be believed.
Work shines a fresh light on Asperger Syndrome, but play has a few loose ends.
It's a pleasant surprise to find a whole musical can emerge from a sole performer, thriving on the possibilities of pure imagination.
It pulls apart the affectations of gender, love, and war in brilliant ways, and has a fantastic time doing it.
On the surface, it would seem a propitious time for the Arts Club to launch its theatrical take on Afghan-American Khaled Hosseini’s best-selling novel, but the results are mixed.
There are a few truly great scenes in this story reframed as a family drama, and they come at the very end, when Joan faces death.
Troy Skog and Denyse Wilson make you believe that, instead of dying together in their youth, the duo has had a long and happy life.
Production embraces all the play's complicated pieces, gender-flips the title character, and showcases killer casting.
This creepily immersive ode to Edgar Allan Poe spreads across 20-plus rooms throughout the Cultch.