Is this you? As a journalist, you can create a free Muck Rack account to customize your profile, list your contact preferences, and upload a portfolio of your best work.
Claim your profile
Articles by Ferron Delcy
REVIEW: Shifting Ground Collective’s Amélie is vivid and endearingly earnest
iPhoto caption: Graysen LaPointe and the company of 'Amélie.' Photo by Taylor Long. Directed by Catie Thorne for Shifting Ground Collective, Amélie is an endearingly earnest journey into the mystery of how to make friends as an adult. A 2017 Broadway musical with a book by Craig Lucas, adapted from the 2001 French film by Jean-Pierre Jeunet, Amélie follows a fanciful protagonist who inhabits a world of her own making.
Uneasy lies the head that… runs an English department? Tarragon’s Prophetess spins a web of power and poetics
iPhoto caption: Karen Robinson in a promo photo for 'Prophetess.' Photo by Dahlia Katz. For Prophetess lead actor Karen Robinson and playwright Ho Ka Kei (a.k.a. Jeff Ho), blessings abound in the relationships nurtured in the rehearsal room. When I spoke to the pair over video call aboutthe production’s upcoming world premiere, directed by Mike Payette at the Tarragon Theatre Mainspace, they described an artistic process grounded in care and collaboration.
REVIEW: GFT’s Northanger Abbey embodies the delights and absurdities of Gothic fiction
iPhoto caption: Georgia Findlay in 'Northanger Abbey.' Photo by Raph Nogal. It’s the most Austenian of social dilemmas: Catherine Moreland (Georgia Findlay) has accidentally stood up her new friend, Eleanor Tilney (Kiana Woo), with whom she intended to go for a walk. Mortifying! And, somehow, an essential domino in the hilariously cascading plotof Northanger Abbey: A Most Horrid Mystery, based on Jane Austen’s novel parodying the Gothic genre. Adapter and director Tyler J.
REVIEWS: Toronto Fringe Festival 2026
iPhoto caption: Toronto Fringe promo photo by Robbie Harper. The Toronto Fringe Festival and an Ontario-based performing arts magazine walk into an arcade. As they settle in for a round of Street Fighter II, the Fringe asks: “Are you gonna do a giant rolling file of reviews like you did the lastcouple of years? The 2026 festival runs from June 30 to July 12 and features a total of 123 shows, mostly selected by lottery.
REVIEW: Soulpepper’s Medusa creates a mess it refuses to tidy
iPhoto caption: Members of the company of 'Medusa.' Photo by Dahlia Katz. In Erin Shields’ latest play — her third world premiere this year — Medusa’s serpents represent seductively, sinisterly self-abasing thoughts. A co-production between Soulpepper Theatre and Outside the March, this contemporary reimagining of the Medusa myth plagues its eponymous character (Oyin Oladejo) with an unceasing cacophony of voices criticizing her every move.
REVIEW: Stratford Festival’s Waiting for Godot never feels fully its own
iPhoto caption: Paul Gross and Tom McCamus in 'Waiting for Godot.' Photo by David Hou. If you want to know how any new production of Samuel Beckett’s absurdist classic Waiting for Godot will approach the work, your first clue is set design. The play’s tree — an iconic set piece, a symbol for symbols — bears the weight of overdetermined meaning. As does, counterintuitively, the nothingness surrounding the tree.
REVIEW: Stratford Festival’s A Midsummer Night’s Dream features rock-solid comedy and unexpected tenderness
iPhoto caption: Members of the company of 'A Midsummer Night's Dream.' Photo by David Hou. Love is pantingly, whiningly, brayingly embarrassing in the Stratford Festival’s 2026 A Midsummer Night’s Dream at the Tom Patterson Theatre. Developed in collaboration with Groundling Theatre, this production revels in the plights of its love-drugged protagonists through clever clowning, live music, and an animated landscape. Equally delightful are its glimmers of unexpected tenderness.
REVIEW: Erin Shields’ Mary, Mary, Mary, Mary is brash, funny, and message-forward
iPhoto caption: Amaka Umeh, Nancy Palk, Michelle Monteith, Belinda Corpuz, and Sabryn Rock in 'Mary, Mary, Mary, Mary.' Photo by Dahlia Katz. Erin Shields’ latest feminist adaptation considers how a name might erase, rather than signify, identity. There are so many Marys in the Bible that they blur together. If lucky, some Marys achieve archetype status — but only when politically convenient.
REVIEW: Jill Connell’s The Herald has a lot to say about potential
iPhoto caption: William Ellis and members of the company of 'The Herald. Photo by Albert Hoang. A new work written and directed by Jill Connell, The Herald feels deftly hewn in its superstructure but shaky in performance. There’s so much to love about this smart, strange, and achingly lyrical exploration of labour and purpose. Dramaturgical intentionality falters, however, in the details: vague blocking and inconsistent scene work delay fulfilment of the play’s potential.
REVIEW: In You, Always at Canadian Stage, playfulness meets unabashed emotional vulnerability
iPhoto caption: Liisa Repo-Martell and Maev Beaty in 'You, Always.' Photo by Dahlia Katz. Erin Shields’ new work You, Always, directed by Andrea Donaldson, embraces the tenderness and frustration of sisterhood. This big-hearted play will steal your favourite going-out shirt, holler your crush’s name at full volume, and then accost you with a bear hug — all the while harboring a deep well of love and resentment.
REVIEW: A Question of Character examines the psychology of a filmmaker who created Nazi propaganda
iPhoto caption: Photo courtesy of Minmar Gaslight. In A Question of Character, produced by Stakes and Embers and Minmar Gaslight, the banality of evil looks like a sunny apartment. The action of Steven Elliott Jackson’s play unfolds here, in the living room of Leni Riefenstahl (Paula Wing), a character based on the German filmmaker frequently referred to as Hitler’s favourite director.
Reviews of theatre in Toronto and beyond | Intermission
REVIEW: A Question of Character examines the psychology of a filmmaker who created Nazi propaganda The greatest strength of A Question of Character, now playing at the Aki Studio, is that its fundamental questions manifest as an active process. Rather than conveying a pre-packaged conclusion, the production undertakes a genuine attempt to work through Leni Riefenstahl's contradictions while weighing the payoffs of revenge.
REVIEW: Obsidian and Tarragon co-production reflects on the inadequacy of language Original
int(113806) iPhoto caption: Dwain Murphy and Virgilia Griffith in 'a profoundly affectionate, passionate devotion to someone (-noun).' Photo by Jae Yang. a profoundly affectionate, passionate devotion to someone (-noun): the title says it all, offering a definition for an absent word. The thing is the thing unsaid.
REVIEW: Tarragon’s CHILD-ish takes a hopeful and hilarious look at life through kids’ eyes Original
int(113688) iPhoto caption: The company of 'CHILD-ish.' Photo by Jae Yang. Sunny Drake’s CHILD-ish, making its Toronto premiere in the Tarragon Theatre Extraspace, offers a hopeful and hilarious look at life through kids’ eyes, acted by grown-ups. It’s a giggly good time, if a pinch oversweet.
REVIEW: The Green Line unspools an exquisitely written narrative of love and loss in Beirut
int(113373) iPhoto caption: Waseem Alzer in 'The Green Line'. Photo by Jeremy Mimnagh. Tearing Beirut in half, the Green Line divided Muslims and Christians during Lebanon’s Civil War. Playwright-director Makram Ayache’s The Green Line opens by describing this “no-man’s land” as an imaginary place — a political concept that materialized in the vegetation that reclaimed the land. For Ayache, the Green Line becomes a site of reckoning, remembrance, and restitution. It’s 1978.
REVIEW: The Green Line unspools an exquisitely written narrative of love and loss in Beirut
int(113373) iPhoto caption: Waseem Alzer in 'The Green Line'. Photo by Jeremy Mimnagh. Tearing Beirut in half, the Green Line divided Muslims and Christians during Lebanon’s Civil War. Playwright-director Makram Ayache’s The Green Line opens by describing this “no-man’s land” as an imaginary place — a political concept that materialized in the vegetation that reclaimed the land. For Ayache, the Green Line becomes a site of reckoning, remembrance, and restitution. It’s 1978.
REVIEW: Coal Mine Theatre’s Waiting for Godot is lucid and unpretentious
int(113320) iPhoto caption: Ted Dykstra and Alexander Thomas in 'Waiting for Godot.' Photo by Elana Emer. Waiting for Godot is a playful and unpretentious season opener for Coal Mine Theatre. Directed by Kelli Fox, this production embraces the bodily sensibilities of Beckett’s dark humour, grounding his abstract poetics in the kidneys, the feet, and the dirt. You likely know Waiting for Godot, but I’ll recap it anyway. It starts with “A country road. A tree.
REVIEW: Coal Mine Theatre’s Waiting for Godot is lucid and unpretentious
int(113320) iPhoto caption: Ted Dykstra and Alexander Thomas in 'Waiting for Godot.' Photo by Elana Emer. Waiting for Godot is a playful and unpretentious season opener for Coal Mine Theatre. Directed by Kelli Fox, this production embraces the bodily sensibilities of Beckett’s dark humour, grounding his abstract poetics in the kidneys, the feet, and the dirt. You likely know Waiting for Godot, but I’ll recap it anyway. It starts with “A country road. A tree.
For Maev Beaty and Irene Poole, Stratford’s Ransacking Troy offers a chance ‘to smash the Bechdel test all to pieces’
int(113169) iPhoto caption: Maev Beaty as Penelope and Irene Poole as Clytemnestra in Ransacking Troy. Stratford Festival 2025. Photo by David Hou. Erin Shields’ new play Ransacking Troy refuses to travel the path of least resistance. Now playing at the Stratford Festival, this feminist reimagining of Homer’s epics, directed by Jackie Maxwell, casts a searing look at sacrifices made in the name of male glory.
Review: Soulpepper’s 'Old Times' casts a tense, haunting spell
int(113064) iPhoto caption: Jenny Young in 'Old Times.' Photo by Dahlia Katz. Directed by Peter Pasyk, Old Times at Soulpepper Theatre sustains 75 minutes of simmering tension. This production promises a revelatory experience for Harold Pinter veterans and novices alike, expertly deploying the playwright’s iconic device — silence. It’s twilight. Sipping coffee in a stylish living room, somewhere in the English countryside, old friends reminisce.
REVIEW: Two site-specific Luminato concerts explore the significance of daily ritual Original
int(112611) iPhoto caption: 'Queen of the Night' promo photo courtesy of Luminato Festival. At the 2025 Luminato Festival, two site-specific concerts explored the beauty and monotony of daily ritual. Themed DAY:NIGHT, Luminato runs until June 22 and features 28 presentations that span music, theatre, dance, and installation. Immersive choir performance Dawn Chorus (directed by Krystian Lada) opened the festival by serenading an audience of early morning commuters at Union Station.
REVIEW: House + Body’s Measure for Measure weds the beautiful with the troubling
int(111830) iPhoto caption: Photo by Kendra Epik. Measure for Measure is a tonally complex comedy — and House + Body mostly keeps tune. This production takes seriously the injuries a corrupt government enacts on human lives and bodies. It’s also surprisingly funny. In typical Shakespearean fashion, Measure for Measure careens from subjects like justice and hypocrisy to jokes about bums.
REVIEW: Bad New Days’ Last Landscape unearths raw feelings about the natural world
int(111452) iPhoto caption: Photo by Fran Chudnoff. The stage feels as desolate as a downtown construction site. Clad in utilitarian coveralls, nameless workers (performed by Nada Abusaleh, Nicolas Eddie, Gibum Dante Lim, Annie Luján, and Kari Pederson) haul found objects into place. Then: a light flickers on and the tableau snaps into focus. It’s a relief, like taking in a lungful of mountain air. Too soon, the scene is dismantled. We feel its loss. The cycle begins again.
Intermission: News and reviews of theatre in Toronto and beyond
iPhoto caption: Members of the company of 'Pu Songling: Strange Tales.' Photo by Johnny Hockin. iPhoto caption: Photo courtesy of Minmar Gaslight. REVIEW: A Question of Character examines the psychology of a filmmaker who created Nazi propaganda / iPhoto caption: Members of the company of 'Pu Songling: Strange Tales.' Photo by Johnny Hockin. iPhoto caption: Photo courtesy of Minmar Gaslight.
Show More
loading
Actions
Is this you?
As a journalist, you can create a free Muck Rack account to customize your profile, list your contact preferences, and upload a portfolio of your best work.Get in touch with Ferron
Contact Ferron, search articles and posts on X, monitor coverage, and track replies from one place.
Learn more about Muck Rack