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Stephen Daytime's Minotaur at Montréal Fringe 2026 reclaims bouffon from the right — an attack on toxic masculinity in form and not just content.

Culture starts from the edges in; la culture part des marges vers le centre.

Iggy Beamish Destroys Traditional Marriage is the third solo show from Toronto's Johnnie McNamara Walker: writer, performer, BoylesqueTO host, DJ Orange Pekoe. Iggy, his "charming trainwreck" alter-ego, officiates straight weddings for a living while avoiding the reality of his own gay divorce. Edmonton Fringe 2023, Factory Theatre, Dublin's Wilde Stages, the Conservatoire for Montreal Fringe 2026. The show is built around three weddings, so this interview is laid out as an order of service. You may be seated.

Entrevue avec Ariane Laget, auteure de Marthe Jeanne Charlotte Ariane, présenté dans le cadre du Festival Fringe. La pièce mêle recherche archivistique et théâtre, à la manière d’un palimpseste vivant, à travers une exploration du for intérieur qui se brouille et s’illumine à la rencontre de l’autre.

C'est l'hiver, il neige. Dans une auberge délabrée, un homme discute avec son glockenspiel. L'auberge n'est pas terminée, il manque encore le toit... Ce grand homme au cœur d'enfant passe l'entièreté de son temps seul dans cet espace incomplet. Est-ce que l'arrivée d'une candide étrangère pourra remplir ce vide?

Balcony Scene: Turn Your Romantic Failures into Showstoppers. Two recovering theatre kids (Leslie Beedell and Francesca Esguerra), one federal bureaucrat, one drama therapist, and the high-school Romeo & Juliet flunk that still lives in their heads rent-free

An intimate, postmodern two-hander that turns deconstructed wedding gowns and breath-synced blindness into one of Fringe’s most rigorously made pieces of dance theatre.

The show is about growing up in the Catholic Church and a JROTC military high school, and how identity breaks through in institutions where you can't be who you are. Claire and her director David Resnick found the show's final shape by cutting fifty notecards apart and rearranging them until they made sense, which is kind of like being trans itself. CRACKS opens June 13 at the Montreal Fringe.

FESS is a non-verbal pas-de-deux about old men. In the words of the choreographer Alec Turgeon, it's a movement study of how it feels "to have that kind of freedom to do anything." Turgeon and Ro Paloma, two trans dancers from Concordia, spend 40 minutes inside of the bodies least corrected by society.The show is built around actions and objects. FESS opens on the 12 of June and runs until the 21 at the Halbro Building, PlayShed, as a part of Montréal Fringe 2026.

Seeing Red, the new two-hander from writer-director Misha Nye and Pyrite Theatre, follows Liam and Frankie to Frankie's gallery opening on their one-year anniversary, where they watch a stranger get hurt in the street and have fundamentally incompatible reactions to the violence. June 12–21 at the Conservatoire de musique et d'art dramatique de Montréal, Montreal Fringe 2026.

Ionesco, but make it 2026: Bald Republic, at Théâtre La Comédie de Montréal for the 2026 Montreal Fringe, is a 45-minute absurdist satire built as a leaders' debate. Four chiefs, one host, a nation watching, and an unwittingly complicit moderator.

Cinquante-six spectacles anglophones qui s'ouvrent cette semaine entre le 9 et le 15 juin, avec six coups de cœur qui valent la peine de traverser la ligne linguistique.

Thirty French-language shows opening this week between June 9 and 15, with six picks worth crossing the language line for — and notes on which ones lean physical, musical, or bilingual enough that a non-fluent French speaker will still get the work.

The shows, artists, and forms we are following at the 2026 St-Ambroise Montreal Fringe Festival — and a manifesto for the amateur, the beginning, and the common thing.

Ornela Kapetani trained as an actor, then as a drama therapist in the ATP method, and now she puts herself through the treatment in front of strangers. On LOLA IS DEAD, the heroine’s journey, and why the people in the room are witnesses, not an audience.

Review of Matthew Gasda's new play The Last Days of Downtown (CTR, April 2026), read as a contemporary adaptation of Euripides' Bacchae.

A four-star review of Ruby Blinkhorn's Cadaver Synod at KXT on Broadway, directed by Mathew Lee. A queer revisionist take on a Vatican scandal that dazzles with wit and craft, even as its final act stumbles.

Sydney Dramaturgical Company explains its biennial cycle: producing original theatre in odd years and supporting independent theatre-makers through dramaturgy, editorial, listings, and archiving in even years.