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Aubrey Wang reviews lacuna by Eric Jiang at Belvoir Downstairs, Griffin Lookout 2026. A freelance psychopomp harvests the memories of the living on contract to the goddess of oblivion. An Orphic English-Cantonese three-hander about queer and diaspora grief, and the gig economy of forgetting.

The Whisper by Carl Caulfield at the Civic Playhouse, Newcastle, UpStage 2026 — a haunted-lodger premise redeemed by idiomatically Australian writing and Matthew McFarlane's magnificent, unsentimental grandfather.

Grow is much more than a high-concept premise; it is a journey that blooms through an exploration of belonging, identity, personal fulfilment, and the choices of adulthood. Melanie Schaffer reviews the Segal Centre's new Canadian musical from the creative team behind Come From Away, running at the Sylvan Adams Theatre May 24 – June 14, 2026.

Flip Flop is an improvised game show where the audience doesn't just watch the competition; they have the power to decide who wins or loses. Melanie Schaffer reviews Shanthony Exum's raucous, audience-driven format at Petit Campus during the Montréal Fringe Festival 2026.

Public displays of affection! Mass shootings! Drugs, deities — it's the first day of college, and real-life Prof. G explains why you can't send naughty photos to your classmates and how to outrun the criminology students.

Y'all heard of sex while camping? I heard it's fucking in tents. Le Cimetière des voitures by Fernando Arrabal, adapted by Prod. Cours des choses, Montreal Fringe 2026

Seven zoomers in thrifted Y2K separates spend forty minutes trying to hold together miscarriage, abortion, police misconduct, infidelity, and one on-stage stabbing with an ice pick.

Give these people a blank check. The puppet is well-made, the manipulation is immaculate, the operators are visible characters instead of erased functions. Puppetry gives the light and sound design team new frontiers.

Aubrey Naur reviews Syd Hamidreza Hosseini’s Viraf 2.0 at Théâtre VME / Mile End Improv for Montréal Fringe 2026 — The Hive Theatre’s techno-séance for a cousin named Majid, who entered a coma on the sixth day of the war between Israel and Iran and died sixty-four days later, not from the bombs but from a motorcycle accident. A relic, not a chatbot.

Stephen Daytime reviews Isaac Kessler’s 1-Man No-Show, winner of Best Clown Show at Montréal Fringe 2026 — an anti-serious fever-dream that permits no boredom. A striptease where the bazongas are jokes, a country auctioneer badgering the audience through wanky meta-layers, and a performer you’d pay to read you a telephone book. 4.5 stars, with pasties still hiding something.

Aubrey Wang critique Minuit Portant par APARTÉ&Co (Johanna Simon et Sarah Roy) au Studio Jean-Valcourt pour le Festival Fringe de Montréal 2026. Deux corps corsetés, un canapé en damas victorien, et le patriarcat pris pour parasite. Une thèse sur l’exo-patriarchie comme cordyceps du corps féminin.

Philip Sawaia reviews Marshall Kahente Diabo’s Dolycule (directed by Bri Bedard) at Mile End Improv Theatre for Montréal Fringe 2026 — a dance solo about polyamory, told through three sheddings: the white gown, the clown pants, and the body itself.

Philip Sawaia reviews Gada Jane’s Becoming Psychic at Montréal Fringe 2026 — the rare psychic story told by someone actually asking whether she’s psychic. Curious, skeptical, and humane; the text still deserves a review or two.

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

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?

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.

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.