“In the 18th century, instability, wars and social change were the norm,” writes Penny-Lynn Cookson.

Three longtime Shaw actors, Sharry Flett, Patrick Galligan and Sanjay Talwar, sat down to chat with theatre critic Anthony Chase about their journeys as actors and careers at the Shaw.

“I left feeling detached, that form had superseded content, that the visceral theatricality that Shaffer so brilliantly offers by his gifts of storytelling had been denied,” writes Penny-Lynn Cookson.

“She sought unusual locations where ordinary people built empires against the odds and where strong, smart women overcame gender, convention and adversity,” writes Penny-Lynn Cookson.

“Indulge the child within you. This joyous production is for all ages and it was pure delight to see children on the edge of their seats, parents and grandparents alert, all responding and laughing in anticipation of what was coming,” writes Penny-Lynn Cookson.

“‘Heartbreak House’ is a profound examination of generational change, of dreams and ambitions shattered by war, of industry and government overturning social programs in favour of exploitation,” writes Penny-Lynn Cookson.

More than 40 years after the debut of this British farce on the Shaw Festival stage, “One for the Pot” returns with excellent performances that contain the elements needed to make this for-the-masses comedy a laugh riot, writes Penny-Lynn Cookson.

“Matters of etiquette, rules and styles of play inform. To Wodehouse, the only way to really find a true character is to play golf with him,” writes Penny-Lynn Cookson.

“Survival dictates new directions. ‘Beyond the Stage’ is expanding our experiences of theatre by allowing us to witness and explore exciting new paths,” writes Penny-Lynn Cookson.

“As the ring-master of inventions and deceptions, Wyke is supremely confident that in the real world of crime, who could possibly outthink him?” writes Penny-Lynn Cookson.

“It was Sara Farb’s finale, a stationary no-holding-back solo, guaranteed to rouse emotions, that wrenched the audience to an eruption of applause. Impressive, but still not quite enough to fill the void,” writes Penny-Lynn Cookson.

“Their shared dreams rise and fall, worn down by circumstances caused by a multitude of factors. These include the onset of the Great Depression, economic uncertainty, job losses and racism,” writes Penny-Lynn Cookson.

“Improv is hard work. If the goal of Murder-on-the-Lake is to take very good care of its audience, this production succeeds admirably,” writes Penny-Lynn Cookson.