Out for a walk in their West End neighbourhood, Mike and Marissa—an interracial couple—meet a dog with an unfortunate breed name: Redbone Coonhound. This small detail unleashes a cascading debate between them about race and their relationship that manifests as a series of micro-plays, each satirizing contemporary perspectives on modern culture. Through its hard-hitting comedic elements, Redbone Coonhound explores the intricacies of subtle and overt polemics of race, systemic power and privilege in remarkable, surprising and hilarious ways.

A wild and subversive journey back through history and into the future. Redbone Coonhound reveals deep fears, rage, insecurities and, ultimately, hope.

In a Mughlai restaurant in Toronto, a late night visit from a mysterious stranger rattles the cage and shatters the peace. Now Ayub must face reality, the family he’s left behind, and the dreams he’s abandoned, all while keeping the restaurant clean to a mirror shine.

From award-winning playwright and author Anosh Irani, Behind the Moon is an achingly beautiful story of love and loss, freedom and faith, the meaning of brotherhood, and how we begin a new life.

When Izzy’s family immigrates to a small rural town, the young queer Muslim boy becomes the salvation pet project to the local Pastor Isaac. In his attempt to reconcile his sexuality and faith, Izzy invents an imagined Garden of Eden, where Adam and Hawa’s (Eve in Arabic) relationship is turned upside down by the arrival of Steve, a beautiful, blue-eyed, white-skinned northerner.

An emotionally-charged and ritualistic journey of two universes colliding, The Hooves Belonged to the Deer offers an epic story of life, discovery and belonging where small town Canada meets the Garden of Eden.

A cockroach smoking catnip. A bard lamenting over immortality. A boy stuck in a sticky situation. Three splinters caught in a collision of language, longing, and lobsters (who sometimes burst, and who sometimes burp).

From Toronto Theatre Critics award-winning playwright
Ho Ka Kei (Jeff Ho), Cockroach is a coming-of-age play about the stories we tell ourselves to comfort, to survive, to resist, to overcome, and to be.

Welcome to the world of the 1%, the corporate elite, the
“C-suite” – the “king-makers” whose influence flows through every aspect of our lives virtually unnoticed. When a CEO and his top executives are on a business trip for a major deal, a damaging sex scandal at the company is unearthed back home. As the pressure to complete the deal mounts, more secrets come to the surface, endangering the CEO’s company, his family, and his legacy. What happens to morality when human beings have limitless power?

Biting and unabashedly oozing with the condition of greed, Post-Democracy asks what is the price of silence envisioned through the remarkable lens of Director Mumbi Tindyebwa Otu.

From legendary Canadian artist Walter Border, The Last Epistle of Tightrope Time is a deeply personal reflection on Walter’s journey of life.

An invigorating autobiographical performance Walter re-visits the show, initially written and performed in 1986 as Tightrope Time Ain’t Nuthin’ More Than Some Itty Bitty Madness Between Your Twilight & Your Dawn. Through a solo performance featuring 10 characters, Walter explores homosexuality from a Black perspective and offers an experience of the resiliency of the human spirit.

An epic journey across time, oceans, and tectonic shifts in political history.

A Poem for Rabia weaves the stories of three queer women from the same bloodline: Zahra, a disillusioned activist in 2053, navigating a Canada that has just abolished prisons; Betty, in 1953 British Guiana, caught between her new secretarial job at the Governor’s office and the growing national independence movement; and Rabia, an Indian domestic worker in 1853, abducted by colonial ‘recruiters’ and sent sailing from Calcutta to the Caribbean on an indentured labour ship.

Three people gaze out their living room window as the days pass. Across the street in Withrow Park life goes on – or is it a dream?

Then a knock at the door. Time has found them, hiding in plain sight. Or possibly it’s just a man in a wrinkled suit. But they must act, now, or forever be devoured by their own indifference. Logan Avenue awaits, and beyond it, heaven, perhaps. They can no longer live on the periphery of their own lives. They must invite the young man to dinner.

With direction from Jackie Maxwell, and from the mind of Morris Panych, Withrow Park asks what we see in the darkness, and who is watching us from the light.

An all-new play about pathos; the “unshakable monster that is guilt,” and the things we’re not supposed to talk about.

Guilt (A Love Story) is a deep dive into a complex, uncomfortable, and highly human feeling. A state of being that most of us, especially parents, wrestle with inelegantly. Focusing on Flacks’ personal odyssey Guilt brings the perspective of a self-sacrificing Jewish mother who becomes the instigator of a family’s dissolution. Societal effects, causes and casualties and the feeling that we have when we’ve profoundly hurt others. This exploration may not pull punches, but don’t worry, it’s accompanied by laughs – because how else do we get through anything?

Diane Flack’s returns to Tarragon Theatre with GUILT (A Love Story) her 5th one-woman show.

Where stakes are high and kindness is in short supply.

3 Fingers Back is a double bill with a panoramic view of how we choose to treat each other: the captive, their captors and those who bear witness.

When we run out of options, we find out who we really are. In Give It Up, two women strategize to survive interrogation, and the cost of freedom. In The Smell of Horses, three soldiers plot to extract information through their humanity and the confines of duty.

From celebrated artist Donna-Michelle St. Bernards this double bill of plays from her 54ology occupies different vantages on the same world.

Twenty years have passed since the three Jurado sisters lost their parents, and life just seems to continue on in their East Vancouver home.

A birthday party, a failed proposal, and a missed connection fill the days and months until an earthquake nearly destroys the city, and brings forward a shocking turn of events that splits their world wide open.

From Dora-Award winning playwright Christine Quintana El Terremoto is a dramatic comedy about how nothing matters, so everything matters.

When John Hall is confronted by his ancestors, he is forced to revisit his entire life.

Worlds collide as he travels back through time rediscovering life as a
husband, father, son, war scout and freedom fighter. As he relives his dangerous past,
John must decide – continue life as the oldest man, abandon everything and serve
those on the earthly plane or exist in the Unknown.

Based on true events, Come Home – The Legend of Daddy Hall is told through poetic text, music and song.

A play about the afterlife, love, legacy and being legendary. Come Home asks where we come from, where we’re headed and what we may be asked to do when we get there.

“Leave expectations at the door. We are not putting on a play, we are throwing a party. This is a concert, comedy show, and confessional all in one. Come celebrate your mediocrity with us!“

Tarragon Theatre and Nightwood Theatre are thrilled to present the live stage premiere of Fatuma Adar’s unforgettable show She’s Not Special.

Co-directed by Adar (Playback’s Artist to Watch) and Graham Isador (The Beaverton, VICE), She’s Not Special combines musical theatre and comedic storytelling to explore the pressures of Black Excellence.

As a Black Muslim Woman (a triple threat!) Fatuma is on a mission to free you from the clutches of exceptionalism and teach you how to relish in the joys of mediocrity. After a critically acclaimed digital run at the Next Stage Theatre Festival, She’s Not Special returns to the stage LIVE! (Still, Adar hopes that you come with only moderate expectations… thanks.)

When their Matriarch ends up in a coma, a ma’iingan-wolf clan family gathers together to work through their collective grief and begin to heal from an incident in the past. While the Aunties camp out in the hospital room, the younger cousins spend their time at the Grandmother’s house by the backyard firepit; all while being circled by a cackling crow jokester.

As the veil between the ancestral plane and the earthly realm gets thinner, tensions and emotions are high and vulnerabilities are exposed, revealing the true strength and resilience of the ma’iingan kwe.

Yolanda Bonnell’s My Sister’s Rage is a story about the nuances of holding trauma and joy at the same time and how laughter is medicine.

“Why shouldn’t a dream be just as much a truth? A fantasy be just as deep a reality?”

After twenty-five years estranged, Cecelia and her father, Jules, are attempting reconciliation. Unable to communicate past shames and shortcomings, the pair become dependent on increasingly dramatic fairy tales to explain away their pain.

Paint Me this House of Love is a rhythmic, yearning, experimentation of language, exploring the threads that stitch together our shared family narratives, and asks how we communicate, “I Love You”, when the words alone are not enough.

An unintended pregnancy, followed by an unhelpful doctor’s appointment, leads to a Christmas Eve abortion and one woman’s reckoning with the practical and existential considerations in deciding to become a parent… or not.

Hypothetical Baby is a time-travelling exploration that grapples with the personal and societal factors that shape our reproductive lives and the intricate relationship between choice, change, and loss.

From the creator of the award-winning Aborsh podcast, Rachel Cairns mixes data and drama in this autobiographical work to publicly talk about abortion the way we do privately — with neurotic vulnerability, unflinching honesty, and frank irreverence.

Performance at The Creative School and Tarragon Theatre collaborate on two workshop projects which support the development of new work, featuring the graduating class of Performance Acting students.