Good evening, internet.

I hope you’re somewhere warmer than I am. Toronto is fffffffff-cold.

I’m here today to share with you my year of theatre. Considering we have a small child at home, I couldn’t get to as many shows as in years past, but I put in a valiant effort. This year, I saw some of the best theatre I’ve ever seen, and also the definitive two worst of my life. Those two “plays” I would pay to unsee. Let’s begin with some stats:

• In 2025, I saw 50 live theatre performances
• Of those 50 shows:
  • 26 (52%) were musicals
  • 19 (38%) were plays
  • 2 (4%) were comedy/improv shows
  • 2 (4%) were concerts
  • 1 (2%) was a magic show

• 35 (70%) were in Toronto; 15 (30%) were in NYC

• I wrote 17 reviews for Next Magazine. TY for the gig, Ryan. You’re a gem. I’m required to give each show a score of N-NNNNNs. (I suppose “N” is for Next; 5Ns = best). Here’s my rating distribution:
  • N: 1 show (6%)
  • NN: 2 shows (12%)
  • NNN: 9 shows (53%)
  • NNNN: 4 shows (24%)
  • NNNNN: 1 show (6%)
• My NNNNN review was for the Toronto Fringe show David Lynch’s Seinfeld. I actually caught this play a second time in October at Second City, and it’d only gotten better. Niche, but great.

My mom tells me I should focus more on the positive (hi, mom), so in an effort to do so, I’ll list my top shows for the year. For my bottom, you’ll have to subscribe to my Only Fans. So, in order leading up to my favourite, here are my top 7 shows of the year. (Sorry, I know 7 is sort of random, but that’s just how it shook out). Here we goooooo:

7. Ragtime (Broadway): I didn’t grow up with Ragtime like some other people, so I came in only knowing a couple of songs. Ragtime is about three groups of people in the early 20th century – new Eastern European immigrants (predominantly Jews), African Americans, and upper-class white people. The cast is HUGE and the orchestra is BIG, so it seems that Lincoln Centre spent all their budget on these line items and gave none to the set, which was…quite bad, honestly. Bare, ugly, and cheap-looking. But the music is glorious, and the performances are outstanding. Joshua Henry as Colehouse Walker is other-worldly. Caissie Levy and Brandon Uranowitz (as Mother and Tateh, respectively), are both strong, too, but Joshua Henry’s voice is just insane. Catch this one before it closes next year.
8. Blackbird (Toronto): I gave this one NNNN over on Next Mag, but upon sitting with this piece for a few months, it has staying power in my mind. Staging a deeply intimate play in a cramped back room of a church is a bold choice, but it worked for me. She was dark and twisted, and I honestly walked out unsure of what I thought, but I’ve obviously come around. Kirstyn Russelle, your haunting performance was top-tier.
9. Floyd Collins (Broadway): Also known as “Jeremy Jordan stuck in a cave” (to me, at least). This musical intrigued me because it’s very polarising. Some people say it’s long and boring. It’s long, but I didn’t find it boring. It’s about, well…Jeremy Jordan’s character, Floyd Collins, getting stuck in a cave. This is not a spoiler, as (a) he’s playing a real person, and (b) it happens within the first 15 minutes of the musical. Jeremy spends the rest of the show lying on a glorified lawn chair meant to mimic being shoved into a cramped cave. Fortunately, our seats were very close to his setup, so this was ideal. Yes, the musical moves a bit slowly; yes, the stage was pretty bare; and yes, not much happens. But the music is gorgeous – sort of like a folk opera, I suppose. And I think there’s beauty in simplicity. Plus, Jeremy Jordan is incredible. I was a big fan of this one.
10. Little Shop of Horrors (Off-Broadway): I love Little Shop – both as a musical and this production specifically. The leads (Liz Gillies & Milo Manheim) were excellent. The set is perfect. The music is warm and fun. It’s a surefire win if you’re in town.
11. Grangeville (Off-Broadway): A new Samuel D. Hunter play – he had 2 this year. Hunter is great with dry-wit, realistic dialogue, and tender (but not emotionally exploitative) heartbreak. Also, Ben Platt sat behind us. Doesn’t contribute to the ranking, but it was funny.
12. Maybe Happy Ending (Broadway): So good, I saw it twice, and wrote about it twice (here and here). This musical has a lot of heart, and Darren Criss gave one of the best performances I’ve ever seen. Don’t hesitate!
13. John Proctor is the Villain (Broadway): Oh my god was this amazing. The play is about a high school class studying The Crucible and an after-school feminism club, which may sound annoying to some, but it’s not, I assure you. It’s really about…a lot more than that. Sadie Sink’s character, Shelby, has been gone from school for a few months – where has she been? Is she coming back? (Well, of course she is, since the character is played by Sadie Sink. So, I suppose when is a more apt question). The whole cast was fantastic, but Fina Strazza as Beth was a standout. The script is witty, contemporary, fast-paced, a bit tongue-in-cheek, and not at all preachy. The final scene is incredible. Apparently, JPITV is being made into a movie with Sadie Sink producing, so I hope more people will be able to catch this one, in some form or another.

Just for fun, here are some special shoutouts for the year (both the good and the not-so-good kind. Hey, change is a process):

• Most earnest performance: Tie between Emilio Vieira in Fulfillment Centre (Toronto) and Jak Malone in Operation Mincemeat (Broadway). I love me an Emilio play where he doesn’t die. He does a lot of Shakespeare, so this doesn’t happen often. This play was tricky, but Emilio is wonderful. For Jak: the song “Dear Bill” is very powerful, and comes out of nowhere. Loved this moment.
• Most versatile performer: Diana Del Rosario as Mitch Mahoney in Spelling Bee (Toronto) and as Susan in Tick Tick Boom (Toronto). She’s got range, people!
• Best plant: Hwaboon in Maybe Happy Ending, narrowly edging out the plant in Little Shop. Hwaboon is such a diva.
• Best understudy: Tie between Sara Al-Bazali as Veronica in Heathers (Off-Broadway) and Charlie Clark in A Strange Loop (Toronto). Sara’s got a clean, powerful, pitch-perfect voice, and Charlie Clark is a lil star.
• The one I changed my mind on: Curse of the Starving Class (Off-Broadway). I didn’t really like this when I saw it, but I actually find myself thinking about it quite a bit. Sam Shepard isn’t my fave, but upon reflection, it wasn’t bad. Cooper Hoffman gave a standout performance. Christian Slater, too.
• Most underrated performance: Philippe Arroyo in Spelling Bee (Off-Broadway). Most people talk about Jasmine Amy Rogers, Kevin McHale or Justin Cooley. All great, but Philippe stole the show for me. I know this show very well (I’ve seen it three times and performed in it), so it’s difficult to be surprised, but Philippe made some great choices and leaned into the awkward pre-teen character.
• The guilty pleasure: The Jonas Brothers concert. Honestly, one of the best nights of the year. They put on a great show. #teamjoe
• Biggest disappointment: Redwood (Broadway). Idina’s voice was tired (ILU Idina, but it was rough), the plot was boring, and, for a show called “Redwood,” I could’ve used more trees. My friend beside me actually fell asleep.
• The one that could’ve been trimmed down: The Welkin (Toronto). I had to renew my parking twice, just sayin’.
• Most overrated performance: LOL I know better than to commit this opinion to print.

My colleague Ryan listed his top shows of the year, and I didn’t see any of them, so that’s unfortunate. My list could’ve looked very different. Regardless, I’m curious to hear your thoughts, both about shows I mentioned in my article and ones I missed.

Happy Holidays, and Happy New Year! I’ll see you in 2026 with more reviews and another podcast appearance – this time, with a better mic 🙂