Stone the Crows: Crow’s Theatre and the Art Gallery of Ontario, Toronto, April 2026
June 2026
The quality of an arts organisation goes beyond what it presents on its stages or walls; it is equally about how it engages with its community, audience and the wider arts ecology. Does it love the art, or does it love itself in the art? Does its curiosity remain strong? Is it asking the right questions and willing to hear uncomfortable truths? My time in Toronto had me pondering such thoughts more frequently than usual.
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Kainchee Lagaa, Buddies in Bad Times Theatre, Toronto, April 2026
Buddies has the distinction of being the largest and longest-running queer theatre company in the world. It was founded in 1979 and has weathered social change, right-wing governments, two pandemics — the AIDS crisis and COVID-19 — global financial crises and much more. Its resilience is a testament to its adaptability, strong leadership and the support of its local community.
Jhooti, Buddies in Bad Times Theatre, April 2026
Zaiba Baig and Buddies are perfectly matched; the authenticity of the artist is equalled by that of the venue. It is not often that one gets such a clear understanding of what a company is about — not through mission statements or promotional materials, but by what they do and how they do it. This is in stark contrast with the other theatre I visited in Toronto, Crow’s Theatre, where I left puzzled by every element of the experience. Buddies is unique not only in Toronto but also beyond its borders.