When it first premiered at Theatre Passe Muraille 28 years ago, Judith Thompson's The Crackwalker was a kind of lighning rod for Canadian drama. Not only did it mark the arrival of a major new theatrical voice, but it signalled a new maturity among Canadian playwrights. Grit and brutal honesty had arrived.

Staged and Confused's production of The Crackwalker, also at Theatre Passe Muraille, is a worthy tribute to the significance of that first production. But it fails to generate any relevance of its own or achieve the resonance of its forebearer. Legacy, as it turns out, can be a tricky burden to bear.

Up until this Tuesday, I knew exactly three things about Norway. 1) Vikings come from there. 2) My friend Magnus lives there. Sadly, he is not a Viking. 3) It has fjords. And presumably Fords, although that's far less interesting from a tourism perspective.

But thanks to Theatre Smash's superb production of Norway.Today, I know a fourth thing about the Scandinavian nation: it is home to a 2000 feet-high cliff called the Preikestolen. Not only is it a scenic wonder, it's also an ideal place for the histrionically-inclined to off themselves. And, as it turns out, the backdrop for a very interesting piece of theatre.

Waiting for Godot is the theatrical equivalent of a mine field. Full of starving grizzly bears. Surrounded by a shark-infested moat. On fire.

It is a play where nothing actually happens. Two guys show up and wait for another guy to arrive. But behind this facade of inactivity lies a vast chasm of existential ambiguity. Sixty years after it was written, nobody is really sure what it's actually about. In fact, the play resists explanation so strongly, any attempt to pin down Beckett's intent seems doomed to failure.

So when I read that Remain in Light Theatre's production of Godot featured a World War II setting and the music of Joy Division, I thought: Uh oh. This might be trouble. And it was. But only a little. Almost in spite of itself, Remain in Light has managed to mount an impressive production of Beckett's classic.

If you haven't been checking out the Summerworks Theatre Festival, let me ask you this: what the heck have you been doing? Standing around in the rain? Putting a lot of effort into a summer romance that, let's be honest, isn't going to work out? Seriously, people. Go check it out. Great theatre, music, dance, art...and you have four days left to take it all in.

Ever your faithful servants, we have been hitting the tarmac and sniffing out the best bets. Continue reading for reviews of Dust, Flux, If We Were Birds, Kid Cosmic, Pelee, Rendevous With Home, and The Performance Gallery.

Ah, the summer of 2008. If the rain doesn't wash you away, then you're liable to be swamped by theatre. Hot on the heels of the 11 day performance binge of the Toronto Fringe comes the Summerworks Theatre Festival. Think of it as a smaller, more refined version of the Fringe. Unlike its larger cousin, Summerworks is juried. The festival evaluates each show, and only the best applicants get in. So while it lacks the brash irreverance of the Fringe, Summerworks always provides a high-quality product.

And there's a lot of product to choose from. With 42 shows, eight nights of live music and a "performance gallery" at the Gladstone Hotel, the variety can be a little daunting. Continue reading for a few of my early picks.

Well, another Fringe Festival has come and gone. But like every year, there are a few shows that will go on to bigger things. In 1999, there was the Drowsy Chaperone. In 2002, Job: The Hip Hop Musical got all the buzz. Last year gave us the Gladstone Variations and An Inconvenient Musical.

And in 2008, we have The Christian Republican Fundraiser in Dayton Tennessee. I reviewed this show during the Fringe and loved it. But since Christian Republican Fundraiser is playing next week as part of Diesel Playhouse's "Best of the Fringe", I thought I'd tell you a bit more about what makes this show so good.