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Toronto Masque Theatre

  • 2015 Acis & Galatea. Photo by  Rose Perry-McClelland.jpeg
  • 2013 Lessons of Love. Photo by Theresa Bryson (317x640).jpg
  • 2013 Les Roses de la Vie - Tariq Kieran (640x427).jpg
  • 2013 Lessons of Love. Photo by Belle Bunag.jpeg
  • 2012 Convent of Pleasure. Photo by Galina Szlapetic.jpg
  • 2013 Lessons of Love. Photo by Theresa Bryson (640x418).jpg
  • 2013 Fairest Isle. Photo by Tariq Kieran (2).JPG


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With stories at the heart of every production, masque is an art form that combines music, dance and theatre. Our shows are exhuberant, intelligent, and fun. To learn more about Toronto Masque Theatre, please visit our website or read on…


Our shows are perfect for students of Music, Dance, Theatre, English, & Classics.

  • $10 per student (readily waived for students in need)
  • Teachers and chaperones free

Cupid's arrows find their mark, filling a god with desire and a nymph with despair. No matter what the cost, she must escape.

Handel’s Apollo and Daphne, paired with the epic poem Enoch Arden by Alfred, Lord Tennyson (music by Richard Strauss). These two works about desire, longing and unrequited love will be presented by some of Canada’s finest singers and instrumentalists, the wonderful baroque dancer Stéphanie Bochard, and actor Frank Cox-O'Connell (Soulpepper).

Thursday, November 17, 2016, 1:00 p.m.
The historic and intimate Enoch Turner Schoolhouse,
106 Trinity Street, near the Distillery District


Who is good enough to marry this proud Prince? Only a woman made from his own body, he says. What are the chances for this marriage, do you think?

A brand new masque, The Man Who Married Himself, created for Toronto Masque Theatre by composer Juliet Palmer and librettist Anna Chatterton tells of a prince who will only settle for a wife created from his own flesh. Drawing on an ancient South Asian myth, this brilliant new work combines western and South Asian instrumentation and dance forms for a uniquely multi-cultural and contemporary event.
Friday, March 10, 2017, 1:00 p.m.
At the brand new Crow’s Theatre,
345 Carlaw Avenue at Dundas





  • Pre-show introduction by the Artistic Director
  • Post-show Q&A with the creative team
  • Study guide in advance, including background information, worksheets and assignments, developed for the Ontario curriculum.

For information on all our high school outreach activities, please contact Vivian Moens by phone, 416-410-4561, or by email at You can also visit our Educational Outreach page.

383 Huron Street
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"My dream for the company is that it will act as a meeting place for lovers of the arts of all kinds", says Beckwith, "from modernists to baroque enthusiasts, from fans of Shakespeare to CanLit fiends, from admirers of the elegance of the bourrée and rigadoun to devourers of the raw energy of modern dance." Thus Toronto becomes one of the few places in the world to have a theatre devoted exclusively to masque. (Robert Crew, Toronto Star, May, 2004)

(Andre) Alexis has written a very sophisticated libretto, exploring the subtext of the Purcell opera. If the latter is more direct and emotional, the new opera is a torrent of dense language and an incisive deconstruction of a relationship. (Paula Citron, Opera Canada, Spring, 2007)

I love the original (masque) format and am enormously grateful to Toronto Masque Theatre for giving us tastes of it in every production. There is something mysteriously thrilling when actors fall silent and a singer steps forward and takes us into the realm of the sublime. You simply can't get this in a regualr concert format: the magic happens precisely in the moment where the boundaries between the everyday and the extra-normal become momentarily unstable, allowing us to pass between them. (Tamara Bernstein, The Globe and Mail, April, 2008)

Beckwith and Company have the right idea and the right attitude, thinking not only of the past, but of the present and future. (John Terauds, Toronto Star, April, 2009)

The principals were played by a strong ensemble of non-singing actors. All of the singing came from minor characters and a chorus whose identity shifted from scene to scene. Four excellent dancers animated several scenes with crisp and finely detailed choreography by Marie-Nathalie Lacoursière, a Montrealer who with this one show has set a new standard for historical dance in Toronto. Music in this piece is mostly associated with magic and celebration, and the tiny orchestra (led by artistic director Larry Beckwith) performed Purcell's score as if it were a festive catalogue of marvels. The nine singers, variously heard as soloists and chorus members, were always alert to the kinetic tension and transparent style of this music, sometimes to soul-stirring effect. (Robert Everett-Green, The Globe and Mail, April, 2009)

In all, the programme was layered like a well-assembled pastry, just as tasty, yet totally heart-healthy. It’s no small feat to have the performers visibly and audibly enjoying themselves as much as the audience. This is the sort of love we should all share as often as possible. (John Terauds, Musical Toronto, February, 2012)

Alice Ho has managed the most difficult of composerly feats, in bringing together traditional Chinese instruments with baroque-period western ones. Sitting with the violins, viola, gamba, flute, harpsichord and lute was a percussion array as well as three Chinese instruments: a pipa (lute), erhu (lap violin) and guzheng (zyther). Mezzo Marion Newman stood out in this excellently prepared cast ably directed by Derek Boyes. Newman, who is on stage for the opera’s full hour, was able to bring a wide dramatic and vocal range to the role of Da Ji, the royal concubine whose love affair with her music teacher gets undone in a grisly way by her master, the King (in a wonderfully committed performance by bass-baritone Alex Dobson). (John Terauds, Toronto Star, May, 2013)

Toronto Masque Theatre is currently presenting the most enjoyable production of Handel’s Acis and Galatea I have ever seen.  Not only is it beautifully sung and played, but it is staged in an intimate space with simplicity and imagination.  After the noise and confusion of the holidays, Handel’s exquisite music feels like a spiritual cleansing.This lovely evening gave one the sense of what a performance of the much-loved piece would be like in a private home.  The beauty of the singing and playing and the overall mood of playfulness eventually tinged with sadness were so enchanting I wish I could have seen all three performances. (Christopher Hoile, Stage Door, January, 2015)