The 2026 Toronto Fringe Festival (TOFringe) runs from Tuesday, June 30 to Sunday, July 12, 2026 – with over 123 shows at 27 venues. Whether you’re a fan of comedy, drama, puppet shows, musicals, shows for kids or storytelling – there’s something that’s bound to capture your imagination.

(Photo credits: Toronto Fringe Festival 2026.)

 

It’s local art. It’s a vibe. No matter how you Fringe, you belong here.

The Toronto Fringe Festival showcases hundreds of performing artists from all over the world, at multiple venues across the city. Annual programming includes dance shows, theatre for young audiences, new Canadian musicals, plus dramatic theatre, clown, storytelling, comedy, puppets and more.

As in 2025, the Fringe Hub (aka Patio) will be located at Soulpepper Theatre (The Young Centre), in the heart of Toronto’s Distillery Historic District. This year, the Fringe Hub will host free events and community gatherings in Soulpepper Theatre’s Studio Lounge, as well as across the lane at Old Flame Brewing Co., down the lane at the Distillery Stage and at Spirit of York Distillery. The Hub features comedy and music programming, and is the social and networking hub of the festival – where production folks and audience members can hang out, enjoy a beverage, compare notes and share suggestions about shows to see.

New this year, Toronto Fringe will host all six KidsFest shows at Young People’s Theatre Studio, with performances and free family activities.

2026 program highlights

Here are some program highlights for this year’s festival, including some short Q&As with the creators. Please contact us if you are part of a Fringe Festival production that you would like us to highlight.

 

Artificially Intelligent 2.0

(Photo credits: Toronto Fringe Festival. Artificially Intelligent 2.0. Anesti Danelis. Photo by Dahlia Katz.)

Anesti has to write a comedy special, but he doesn’t know what to write about, and he doesn’t really want to do the work. So, he does what everybody does and outsources creativity to ChatGPT. The problem? ChatGPT doesn’t really know who Anesti is and keeps asking him for more data. Part experiment and part re-telling of the actual time he asked AI to write him a show, Artificially Intelligent 2.0 uses songs, jokes and video to debate the merits of “AI creativity” and our reliance on algorithms constantly telling us who we should be. Created and performed by Anesti Danelis, with co-director Alia Rasul. Running in the Alumnae Theatre Mainspace. See the show page for dates and show times.

Q&A with creator/performer Anesti Danelis

• What inspired you to tell this story? Artificially Intelligent was inspired by the time I asked ChatGPT to write me a comedy show about my life. I was working on my next comedy special, but I had no idea where to begin, so I thought I would do what everyone else was doing and see if I could get AI to do my job for me. After pouring my heart and soul, prompting it and feeding it stories, it spit out the most garbage material I had ever read. I knew I had to retell that experience on stage and satirize our growing obsession with technology to optimize every aspect of our lives. Like, why are we getting AI to respond to text messages? Do we really need that?
• What was the most challenging aspect of preparing this production? The biggest challenge was balancing AI throughout the show. I interact with a fictional version of AI throughout the show, and I wanted to place it in spots that highlighted how AI flattens culture. I wanted to build tension and optimism and immediately topple it. Another challenge was the ever-changing news. AI is growing so rapidly that there is a new insane story every month, so finding ways to incorporate that is always a fun challenge.
• What was the most fun or surprising aspect of preparing this production? Probably discovering how ridiculous AI is. It’s built up to be this revolutionary technology, but it’s pretty trash. I tested out a lot of AI for this show. I generated images and video, songs and lyrics, and it’s all been laughably bad. I also loved seeing how audiences reacted during the development. A lot of people laughed at things I thought were niche because we’re all apparently having the same bizarre digital experiences. There was something comforting in that shared chaos.
• What do you hope audiences will take away? I want audiences to leave feeling entertained of course, but also to feel a little more connected to themselves. The show isn’t anti-technology, it’s more about understanding that we’re perfect by being imperfect. Everything we’ve ever experienced has manifested to who we are right now, and that lived experience can never be replicated by a machine. I’d like to see AI last one day growing up in an immigrant household.
• What’s next for the company? Anything you want to shout out? Right now, we’re gearing up to tour this show one last time before starting work on the next show. Other than that, I’m excited to continue making comedic digital shorts and expanding them to something bigger and more cinematic. Shout out to all the shows at Toronto Fringe. I hope people go see as many shows as possible!

 

DADS

(Photo credits: Toronto Fringe Festival. DADS.)

Using audience interaction, stand-up comedy, games and storytelling, DADS makes space for the sometimes complicated, sometimes hilarious, and always impactful relationships we have with the men who made us. With each show different from the next, this playful piece wrestles with whether honour and honesty can truly go hand in hand. Brought to Toronto Fringe by an award-winning sister-brother team – created and performed by Taylor Trowbridge and directed by Dylan Trowbridge – this show will also feature guest comedians at each performance sharing a set about their own father, including Jacob Balshin, Ornab Momin and Courtney Gilmour. Running at VideoCabaret – Deanne Taylor Theatre. See the show page for dates and show times.

Q&A with creator/performer Taylor Trowbridge

• What inspired you to tell this story? I love making theatre that’s alive, collaborative and a little risky… and the subject of dads offers such an interesting window into people’s worlds; the experiences vary widely, but the impact is felt on a deep level. For personal reasons, the idea of dads has been at the forefront of my mind recently, and when I ask people about their own fathers, it inevitably sparks captivating stories. Also, there’s a lot of humour to be mined from the subject, so that’s always fun.
• What was the most fun or surprising aspect of preparing this production? Each performance features a different guest comedian delivering a 10-minute set about their own dad. I’m thrilled that so many brilliant comics have jumped on board, including some of my absolute favourites like Jacob Balshin, Jon Bennett and Courtney Gilmour!
• What do you hope audiences will take away? I hope audiences leave the show feeling a sense of catharsis, inclusion and giddy delight – leaving them satisfied and eager for further discussion.
• What’s next for the company? Anything you want to shout out? This is the first time my brother Dylan Trowbridge and I have collaborated on a project. He’s directing and dramaturging the piece, which has been such a perfect fit; we share a deep, lived understanding of our own dad and a mutual love for playful, honest theatre. He’s been incredible to work with, and I hope this is the first of many collaborations.

 

El Jefe

(Photo credits: Toronto Fringe Festival. El Jefe. Josh Palmer & Jeff Clement. Photo by Nate Simpson.)

In El Jefe, the titular Canadian kingpin travels back in time to visit himself on the eve of young Ryan’s Olympic debut. Haunted by his crimes, Jefe aims to right the wrongs and rechart his path, while young Ryan becomes intoxicated by ideas of wealth and infamy. Written and directed by Nate Simpson, with associate director Ella Berger, and featuring Jeff Clement and Josh Palmer. Running at Sweet Action Theatre. See the show page for dates and show times.

Q&A with playwright/director Nate Simpson

• What inspired you to tell this story? I was initially inspired to write El Jefe when it was announced that Ryan Wedding was on the FBI’s most wanted list. Something about that is both damning and viral, and the culprit is this big redheaded guy from B.C. Then learning that his arrest was worth $15 million. It made me wonder about the man, but more so how he went from being this privileged snowboarder to a cartel king. It is fascinating, but also depressing from a Canadian standpoint.
• Why tell this story now? It’s newsy, for one. I also think it’s important for Canadians to confront our worst exports, and this story doesn’t shy away from the evil that Wedding orchestrated.
• What do you hope audiences will take away? I hope it makes audiences hyper-conscious about their life choices going forward, and the ramifications of these choices. I also hope they laugh.
• What’s next for the company? Anything you want to shout out? The future is a bit unclear. We want to share this story with as many audiences who would like to see it, so hopefully there is lots of life beyond the Fringe. One step at a time!

 

Mysteries & Lies

(Photo credits: Toronto Fringe Festival. Mysteries & Lies. James Alan. Poster art by Kurt Firla.)

Mysteries & Lies is a stripped-down, close-quarters Fringe experience designed less to impress audiences than to destabilize them — gently, playfully, and sometimes profoundly. James Alan – an actual magician – creates an unrepeatable, interactive hour; built live, in the room, with you. In an era of deepfakes, AI-generated realities, and “alternative facts,” he is using classical live magic to explore a very modern problem: How easily can human beings be manipulated – even when they know it’s happening? Your choices will leave you lying awake in bed at three o’clock in the morning wondering if the people in charge of the universe are personally messing with you. Directed by James Biss. Running at Sweet Action Theatre. See the show page for dates and show times.

Q&A with director James Biss and performer James Alan 

• What inspired you to create this project? This specific show was inspired by the venue. Artscape Youngplace (which contains the Sweet Action Theatre) used to be an elementary school – a red brick building like my own elementary school – and so we gave the show a bit of an academic vibe. The show has a bit of a classroom feel (except with a show called Mysteries & Lies, most of what I’m teaching is not accurate.)
• What do you hope audiences will take away? First, I hope they have a wonderful time. I want them to laugh, lean forward, gasp a little, and leave arguing pleasantly about what just happened and how much they thought was “real”. I also hope the show leaves people thinking about the stories we tell ourselves. We all live with mysteries. We all tell lies – sometimes to others, sometimes to ourselves, sometimes just to survive the day. Mysteries & Lies plays with that idea, but playfully, theatrically, and with a wink.
• What’s next for you both? Anything you want to shout out? We’re interested in building work that crosses boundaries: theatre, mystery, storytelling, magic, literature, and old-fashioned showmanship. We want to make live events that feel rare – the kind of thing you had to be there for.

 

God Save the Sodomites

(Photo credits: Toronto Fringe Festival. God Save the Sodomites.)

Are you a good person? Do you live in Sodom? Do you wear gloves? When God sends His two most talkative angels to Sodom (And Gomorrah) for some Sunday smiting, they must decide whether or not the town is worth saving. From the award-winning Old Soles Theatre Collective (formerly Perchance Productions), the screwball comedy God Saves the Sodomites follows the angels as they try to figure out what truly makes a good person and how far one would go to return a lost glove. Originally written by emerging playwrights Aliyah Bourgeault and Emmet Logue for this year’s Toronto Fringe 24 Hour Playwriting Contest, the show features the playwrights themselves alongside actor Kaleb Piper. Directed by Jack Davidson and produced by Morgan Roy. Running in Native Earth’s Giizis Studio (inside Minogitoon Workspace) See the show page for dates and show times.

Q&A with producer Morgan Roy

• What was the most challenging aspect of preparing this performance? This play includes so much audience interaction and improv that it’s difficult to fully imagine how it’s going to exist. It’s also the kind of show that might make people a little (intentionally) uncomfortable, so we have to make sure it’s equally fun and laughter-inducing as it is thought-provoking. It’s hard to know exactly how an audience is going to react to this show which is what makes it so exciting for us to put out into the world.
• What do you hope audiences will take away? We always hope that an audience leaves our shows thinking about how much fun they had, but we also want it to be something that sticks with them and makes them think a little. All of our plays are a little (a lot) absurd, so the biggest compliment we can get is people talking about it, whether that be in a good or bad way, for days after they’ve seen it. More than anything we want people to walk out going: “What did I just watch… I think I liked it!” Oh, and a glove. One person gets a glove.
• What’s next for Old Soles Theatre Collective? Anything you want to shout out? We have a few things coming up in the next year that we’re really excited about! Right after the Fringe Festival ends, a few of our Collective members are headed to Port Perry to be resident artists at Theatre on the Ridge. They’ll be workshopping a new play called Or The Whale by Aliyah Bourgeault and Emmet Logue, the same playwrights who wrote God Save the Sodomites and The Ensemble. That same show will have a run in Toronto in 2027! We’re also planning a staged reading/small workshop of another new short play called The Most Curious and Mysterious Findings of One Gregory C. Graveman: Volume One by Morgan Roy, which placed third in this year’s 24 Hour Playwriting Contest. 

 

1920’s Walking Around In A Dream

(Photo credits: Toronto Fringe Festival. 1920’s Walking Around In A Dream)

1920’s Walking Around In A Dream is a new screwball comedy musical presented by Unspoken Theatre. The hour long live performance, inspired by Shakespeare’s A Midsummer Night’s Dream, brings the Roaring Twenties jazz age alive for the 2020’s! The show has jazz classics by Cole Porter, “Fats” Waller, and others in new arrangements from award-winning director Declan Meagher (Disney Cruise Line). Award-winning playwright Natalie Kaye makes her return to comedy, vaudeville and historical language since co-writing the Toronto Fringe 2025 hit #1 Clown Comedy With Victor & Priscilla, a zany comedy with sold out nights and rave reviews. Running in the Factory Theatre Mainspace. See the show page for dates and show times.

Q&A with playwright Natalie Kaye and director/musical arranger Declan Meagher

• What inspired you to create this project?  Natalie: 1920’s Walking Around In A Dream began as a writing experiment of ‘translating’ from one form of heightened language to another, in this case Shakespeare’s A Midsummer Night’s Dream into Jazz Age slang. When you watch a Shakespeare play for the first time, it’s magical. Even if you don’t understand every word, there’s music in the poetry. And with time and patience your ear will become attuned to the language of that world. I wanted to create that feeling of being thrust into a fantastical world, both familiar and strange, allowing the audience to discover historical language through immersion. I picked Jazz Age slang for its whimsy and musicality. It suits this story of bright young things, jaded by the Great War, running recklessly through the woods, drunk on love and bootleg hooch. Declan: Adding to that, I am constantly inspired by the spark and the creativity that I see in our team that emboldens them to try things, to build toward a truly great and fun show we can’t wait for our audience to see.
• What do you hope audiences will take away? Natalie: This really is a Dream production with a Dream team! Declan has an ambitious vision and the work he’s done on the music brings me so much joy. And rehearsals are fun! We laugh all the way through them. Declan: I hope they leave with an appreciation for all the echoes from the stories, music, and culture of the past that ripple through and shape our theatrical dreams for today and beyond. And, I hope they leave with a tune in their ear and a giggle on their lips: hoopty-doo!
• What’s next for Unspoken Theatre? Anything you want to shout out? 1920’s Walking Around In A Dream will be remounted in an outdoor production by Old Town Toronto BIA and Alumnae Theatre at St. James Park August 8-16.

 

UNSUNG: The Accidental Villains of History

(Photo credits: Toronto Fringe Festival. UNSUNG: The Accidental Villains of History)

Have you ever wondered who caused some of history’s greatest disasters? Who started the Chicago Fire? Which guard let in the Trojan Horse? UNSUNG: The Accidental Villains of History takes its audience on a trip through time and hilariously reimagines seven historical disasters…and the characters responsible. Written by emerging Canadian composer Mackenzie Langdon and produced by Aster Roe Productions, UNSUNG toured the Ottawa, Winnipeg and London Fringe Festivals, impressing audiences and critics alike. The Winnipeg Free Press awarded it four stars, 101.5 UMFM called it “Fringe at its best”, and Intermission Magazine says “UNSUNG is knee-slapping and supremely well written”. Running at Theatre Passe Muraille Mainspace. See show page for dates and times.

Q&A with composer/writer Mackenzie Langdon

• What inspired you to create this project? I’ve always been a lover of history, but recognized that only a small group of people are written about in our history books. What about the millions of merchants, soldiers and others who were undoubtedly present and had their own stamp on history? When the Canadian College of Performing Arts gave me the opportunity to create an original ten minute piece for the Festival of New Works 2021, I picked three historical events and reimagined them through a comedic lens. Two of those stories, The Titanic and The French Revolution, are still featured in the show today.
• What was the most challenging aspect of preparing this performance? UNSUNG is truly an ensemble show. All six actors appear in almost every story which means there are A LOT of moving parts. Each actor plays a minimum of six characters, resulting in quick changes for the entire cast after practically every scene. Backstage traffic is as choreographed of a dance as what you’ll see onstage, with the actors helping each other get dressed and back on stage in time for their next entrance.  It also means that there’s a ton of material to learn. The cast must sing six-part harmonies, execute sharp choreography all while making sure each of their characters are distinct and full of life. It’s a huge challenge that is easily overcome by the amazing team of actors I am lucky enough to perform with: Tess Barão, KC Martinez, Jillian Peters, Nolan Rush and Tyler Winder.
• What do you hope audiences will take away? I hope audiences leave inspired to be playful and creative. UNSUNG explores ridiculous “what if” scenarios that never could have happened, but that’s the fun of it. I hope they see the fun in bending the rules of historical accuracy for the sake of making people laugh. With seven different stories and dozens of characters, audience members always seem to leave with a different favourite. Some fall in love with Calvin’s childlike wonder in Trojan Horse, others Steven’s eternal optimism in Stock Market, or Josie’s comical descent into madness in Moon Landing. I hope each audience member finds a character they connect with that brings them joy.

 

OOGA CHAKA

(Photo credits: Toronto Fringe Festival. OOGA CHAKA)

Since the dawn of time, humans have searched for new ways to express themselves. Meet Bungu and Kiki, two prehistoric cave painters who make a groundbreaking discovery: how to take their stories off the cave wall. From the teams at Pucker’s and Parlous Theatre comes OOGA CHAKA, a prehistoric comedic satire about the accidental invention of theatre written by Ethan Zuchkan and premiering at Fringe. OOGA CHAKA is a 100% historically questionable retelling of the world’s first theatre makers as they sharpen their sticks, refine their scripts, and discover THE ARTIST’S WAY. But beneath the faux fur, rocks, and unbridled ambition, it’s really a show about art, ego, collaboration, and the deeply human need to create something meaningful – while also not taking any of it too seriously. Directed by 郝邦宇 Steven Hao and Allison MacKenzie. Running in the Michael Young Theatre at Soulpepper. See the show page for dates and show times.

Q&A with playwright Ethan Zuchkan

• What inspired you to create this project? I started writing OOGA CHAKA shortly after graduating from the Theatre Performance Program at Toronto Metropolitan University. During this time, I was either criticizing myself for not creating any “serious” art, or criticizing other productions for not being “serious” enough. All throughout my education, I built this expectation that worthwhile theatre was dependent on having deeply webbed symbolism, lifelike set pieces, a meaty script with big intellectual words that have you leafing through a dictionary every five seconds. As you can guess, this expectation is not only naive, but it’s exhausting to live up to. So, I sat down at my computer one day, hell-bent on being the opposite of serious. Eventually, I was left with a silly story about Neolithic artists going through the exact same mental journey I was.
• What do you hope audiences will take away? Theatre – and art in general – does not have to be big. There is no requirement that says every brush stroke has to be perfect or that every finished product has to be a masterpiece. There was once a time in our lives where all we needed was an open field, our closest friends and imagination. When we’re true to ourselves and to those we love, art will always be rich with meaning.
• What’s next for Pucker’s? Anything you want to shout out? Don’t miss the next event from Pucker’s: Hungover Cabaret on December 13th!

 

Questing Through Life

(Photo credits: Toronto Fringe Festival. Questing Through Life)

What if rolling the dice changed your life? Questing Through Life  brings Dungeons & Dragons chaos, queer love and friendship, and a ten-foot dragon puppet to the stage. This original fantasy-drama follows a group of friends whose mysterious tabletop campaign starts controlling the real world, forcing them to confront what happens when fiction and reality are no longer separate. Written, directed, and produced by 17-year-old high school student Tanya Yong, Questing Through Life was built from the ground up by new theatre company Dodo Tree Productions, a Toronto-based cast and creative team composed of mostly teens. Bold, funny, and heartfelt, this show is youth-led theatre with big ambitions. Come for the dragon. Stay for the adventure! Running at Soulpepper’s Weyni Mengesha Theatre. See show page for dates and show times.

Q&A with director, producer and playwright Tanya Yong

• • What inspired you to create this project? This project was inspired by my deep love for Dungeons & Dragons. I have been a long-time fan of the TTRPG (Tabletop Role-Playing Game), first introduced to it through internet series like Dimension 20 and Critical Role, before I began playing with my own friends. Through those games, I found so many amazing moments of connection, wonder, and joy. There is something so magical about watching a plan finally come together, seeing your characters rise to impossible heights, and sharing those quests and adventures with friends at a D&D table. Those moments made my heart swell, but they also stood in stark contrast to the often mundane, disappointing or frustrating parts of my life as a high school student. That contrast became the heart of Questing Through Life: an exploration of what happens when the world of fantasy and the world of real life begin to intersect.
  • What do you hope audiences will take away? I hope audiences leave thinking about the role fiction and games play in our lives, especially as video games, board games, and TTRPGs become bigger parts of how people connect, escape, and imagine themselves. I think it is important to recognize that games can be joyful, powerful, and genuinely meaningful. They can teach us bravery, friendship, creativity, and help us explore who we want to become. But at the same time, we cannot lose ourselves completely in fiction. Have fun in the game. Do wild things. Become the hero, or the villain, for a while. But don’t let the game replace your actual life or the people around you. Escaping into a story can be beautiful, but it should not become the only place where you feel alive. At the end of the day, you have to come back to your community, your friends, and the real connections in your life. Games can teach us important lessons, but they cannot live our lives for us.
  • What’s next for Dodo Tree Productions? Anything you want to shout out? We are looking forward to continuing to create theatre that features young actors and young artists, while telling relevant stories about our true experiences. We hope to keep breaking into the professional world and creating space for youth-led work to be taken seriously. We would like to shout out Soulpepper’s Curtain Up program for its role in the incubation of this play, as well as Calgary Young People’s Theatre and the Awesome Foundation for their support in bringing this production to life. And, as always, a massive shoutout to the entire cast and crew of this show. This production is truly the result of all of our hard work, and it would not be possible without every single person involved.

 

CUSP

(Photo credits: Toronto Fringe Festival. CUSP)

CUSP is a fresh and contemporary adaptation of Chekhov’s Uncle Vanya, following eight twenty-somethings who have spent the summer at a cottage. Boredom is calcifying, romantic tensions are mounting, family dynamics are sharpening and no one really knows what they are going to do next. What happens when you have your whole life ahead of you, and anything is possible? You panic about the onslaught of regret that may one day come for you if you make the wrong choice, of course. CUSP is produced by TMI & Co., a collective of George Brown Theatre School graduating students who are making their industry launch and fighting the post-graduation scaries by creating and performing in one more show together.  Directed by Tanya Rintoul and running at Soulpepper’s Weyni Mengesha Theatre. See show page for dates and times.

Q&A with co-producer Katya Podlesnaia

• • • What inspired you to create this project? The starting point for us was the devising process. We wanted to create something that reflects our thoughts, struggles and hopes, and we wanted to find a text as a guideline for this journey. We went through a lot of plays in search of the perfect script, but Chekhov’s Uncle Vanya was the one that clicked for everyone. From our very first reading, it was clear that we had found exactly what we were looking for. Although we love the original text, we were more interested in giving this play a new life, a contemporary spin. We brought the characters closer to ourselves and to our audience. Throughout this process, we have been continuously inspired by our personal lives and the years we spent together at George Brown Theatre School. Our director, Tanya Rintoul, had previously worked on this play, which gave us more material to pull from and play with.
    • What do you hope audiences will take away? We hope the audience will be able to relate. We aim to represent our generation’s fears and dreams. We want people to see their lives, relationship dynamics and struggles on stage. We are creating a show full of life and excitement for what the future has to bring, and we hope the audience will share this sentiment with us.

 

More of this year’s programming highlights

• • • Danse Macabre
    • Seasons of Souls, a dance production rooted in contemporary ballet, moving between urgency and stillness, repetition and release.
    • Belly Button
    • outside these walls, everyone is sleeping, a devised movement piece blending physical theatre, projection, and an original score.
    • By Popular Demand
    • Dead Lucky
    • Snacey!, a campy musical for ages 8+ highlighting mother-daughter relationships, the power of an apology, and growing into your own person (or snake).
    • Nostos, a dark comedy about longing, identity, solidarity and empathy in shifting times.
    • Spiritual Bob is Trapped in Paradise!, a semi-autobiographical, absurdist take on life as a Mormon missionary.
    • A Non-Canonical Musical Adventure with Pookamhura: Mistress of B-Roll

 

But wait – there’s more: Best of Fringe

In 2025, Toronto Fringe artists and audiences were excited to see the return of Best of Fringe, presented by TO Live at the Meridian Arts Centre (formerly, the North York Arts Centre/Toronto Centre for the Arts), with programming featuring select shows from that year’s festival. Look out for announcements about Best of Fringe 2026 on the Toronto Fringe website as this year’s festival wraps up.

 

About Toronto Fringe & Toronto Fringe Festival

Toronto Fringe is a grassroots, charitable organization that runs the annual Toronto Fringe Festival each July. Toronto Fringe offers various year-round programs that benefit youth, emerging artists, BIPOC artists, artists with disabilities, and the performing arts community at large. Embedded in Fringe’s operations are the values of Access, Accountability, Creativity, Exploration and Support.

The Toronto Fringe Festival is Ontario’s largest theatre and performance festival, taking place every July. Since 1989, the festival has been unjuried, meaning the shows get chosen by lottery rather than by a panel of jurists, opening the stage to all who have a story to share – from professional theatre makers to emerging and new theatre talent.

Support the Fringe

All ticket proceeds go to the artists, so the festival needs your help to keep going. In addition to attending shows, you can support the Toronto Fringe Festival by volunteering, making a donation or purchasing their merch.