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Dan Petrenko brings a youthful enthusiasm to his role as the new WJT artistic director
By BERNIE BELLAN At the age of 24, Dan Petrenko became the youngest artistic director of any of the member theaters of the Canadian Professional Association of Canadian Theaters (PACT) when he was hired this past November as the new artistic director of Winnipeg Jewish Theatre.
Dan was actually in London, England, having just moved there two and a half months previously, when he was contacted by a recruiter for the WJT, who asked him whether he might like to meet with the WJT board (via Zoom) to discuss the possibility of his becoming the new WJT artistic director.
The WJT’s previous artistic director, Ari Weinberg, announced in June 2022 that, after seven seasons as WJT artistic director, he would be moving on to a new position in Ontario.
Now in its 35th season the WJT has had only five artistic directors prior to Dan Petrenko: Bev Aronovitch, Kayla Gordon, Mariam Bernstein, Michael Nathanson, and Ari Weinberg. The WJT is the only professional theatre company in Canada dedicated to developing and producing new Jewish works.
Recently, we sat down with Dan Petrenko to discuss the path he took to his present position.
Dan was born in Israel, the son of Jewish parents who had moved from their hometown of Odessa in Ukraine.
A formative influence in his life, he says, was his grandmother, who had been a pianist in Ukraine. She had aspirations early in her life to study in a music conservatory, but the antisemitism that was pervasive in the Soviet Union prevented her from achieving that ambition. Instead, she had to travel all the way to Siberia in order to obtain training to become a pianist.
In 1991, Dan’s parents made two momentous decisions, he says: They got married and they moved to Israel, settling in Givaataim.
As Dan describes it, “For the first time in their lives, my parents felt they could be Jewish.”
Life in Israel was good for the Petrenkos, but things changed for the worse in 2006 when Israel became engaged in a major conflict in Lebanon.
Dan and his sister were enrolled in a kindergarten in Givaataim when, one day after dropping Dan and his sister off, his parents heard on the radio that a bus had exploded right next to their children’s kindergarten.
“They didn’t want to leave Israel,” Dan observes, but, like other Israelis who wanted to find someplace safer in which to raise their children, his parents decided to leave, eventually moving to Toronto.
Arriving to Toronto, however, had a paradoxical effect on the Petrenko family, Dan explains.
“In Israel you didn’t have to be Jewish; everyone was.” But coming to Toronto, with its polyglot ethnic mix, awakened a desire in the Petrenkos to embrace their Jewish heritage.
“It was in Toronto that we celebrated our first Passover seder,” Dan says. “We also started going to synagogue for the first time.”
As well, the Petrenkos started keeping kosher and observing Shabbat, something Dan says he adheres to.
Still, when I asked Dan whether he went to Jewish school in Toronto, he says he didn’t.
His first real immersion in a Jewish milieu in Canada, he explains, came when he went to a Jewish summer sleep-over camp near Toronto, called J Academy.
“It was specifically for kids from Russian-speaking Jewish backgrounds,” he explains.
In time Dan went on from being a camper at J Academy to becoming a counsellor, and eventually a senior staff member.
It was also during his high school years that Dan says he began playwriting and directing. In fact, when he was still in high school, Dan wrote a play called “Train for Two,” which was based on his own family’s experience in the Holocaust. Later, he was able to mount a successful production of that play when he was only 17 and had started his own youth theatre company called JDY Theatre.
I asked Dan from where he derived his artistic sensibility?
He answers that, as a young boy, his grandmother had taken him to the opera and to ballet, so developing an interest in theatre was a natural progression.
Even through his years at the University of Toronto, where he double majored in Theatre and International Relations, Dan remained the artistic director of JDY Theatre.
By the time the Covid epidemic began in 2020, however, Dan had moved on to become artistic director of another theatre company: Olive Branch Theatre, which is described as “a non-profit professional company dedicated to providing opportunities for new-generation artists.”
In 2022 Dan returned to university to obtain his masters degree in Theatre. That same year he directed a production of “A Night on Jewish Broadway” in the newly renovated Leah Posluns Theatre in the Bathurst Jewish Community Centre.
This past fall, Dan decided to move to London to pursue opportunities in the West End theatre district.
While in London, he received that unexpected request from a recruiter for the WJT.
It turns out that Dan already had an extensive knowledge of the WJT, as he explains: “I had written a paper on the WJT while I was in university.”
His meeting with the WJT board via Zoom must have been an impressive one for, as Dan says, “I was offered the job the same day.” (He also says he has no idea how many other people might have been considered for the job as WJT artistic director.)
By the same token, the immediate positive reception Dan received from the WJT board was reciprocated. “After meeting with the board,” he says, “I felt this was an organization I wanted to be a part of…So far I feel I’ve hit the jackpot.”
We also have a story by Myron Love about WJT’s upcoming production of “Summer of Semitism,” but we wanted to ask Dan about the play. Since he was hired after the 2022-23 playbill had been announced, Dan won’t be at the helm of the play. (It will be directed by Winnipeg’s Krista Jackson, a former associate artistic director at the Manitoba Theatre Centre.)
The play was written by Ori Black, a young Torontonian. “It’s been in development for six years,” Dan explains.
“It’s a play about belonging – or not belonging,” he continues. “Is it only in a time of crisis that we think we’re part of the Jewish community?”
The play is set in an overnight summer camp (Camp Mazel), where four friends who grew up together and who are now tasked with running the camp, find they have to deal with an unexpected challenge having to do with antisemitism. (We won’t reveal the exact nature of what that challenge is.)
Tension develops among the four camp leaders stemming from the fact that one of them isn’t Jewish.
As Dan puts it: “They’re all brothers, but the question is: ‘Who belongs…who really fits in in a time of crisis?”
The show is intended to provoke a wider discussion of antisemitism and how we respond to it. Dan notes that following two of the shows – on April 30 and May 4, audience members will be invited to participate in a talk-back session.
Tickets for “The Summer of Semitism” can be obtained from the WJT, either online at https://www.wjt.ca or by calling 204-477-7478.
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Volatility, Hit Frequency, and RTP: Why the Number Casinos Advertise Is the Least Useful One
The return to player percentage looks clean as a casino data point. It gives players a neat number, usually around 94% to 97% for many online slots, and that number feels easy to compare. A 96.5% game appears better than a 95.2% game. The problem starts when players treat RTP as a forecast for their next 50 spins or one evening.
You may find the RTP listed on slot pages on a leading online casino in Ontario, but the number only tells part of the story. Two games can share the same RTP and create different sessions: one may return small wins often, while the other may drain a balance before one bonus round changes everything.
The RTP Trap
Return to player (RTP) measures the theoretical share of total wagers a game returns across a very large number of rounds. In plain terms, a 96% RTP slot returns about $96 for every $100 wagered in the long run. That does not mean one player who deposits $100 should expect $96 back.
The trap sits in the word “theoretical.” RTP comes from the game’s math model. It works across huge samples, not personal sessions. A player can finish far above that percentage, far below it, or with nothing left after a short run of poor results.
Is it useless then? No, RTP can still help. It gives a baseline cost of play. Lower-RTP games cost more on average than higher-RTP games. Still, once a game passes a reasonable threshold, the next question matters more: how does it distribute that return?
Hit Frequency: The Number That Shapes Session Feel
Hit frequency tells you how often a game produces a winning outcome. This often misleads players because any win can count. A spin that returns $0.10 on a $1 bet may still count as a hit, even though the player lost $0.90 in real terms.
A game can feel active because symbols connect often, sounds play, and the screen keeps celebrating small returns. The balance may still fall. In many modern slots, “win” does not always mean profit on the spin.
Hit frequency answers one practical question: how much silence can you tolerate? Some players dislike long dry spells. Others accept quieter sessions because they chase bonus rounds or larger payouts.
The educational site Get Gambling Facts gives a useful distinction: RTP concerns the percentage of money returned over time, while hit frequency concerns how often a machine stops on a winning combination.
Volatility: The Risk Label Players Need More Often
Volatility, also called variance, describes how unevenly a game pays. Low-volatility games tend to return smaller amounts more often. High-volatility games hold more value in rare events: bonus rounds, premium symbols, multipliers, or jackpots.
Here is where RTP becomes less useful on its own:
- A 96% low-volatility slot may give modest returns and longer play from the same balance.
- A 96% high-volatility slot may burn through funds quickly unless the player hits a strong feature.
- A progressive jackpot game may look exciting, but it often places more value on rare top prizes.
The same RTP can hide very different risk profiles. Players who ignore volatility often blame the casino or the game when the session follows its math design.
Why the Same RTP Can Feel So Different
Picture two slots with 96% RTP. Slot A pays small wins on many spins, has a modest top prize, and rarely creates dramatic balance swings. Slot B pays less often but offers a large max win and volatile bonus rounds. The advertised return matches, but the experience does not.
Slot A may suit a player who wants a slower bankroll drop and more regular feedback. Slot B suits someone who accepts sharper losses in exchange for a shot at a heavier payout.
A Better Way to Read a Slot Page
Most slot pages give players more clues than they notice. The trick is to read the details together rather than chase the highest percentage.
Start with RTP. If two games look similar, the higher number has better long-term value. Then check volatility. If the game uses terms such as high, very high, or extreme variance, lower your bet size or expect shorter sessions. Next, look at the paytable. A huge max win usually means the game saves a lot of its value for rare outcomes.
A sensible pre-play check looks like this:
- RTP: What is the average long-term return?
- Volatility: How rough can the session become?
- Hit frequency: How often will the game show any wins?
- Paytable: Where does most value sit?
To Conclude
Casinos advertise RTP because it looks objective, tidy, and easy to rank. Players should read it, but they should not give it more authority than it deserves. For long sessions, volatility may matter more than a small RTP difference. For comfort, hit frequency may explain the feel better than the payback rate.
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The Popularity of Simpler Slot Games in 2026: Review From Casino Online CrazyTower Experts
Online casinos now fill their libraries with numerous video slots that have dozens of functions, long bonus rounds, complex mechanics, and so on. Interestingly, despite this huge range of modern options, many Canadian visitors at sites like Casino Online CrazyTower here https://crazytower.com/ca/ no longer want complicated gameplay that requires constant attention and long explanations.
Simpler slots now attract a wider audience because they save time and create faster sessions. So, let’s figure out why this change happened and reasons for the popularity of simpler machines.
Why Many Players Are Returning to Basic Gameplay
Modern websites like Casino Online CrazyTower pushed complex video slots for years, but many people now prefer classic formats again. Simple gameplay has fewer interruptions and is simpler in terms of budgeting, which is important when you gamble for fun.
These are a few potential reasons explain why simpler slots became popular again in 2026:
- Faster rounds. Symbols appear quickly, and rounds continue without long animations or extended bonus sequences.
- Easier controls. Most classic slots have simple menus and familiar layouts that don’t confuse new visitors.
- Smaller feature lists. Simple slots usually have standard wilds, scatters, and multipliers instead of dozens of random mechanics.
- Better session flow. People spend more time on gameplay instead of reading explanations about symbols and special functions.
- Lower visual pressure. Simpler slots use calmer designs and shorter effects that don’t overload attention.
Classic gameplay also suits mobile devices better because shorter rounds work well on smaller screens. Plus, many visitors now prefer games that start instantly and explain their mechanics within seconds.
Features That Make Simpler Slots Appealing
Simple machines at Casino Online CrazyTower and similar websites continue to attract attention because they have a high gameplay speed. Many classic titles also replicate older casino machines that people already know from physical casinos.
However, these aren’t the only factors that attract gamblers. So, check out this list:
- Short bonus rounds. Free spins and multipliers finish quickly instead of interrupting gameplay for several minutes.
- Common and standard paylines. Traditional layouts help people understand payouts without long explanations.
- Faster loading times. Simpler graphics reduce waiting time on phones, tablets, and older computers.
- Stable gameplay pace. Long cutscenes and constant pop-up notifications don’t interrupt the session.
- Traditional themes. Fruit symbols, bars, sevens, and classic casino designs still attract large audiences.
- Smaller menus. Important information appears immediately without complicated tabs or hidden sections.
Modern video slots often contain too many mechanics in a single game. Developers now combine expanding reels, random modifiers, mission systems, tournaments, and multiple bonus levels in one title. Many visitors lose interest because gameplay turns repetitive and overloaded with constant interruptions.
Compare this to a session when you get results immediately and aren’t interrupted. These still have free spins and even mini risk games, but not as loaded as innovative titles.
Conclusion
Simple slots usually create better replay value because people understand the mechanics immediately. Common and standard gameplay doesn’t cause frustration and allows faster decisions during casino sessions.
Many classic slots also function better during short breaks because rounds finish quickly without long bonus interruptions. That’s why simpler slots became popular again at many casinos, including Casino Online CrazyTower and such.
