A Quick Crawl through June’s Art Scene

by Richard Young

By Beth Stewart

Kick off the month with a Community Art Crawl on Thursday, June 4, 2026. From 6 to 9pm, art lovers can discover makers, creators, and performers all along Dundas Place (between Richmond and Clarence streets).

(Doug Mitchell in front of “Ambient Sticks”, acrylic on basswood, 2012. Photo courtesy of Michael Gibson Gallery.)

In conjunction with Art Crawl, Doug Mitchell is doing an Artist Talk at Michael Gibson Gallery, 157 Carling St, from 7-8pm on his Recent Works show. The London, Ontario, artist works in painting, sculpture, sound, and photography. His current pieces investigate the colour spectrum and were influenced by his extended observation of light reflecting through prisms in his studio. Also on display is Mitchell’s multi-panelled “map” of the forks of the Thames River in which he layers images, maps, and text. Recent Works is at MGG until June 26. For more info, visit: http://www.gibsongallery.com/

Art Crawl is a recurring event on the first Thursday of the month, from April to November. If you are an artist who is interested in participating, visit https://www.tapcreativity.org/community-art-crawl for guidelines. There is no cost to participate and no registration required.

Museum London’s Summer Launch Party, 421 Ridout St. N., is on June 11, 2026, from 7 to 10pm. At this pay-what-you-can at the door event, visitors can explore all three floors of the Museum, meet featured and visiting artists and curators, and dive into some hands-on creative activities. There will be food, a cash bar, and a live set with DJ Harina of OA(SIS).

(Amanda McCavour: Double Shadow, 2025-26, thread, digital embroidery, free-motion machine embroidery, appliqué, hand stitching, nuno felting, pins. Photo courtesy of Museum London.)

While there, be sure to see Double Shadow, a site-specific installation by Toronto-based textile and embroidery artist Amanda McCavour. Bringing together more than 400 stitched elements, the installation transforms the Museum’s Atrium into a field of lace-like forms. Double Shadow continues at Museum London to March 14, 2027. For more information, visit: https://museumlondon.ca

(Poster for the Community Art Installation Project. Image from Woven into Myself (2025) by Mackenzie Daniels.)

A Community Art Installation Project featuring work by Kristi White, Mackenzie Daniels, and Mike Cywink that highlights stories of Indigenous culture, history, and community takes place on June 12, 2026, from 11am to 12pm at RBC Place, 300 King Street. It includes live music and remarks from the artists and from City representatives.

Also, at RBC Place on June 12, 2026, is Murals in Motion. From 11:30am to 2pm, on the Encore Terrace, this one-of-a-kind summer lunchtime event will see four local artists transform blank boxes on wheels into vibrant murals. Watch their work unfold while enjoying lunch from local food vendors, drinks from the licensed bar, games from Downtown London, and summer beats from a guest DJ. For more information, visit: http://www.londonarts.ca

(Abel Gingerich and Mike Sloane, “Who Knew”, 2026, magazine clippings, 9 by 12 inches. Image courtesy of TAP Center for Creativity.)

The opening reception for Dear Abel / Love Mike takes place at TAP Centre for Creativity, 203 Dundas St., on June 13 between 2 and 4pm. Focusing on the act of correspondence, the paintings, mixed media, and sculptures allow the public access to friendly dialogues and the inner workings of relationship building between artists.

“Able” is Abel Gingerich, a multi-disciplinary artist living and working in London, Ontario. His body of work includes paintings inspired by real-life scenes, including garbage, concert venues and liminal spaces, covering themes of consumption, self-destruction and third spaces.

“Mike” is Mike Sloane, who has published scholarly articles and book chapters on topics ranging from trash to veganism.

Dear Abel / Love Mike continues to July 4, 2026. For more information, visit: http://www.tapcreativity.org/

(Julia Ismambetova, “High Above I”, 30 x 30”, acrylic on silk. Image courtesy of Westland Gallery.)

Where I Like to Be with Kim Atlin, Julia Ismambetova, and Tracy Bultje continues to June 20, 2026, at Westland Gallery. This show brings together works that feature places people like to be and includes cityscapes, riverside vistas and forests.

Need more land? Westland has Made in Canada, a group show celebrating Canadian landscapes by Canadian artists, from June 23 to July 18, 2026. For more information, visit: westlandgallery.ca/

(Natasha Beaudoin, “Wordle 1,208 5/6”, oil, airbrush, chalk pastel, and oil pastel on canvas, 203 by 203 cm, 2025. Image courtesy of McIntosh Gallery.)

At McIntosh Gallery, exhibitions by Natasha Beaudoin and Eric Allan Cameron continue to July 3, 2026.

Beaudoin’s Refracted Realities demonstrates how painting can engage the emotional and psychological conditions of contemporary digital life. The exhibition draws on the visual language of historical paintings and recontextualizes it through the cultures shaped by screens and social media. Natasha Beaudoin is an MFA candidate in the Department of Visual Arts at Western University. Refracted Realities is her MFA Thesis Exhibition.

Cameron’s Distant Sun brings together new oil paintings that distill night skies, distant horizons, and bodies of water into restrained, atmospheric compositions. Eric Allan Cameron is an MFA candidate in the Department of Visual Arts at Western University. Distant Sun is his MFA Thesis Exhibition.

For more information, visit mcintoshgallery.ca/

(Promotional image from Michelle Wilson’s Those in Glass Houses. Image courtesy of Forest City Gallery.)

Michelle Wilson’s Those in Glass Houses continues to July 23, 2026, at Forest City Gallery, 1025 Elias St. In this exhibition, Wilson investigates an unusual component of colonial rule – the greenhouse – which was a crucial tool for transporting plants and people around the globe. Collaborating with family members, Wilson merges personal anecdotes with critiques of the British empire, the trade of exotic flora, and the abduction of children. For more information, visit: https://www.forestcitygallery.com/

Finally, Kellogg’s Art Comp 2026 continues to September 7, 2026, at 100 Kellogg Lane. Touted as Canada’s largest Art Competition, this exhibit features works by 100 artists displayed for 100 days in spaces throughout the building. For more information, visit: 100kellogglane.com/events/art-comp-2026

By Beth Stewart

Beth Stewart is a writer, educator, and visual artist. She has a B.A. and a B.Ed. from the University of Windsor and a Diploma in Art Therapy from Western University. Beth has worked as an Art Therapist with Canadian war veterans and as a Secondary School Teacher of art and English for the TVDSB. She retired in 2024.

Beth was the arts editor at Scene Magazine from 2004 to 2006. She founded Artscape Magazine in 2006 and served as its editor until 2008. In addition, Beth wrote on the arts for Lifestyle Magazine from 2006 to 2017 and served as the copy editor for The Beat (in print) from 2009 to 2013.

As a visual artist, Beth works mainly in dry media and favours coloured pencil. Over the past decade, Beth’s focus has been on wild and domestic birds. Beth is a member of the Coloured Pencil Society of America, the Gallery Painting Group, the Eclectic Collage Collective, the Lambeth Art Association, and a founding member of the Coloured Pencil Artists of Canada group.

Web: https://bethstewart.ca/

Facebook: https://www.facebook.com/profile.php?id=100009620916363

Come From Away Will Bring You Home!

by Richard Young

Reviewed by Charlotte MacDonald.

“You are here,” and I was somewhere between pride and applause.

Bringing to life a true story of Canadian kindness and resilience in the aftermath of the devastating tragedy of 9/11, The Grand Theatre’s non-replica production of the Tony and Olivier Award-winning musical Come From Away, reimagined by Canadian director Julie Tomaino, is sure to steal your heart and leave you with a renewed sense of what it means to be Canadian.

The play opens by introducing the audience to the calm, quaint town of Gander, Newfoundland, and its cast of dynamic, unmistakably Canadian characters. Though described through modest landmarks, including a two-person police department, a local TV station and a hockey rink, the town feels small on paper, yet rich with personality on stage. Claude, played by Darrin Baker, the outgoing mayor, Beulah, played by Darlene Spencer, a devoted Royal Canadian Legion volunteer, and Bonnie, played by Denise Oucharek, the local SPCA manager, help bring the community to life on stage. Through natural dialogue, warm banter, and (of course) Newfoundland accents, it becomes clear within moments that these characters are what make Gander far greater than its size.

(Photo: Dahlia Katz.)

As the play enters into a rhythm, the characters move through their day, describing their routines as if reading from diary entries aloud. Everything unfolds as it always does, just another ordinary day in Gander. As an audience member, though, anticipation builds waiting for the moment the news breaks. There on the edge of the world in quiet Gander, it is clear nothing much seems to go on…queue one of the biggest catastrophes of the 21st century.

Suddenly, as news spreads of the attack on their neighbouring country, the locals are facing the order for thirty-eight planes to be diverted to their low-traffic airport. Overwhelmed by the prospect of thousands of people from around the world landing in their small town, with no word on how long they will be staying, the locals quickly spring into action to prepare for the fast-approaching and frenzied arrival ahead. In a flash of lightning, 7,000 displaced passengers begin to arrive on the doorstep of this small Canadian town, doubling its population overnight.

Filled with music and complex characters, Come From Away shows the world the power of kindness in times of tragedy. As a Canadian, you can’t help but feel pride for the glowing examples set for us by our own people, as they show more compassion than was ever asked of them and deeply alter the trajectory of thousands of people’s lives for the better, without ever expecting anything in return.

(Photo: Dahlia Katz.)

The cast remained fixed at 12 tightly knit actors, weaving in and out of each other’s stories as they played dozens of distinct characters, with many actors doubling or tripling their roles. Most frequently, the cast would switch back and forth between playing the locals of Gander and the “plane people” who have “come from away.” With the most minor costume changes, you would expect this back and forth to be confusing, and yet each actor’s rendition of their character was so distinct that following along felt completely intuitive. This was probably one of the most impressive aspects of the production to me, as the cast seamlessly transitioned between very distinct characters in a way that felt so natural and clear that you automatically knew who was who.

A standout in this regard to me was Izad Etemadi, a cast member who played two very distinct “plane people.” One of his characters was Kevin T., an eccentric and humorous gay man who had arrived in Gander with his partner Kevin J., played by Alex Wierzbicki (yes, they are both named Kevin). His other character was a quiet, serious, and aloof Muslim man who spent most of his time alone and distancing himself from the others. These two roles contrasted in performance so greatly that I did not even notice until a third of the way into the performance that the same actor played them. Etemadi’s performance as a Muslim man also brought forward serious topics of racial and religious discrimination, representing the realities many would have faced during this period.

(Photo: Dahlia Katz.)

Something I enjoyed about this performance was how it had constant contradictions. The play did not try to frame this as a perfectly happy and heroic story where kindness completely erased the horror and made it all okay. Instead, it allowed for nuance, showing that multiple experiences can be had at a single time. Rather than representing a linear story, it had a range of emotions where fear turned into gratitude and happiness bled to guilt as people grappled with the rawness of their emotions in the face of complex tragedy.

Touching on topics of loss, grief and identity, Come From Away’s message continues to ring through to today as people continue to grapple with these experiences. A beautifully true Canadian story, it reminds us that the only antidote to inhumanity is humanity itself.

Reviewed by Charlotte MacDonald.

Charlotte MacDonald is a Creative Writing and History student at Western University. She currently writes about theatre, pop culture, and campus life for The Western Gazette, works as a Digital Intern at The Walrus, and hosts a radio show at Radio Western. Growing up in Toronto, theatre has always been a staple part of Charlotte’s life, and she has come to greatly enjoy engaging and contributing to the theatre community through her writing.

London Community Players have picked a winner with Mamma Mia!

by Richard Young

Reviewed by Brian Speagle

Photos by Ross Davidson

(Cast & Crew of Mamma Mia! Photo Credit: Ross Davidson.)

In the 1970’s, the pop music charts were dominated by the Swedish super-group ABBA. Their music was heard and enjoyed worldwide. ABBA defined pop: light fare, catchy melodies, simple messages. Admittedly, not my cup of musical tea; I was firmly in the Led Zeppelin camp!

But times and attitudes change. In the hands of two of the original ABBA members, Bjorn Ulvaeus and Benny Andersson, and playwright Catherine Johnson, the familiar music has a wonderful and effective narrative context, and the results are amazing! This show has become, like its chart-topping godparents, an international phenomenon.

(Mamma Mia! Set by David Long. Photo Credit: Ross Davidson.)

The London Community Players have chosen Mamma Mia! to close out their 2025-26 season, and they’ve picked a solid winner. For the first time post-COVID, the entire run is sold out. If you want a ticket, you will have to contact the box office to check for cancellations.

In the capable hands of director Toni Wilson, musical director Jeff Holbrough, and choreographer Laura Wood, the London Community Players’ version of Mamma Mia is also quite phenomenal! They have captured the energy of the plot and breathed wonderful life into the simple story. Toni, Jeff, and Laura have woven together an outstanding tapestry of theatre, which keeps the audience engaged from start to finish.

(Pictured: Director Toni Wilson and Choreographer Laura Wood.)

In terms of design, these elements have a wonderful unity. Costumes, led by Becky Lenko, lighting by Frank Almeida, and set design by David Long, create a seamless environment of a Greek island in the middle of Old East Village! Kudos to the design team!

The cast list of this project reads like a Dream Team of London community theatre. Melissa Metler, as ‘Donna’, takes the stage from her first moment and never relinquishes it. Her rendition of “The Winner Takes It All”, a duet with ‘Sam’ (James Noonan), is a prime example of a pop song taking on a new and effective context within the plot structure.

Photos by Ross Davidson

(Pictured: L to R, as “Rosie”, Angela Southern, as “Donna”, Melissa Metler, and, as “Tanya”, Bronwyn Powell. Photo Credit: Ross Davidson.)

The power trio of Metler, with Bronwyn Powell as ‘Tanya’, and Angela Southern as ‘Rosie’, is delightful. The chemistry and history between these lifelong friends is evident and helps tie the story together.

“The Fathers”, James Noonan as ‘Sam’, David Bogaert as ‘Harry’, and Sam Shoebottom as ‘Bill’, add just the right touch of comedy and nostalgia to the narrative.

“The Young Couple”, Jordyn Taylor as ‘Sophie’, and A.J. MacDonald as ‘Sky’, do wonderful work anchoring the storyline. Sophie and Sky have a believable chemistry. Jordyn Taylor’s exceptional singing voice is on full display.

Photos by Ross Davidson

(Pictured:  “Sky”, A.J. MacDonald, as “Sophie”, Jordyn Taylor. Photo Credit: Ross Davdson.)

In this show, the “Ensemble” is a key component of the production’s overall look, sound, and feel. The choir effects, the complex choreography, and the character interactions make for a wonderfully believable backdrop to the main plot. Kudos again to Toni, Laura, and Jeff!

Photos by Ross Davidson

(Pictured: Mamma Mia! Ensemble. Photo Credit: Ross Davidson.)

Do whatever you can to get a ticket for this show. It will require a little legwork, but it will be well worth the effort!

IF YOU GO:

What: London Community Players present Mamma Mia!

When: May 28 to June 7, 2026.

Where: Main Stage, The Palace Theatre, 710 Dundas St., London, ON.

Tickets: SOLD OUT!

Reviewed by Brian Speagle

Brian Speagle is the artistic director of Scooter Productions, founded in 2016. He recently co-directed a successful production of John Murrell’s ‘Memoir’ at Manor Park Memorial Hall.

Inner Elder packs a punch at Port Stanley Festival Theatre

by Richard Young

by Richard Young

(Pictured: Michelle Thrush, creator and performer, Inner Elder.)

To be sure, there is lots of great local theatre playing in the London area this weekend. Come From Away closes out its extended run at the Grand Theatre on Sunday, while London Community Players’ sold-out run of Mamma Mia! continues at the Palace Theatre, and the Elgin Theatre Guild’s final show of 2026/27, The Foursome by Norm Foster, has three performances on Friday, Saturday and Sunday.

Not to be overlooked, however, is Inner Elder, a real-life autobiographical one-person show, performed by Canadian actress and Cree Indigenous activist, Gemini Award-winning Michelle Thrush, on stage now at the Port Stanley Festival Theatre for three remaining performances, Friday at 7:30 pm and Saturday at 2:00 pm and 7:30 pm.

Premiering in 2018, Inner Elder is a structured monologue during which author Michelle Thrush recounts her personal life and experiences, combining pathos, hardships, and some good-natured laughs along the way.

I saw Inner Elder’s opening night on Thursday and can attest to the show’s poignancy and the tour de force performance of its author.

Running a tightly packed 60 minutes in length, Inner Elder takes the audience through Thrush’s life as a young child and teenager, “raising” two alcoholic parents and struggling to find her identity as a First Nations person in a predominantly white society. Looking for role models on television shows like Little House on the Prairie and Bewitched, she is disappointed to find no one who looks like her. Her public schooling offers her no respite, where Thrush experiences racism firsthand.

The pivotal point in Thrush’s life comes in her early 20s, when she decides to pursue acting as the best way to find her identity and assert herself as a “brown girl” in a white world. As she states during the play, she has never looked back.

Set within a simple set of impressionistic trees, Thrush transforms herself from a young girl into an elderly grandmother through the use of very basic props and costume changes. Indeed, it is her inner monologue that propels the story more than anything else.

The play brings tears of sorrow and laughter to the audience’s eyes as we share Thrush’s ups and downs. We share her inner jokes and asides, all the while knowing she is laying bare her soul onstage.

If you’re looking for something a little different, I highly recommend the short drive to catch Inner Elder during its short run at the Port Stanley Festival Theatre

IF YOU GO:

What: PSFT presents Inner Elder.

When: May 27-30, 2026.

Where: Port Stanley Festival Theatre, 302 Bridge St., Port Stanley, ON.

Tickets: At psft.ca or call the box office at 519-782-4353.

Inner Elder, written and performed by award-winning Cree artist Michelle Thrush, kicks off PSFT 2026 Summer Season.

by Richard Young

Prepared with files from PSFT

(Pictured: Michelle Thrush. Photo Credit: Ben Laird.)

The Port Stanley Festival Theatre  2026 Summer Season kicks off on Wednesday, May 27, with Inner Elder, written and performed by award-winning Cree artist Michelle Thrush.

Inner Elder is an intimate story that will open your heart and put a smile on your face.

Award-winning Cree artist Michelle Thrush weaves real-life memories with laughter and grace. A one-woman show that takes the audience on a poignant journey full of unexpected twists and turns.

A young Indigenous girl growing up in Alberta navigates a world shaped by hardship, humour, and the guiding presence of her grandmothers. When life feels darkest, her superhero Kookum—armed with magic moccasins—appears to light the way.

After each performance, audiences are invited to meet Michelle – a rare one-of-a-kind experience only at PSFT.

Michelle Thrush is well known for her roles in TV and film. She is a multi-award-winning actress, and she is a recipient of the Lieutenant Governor’s Distinguished Artist of Alberta Award. Joining her are Dianne Goodman, Company Manager and Neil Fleming, Producer/Technical Director.

“Thrush’s ability to make the audience laugh with silly antics, while keeping the show’s message of resilience and self-empowerment at the forefront, is a testament to her ability as an actor. Through it all, Thrush unabashedly allows spectators to witness her vulnerability; in fact, she wears it like a badge of honour. And why not? The adversity that shaped Thrush’s life forced her to forge ahead and become the impressive artist that stands before us.” – NAC Indigenous- Courtney Castelino, BroadwayWorld.com

IF YOU GO:

What: PSFT presents Inner Elder.

When: May 27-30, 2026.

Where: Port Stanley Festival Theatre, 302 Bridge St., Port Stanley, ON.

Tickets: At psft.ca or call the box office at 519-782-4353.

For more information about the Port Stanley Festival’s 2026 Summer Season, visit 2026 Summer Theatre Season Archives – Port Stanley Festival Theatre

Follow PSFT on Facebook and Instagram.



The Beat Magazine Q&A Interview with Toni Wilson, Director of Mamma Mia!

by Richard Young

What follows is a Q&A Interview with Toni Wilson, Director of Mamma Mia playing at the Palace Theatre from May 28 to June 7 . The Interview was conducted by The Beat Magazine’s Publisher & Content Manager, Richard Young.

Q. Tell me about Mamma Mia! – backstory, author, performance history, etc.

Mamma Mia is a story of love, family, and friendship built around the musical hits of ABBA. It takes us to a beautiful Greek island where we can escape the complicated world in which we live – we all need a little glitter and joy once in a while.

Mamma Mia is based on the songs of ABBA, a Swedish pop/dance group active from 1971 to 1982 and one of the most popular international pop groups of all time.

Mamma Mia is a jukebox musical written by British playwright Catherine Johnson, based on songs recorded by Swedish group ABBA and composed by members Benny Andersson and Björn Ulvaeus.

In 1997, Judy Craymer commissioned Catherine Johnson to write the book for the musical. In 1998, Phyllida Lloyd became the director of the show, with choreography by Anthony Van Laast.

Mamma Mia premiered at the Prince Edward Theatre in the London West End on April 6, 1999 then staged at the Royal Alexandra Theatre in Toronto on May 23, 2000, followed by a Broadway production on October 18, 2001

(Photo: Ross Davidson.)

Q. What prompted LPL to select Mamma Mia! for its Spring production?

LCP was looking for a big-name show to complete their 2025/2026 season, and both Jeff Holbrough, Music Director,  and I have been waiting for the opportunity to bring Mamma Mia to community theatre. It has great music, engaging characters and lots of dancing, and we knew it would be a whole lot of fun.

(Pictured: Keyboards Annette Gilbert, Music Director Jeff Holbrough, and Director Toni Wilson.)

Q. Could you provide a brief plot synopsis?

Sophie is preparing to marry her fiancé, Sky, on a beautiful Greek island where her mother, Donna, runs a small hotel. Wanting her father to walk her down the aisle but unsure who he is, Sophie secretly reads her mother’s diary from the summer she was conceived 20 years ago and invites her possible dads to her wedding. The men, Sam, Harry and Bill, arrive, unaware of the real reason they were invited to the wedding. At the same time, Donna’s former 1970’s rock bandmates, Tanya and Rosie, arrive to support their friend Donna and her daughter Sophie. Donna is thrown into a state of panic when she discovers that her old flames have arrived for the wedding, and Sophie begins to question her marriage to Sky. In the end, all is resolved, and the play ends with a wonderful Greek island wedding.

Q. Mamma Mia! Is an obvious crowd favourite and it has been staged several times by different troupes in the London area in recent years. What sets this production apart from the others?

Mamma Mia has been a crowd favourite for many years.

The cast of 35 is comprised of two generations of people from the ages of 20 to 75.  They offer so many different perspectives on an age-old story of love and marriage. After spending so much time together, we have become our own family and are loving every minute of it.

This production incorporates a large ensemble that provides a backdrop to the story with their wonderful vocals, their creative movement throughout the story and their ongoing interest in the lives of the main characters. The cast will have a hard time saying goodbye on closing night.

(Photo: Ross Davidson.)

Q. I understand the show is officially SOLD OUT before it begins. How do you account for this?

Mamma Mia sold out well before the run of the show, and this is why.

People want to be entertained, people want to hear good music that they recognize, people want to be part of a big cast that has fun, people want to suspend their disbelief and dream of a world like the one we create in Mamma Mia – full of smiles, glitter, dance and music. People want to dream…….so ABBA, thank you for the music.

(Pictured: Director Toni Wilson and Choreographer Laura Wood.)

Q. Can you comment on the Cast – Leads and Ensemble?

I am the luckiest director – over 100 people from our London Community and beyond auditioned for this show. They all wanted to be part of the magic of Mamma Mia.

All of my leads are very strong and perfect for the parts they play. They came to rehearsal with a very professional attitude, knowing their lines and music early in the process and have set a precedent for all of the cast members. They are also kind and generous in their work with each other and with the ensemble, and appreciate the crew that makes them look so very good.

I love them all very much.

Q. How would you describe the sets, props and costumes of the play?

David Long is my set designer, and he is a gift to the Palace Theatre. He is creative, hard-working and has brought my vision of Mamma Mia to life with a beautiful set. You will feel as if you are on a Greek Island and part of the story.

Both my costumes and properties teams have collaborated and worked together with our artistic team to elevate the vision of Mamma Mia – a bright, colourful summertime feel. Sending heartfelt thanks your way.

Lighting and sound are also an integral part of the success of a big musical production. I have listened to their suggestions and trust their expertise to bring Mamma Mia to life. The technical pieces of the show add so much depth to the performances.

(Photo: Ross Davidson.)

Q. What can audiences expect from Mamma Mia?

Mamma Mia is going to grab you from the moment the curtain opens until the end when you join in with the singing and dancing during the encore. Be ready to be entertained and leave the theatre feeling like a dancing queen.

Q. Is there anything else you think readers should know about the show?

Mamma Mia has been a wonderful experience from beginning to end. Having my vision come to life depends upon the collaboration of both the cast and crew so that everyone respects the contributions we all make in the creation of a musical theatre production. The people I have brought together for this project, both cast and crew, have been outstanding in developing positive relationships with one another. Their collective effort to do their very best for the good of the show amazes me, and I am grateful.

I think we have created a once-in-a-lifetime experience for both the cast and crew of Mamma Mia and for our sold-out audiences. We are living the dream together.

(Photo: Ross Davidson.)

ARTISTIC TEAM: MAMMA MIA!

Director: Toni Wilson

Producers: Cathy Weaver and Mike Jewison

Music Director: Jeff Holbrough

Choreographer: Laura Wood

Stage Manager: Anita Goodfellow

CAST: MAMMA MIA!

Melissa Metler: Donna Sheridan

Sophie Sheridan: Jordyn Taylor

Rosie Mulligan: Angela Southern

Tanya Cresham-Leigh: Bronwyn Powell

Sam Carmichael: Jim Noonan

Harry Bright: David Bogaert

Bill Austen: Sam Shoebottom

Sky: A. J. MacDonald

Ali: Kate Deman

Lisa: Emma Vanderkuyl

Pepper: Ethan Couchman

Eddie: Tate Stadnisky

Father Alexandrios: Jim Brock

ENSEMBLE: MAMMA MIA!

Michelle Brock

Lisa Shelton

Sue Bruyns

Karen MacDonald

Janice Van Dasler

Megan Dow

Janet Bueckert

Hayley Kell

Lauren Brooks

Megan Gilliland

Isabel Dalimore

Kaity Adam

Jesse Grant

Rob Carver

Basil Gracious

Frank Delle Donne

Liam Sweezey

Gabriel Sizeland

Iain Guild

IF YOU GO:

What: London Community Players present Mamma Mia!

When: May 28 to June 7, 2026.

Where: Main Stage, The Palace Theatre, 710 Dundas St., London, ON.

Tickets: SOLD OUT

Interview conducted by Richard Young, Publisher and Content Manager, The Beat Magazine 2025.

Guys and Dolls – A Must See at the Stratford Festival

by Richard Young

Reviewed by Richard Young

(Pictured: Members of the Guys and Dolls company. Photo: David Hou.)

Full Disclosure: I’ve always been a sucker for full-scale Broadway musicals. And, before the “Drama Police” show up in my Facebook Comments, I appreciate drama and “serious issues plays” just as much as the next guy. But there’s something about musicals that attracts me to them every time.

From the opening chords of its first production number to the final bows of its outstanding Cast, the Tony Award-winning production of Guys and Dolls, now playing in previews at the Stratford Festival, is a spectacle that theatre-goers do not want to miss, if for no other reason than to allow them to escape the harrowing front-page news of 2026.

Let’s start with the stellar veteran Cast.

I would gladly pay to hear Stratford veteran actor Dan Chameroy read a phone book. His portrayal of Sky Masterson, a notoriously lucky gambler willing to bet on just about anything, is brilliant. Add to that Olivia Sinclair-Brisbane, the focus of his unrequited love, as the pious and beautiful Sergeant Sarah Brown of the Save-a-Soul Mission, and you have a winning combination.

The play’s other love story between small-time gambler Nathan Detroit, played masterfully by Mark Urhe, who runs a floating craps game in need of a location, and his long-suffering fiancée of fourteen years, Miss Adelaide, played by Jennifer Ryder-Shaw, is equally appealing.

(Pictured: Olivia Sinclair-Brisbane and Jennifer Ryder-Shaw. Photo: Dan Hou.)

The supporting cast of stereotypical small-time grifters adds an extra dimension to the story and further encourages the audience to suspend their disbelief. Characters with names like Nicely-Nicely Johnson (Steve Ross), Benny Southstreet (Gabriel Antonacci), Rusty Charlie (Devon Michael-Brown), Harry the Horse (Henry Firmston) and Big Julie (Juan Chioran) come and go on the stage with great aplomb.

(Pictured: Members of the company. Photo: David Hou.)

The ensemble actors shine in the show’s outstanding production numbers, choreographed by Stratford veteran, director Donna Feore. Stunning dance moves, accentuated by impossible gymnastic feats, leave the audience gasping for air.

The play’s costumes and sets are a joy to behold, as is expected of Stratford Festival productions. The men are dressed in garish vintage 1940s pinstripe suits, while the women look like they walked off the screen of a classic Hollywood film noir.

Sets range from a dingy New York City streetscape, a Havana nightclub, a lively cabaret, a mission, and a NYC sewer! Set changes are done quickly and seamlessly.

(Pictured: Members of the company. Photo: David Hou.)

And the music!

Under the baton of Music Director, Franklin Brasz, the cast and pit orchestra perform songs that have become part of the Great American Songbook, including If I Were a Bell, A Bushel and A Peck, Guys and Dolls, and, of course, Luck Be A Lady.

At the preview performance I attended on Saturday, May 23, audience members could hardly wait to jump to their feet to give the cast a well-deserved standing ovation amidst shouts of Bravo.

(Pictured: Devon Michael Brown with members of the company. Photo: Ann Baggley.)

To be sure, if you are a fan of musical theatre (and even if you aren’t), you don’t want to miss this outstanding production.

As a rule, the Stratford Festival presents two major musical productions each season. Last season’s box office smash, Something Rotten, returns to the Festival stage for a command performance. Featuring many of the cast members of Guys and Dolls, it’s definitely a show you want to see if you missed it last year.

Reviewed by Richard Young, Publisher & Content Manager of The Beat Magazine 2025.

It started with the Velvet Underground: London’s Betamaxx

by Richard Young

By Bob Klanac

(Betamaxx Members, Left to Right: Jaq Inglis, drums, Sookie Mei, bass, backing vocals, Mark Ordas, guitar, backing vocals, Kathy Quayle, vocals, Simon Goodwin, keyboard, vocals.)

About six years ago, a friend of Simon Goodwin gave him a nudge with the idea of starting a Velvet Underground cover band.

Fresh out of the London theatre scene, Goodwin shrugged and started putting together what became Venus in Furs. It was fun, but after a few jam sessions, they put the band on hold. Soon after, an invitation to play at a friend’s summer party brought them back together.

A funny thing happened at the party. The crowd loved them. And the band was wowed by the response.

“I was surprised,” Goodwin laughs. “We just played some private parties, but we were just goofing around.”

It was all just goofing around until Goodwin and others in the band realized they had something.

Bassist Sookie Mei recalls that at some point, “We were just like, jamming in someone’s basement and then decided to try and make it go as a band. And we ended up expanding the repertoire to be more 70s and 80s stuff.”

Goodwin adds that “It’s a lot of work to go through from pulling together some songs for a party to being able to do a full night’s material in a bar.”

(Photo Credit: Paul Latorre.)

But work they did, going from a year as a four-piece to a five-piece before adding trained theatre performer Kathy Quayle as their frontwoman. As a singer, Quayle is incandescent, her limbs flying in time to the music with every moment rehearsed and every moment real. She is the visual lynchpin that, to borrow a quip from The Big Lebowski, ties the band together.

Before Quayle grabbed the lead microphone, Goodwin admits, “It was kind of difficult for me to be the only singer to carry out the whole thing.”

“So, having Kathy come and take a bit of a share of the vocals? It’s awesome, she’s awesome. And everyone loves her.”

Mei doubles down on what Quayle brought to the band. “It’s great to have a front woman who’s not behind an instrument, you know, who’s engaged more with the audience. And she’s dynamic, and great to look at, you know?”

So now they had a band, but given that their repertoire had drifted from its Velvets roots, they had to come up with a different name. They had started with Venus in Furs as their nom de plume, but the focus had shifted, and they needed to find another name to hang on their shingle.

Mei recalls they came up with a ton of band names, and all of them were taken already.

“We were trying to think of something that conveyed the 80s, with a nostalgic feel, but also cool. So, we decided on Betamaxx with the extra X.”

“That was one of the ones we thought wasn’t taken, but then it turned out there’s actually a DJ out of Poland and a band in Southern California that had the same name!”

Mei laughs and adds, “So we’re just not original, which is fitting for a cover band!”

Betamaxx’s focus on 80’s music wasn’t accidental. Not entirely.

Goodwin admits, “I kind of pushed it that way.”

“Well, because we were doing, like, late 70s, early 80s songs, I kind of said, well, let’s, let’s do a new wave thing because there’s no one else really doing it. I looked around, and there was only one other band covering that niche.”

“Besides, it was the music of our youth for the most part. And the band very happily went along with it.”

So, with a set list of three, the newly dubbed Betamaxx set out to do some gigging around town.

“I think the first was the Richmond Hotel about three or four years ago,” recalls Goodwin, “and we’ve just kind of grown since then.”

Goodwin understates things a tad. Betamaxx shows at the Richmond are wonderfully intimate, with a roiling crowd of dancers pushing the edge of the dance floor until even those at the crowded tables are bouncing along with the relentless beat.

“Yeah, I am surprised,” admits Goodwin. “It’s lovely, you know. We just kind of, you know, found a niche as I suggested, and uh, you know, there’s a lot of people that are in our kind of age range.”

Betamaxx is a generational rallying call, a gathering of the tribes, people who have their lives back after some years of establishing a career or family.

The band explores big hits by The Cure, the B-52s, and obscure one-hit wonders by Alphaville (Forever Young) and Peter Schilling (Major Tom), former 80s earworms that hit the nostalgia note before they hit the cerebellum. You all know these songs, whether as an obsessive fan or just having been an 80s kid.

Mei agrees, adding, “I believe people love the music of their youth, and the 80s were a huge decade for music. People of all ages seem to enjoy 80s music.”

“We’ve got people our age and older who love it. We’ve even got young 20-somethings who are into Betamaxx, and it’s the 80s music that is the key. The second thing is, we’ve got a really great band.”

According to Goodwin, it’s not just a coincidence that they’ve grown as a band. It’s also an attention to detail that he’s pushed on the band.

“We work really hard to sound like the recordings, the original recordings, because I think people really respond to that quality. I think that helps.”

Mei notes that their success has been recognized in a somewhat tangible fashion, given that Betamaxx snapped up the Best Cover Band honours at last year’s Forest City London Music Awards.

“Yeah,” she says sheepishly, “we’ve definitely risen up to  London greatness!”

Mei muses, “You know, it’s wonderful to look out into the audience and see people from all different walks of life. You know, we’ve got young people, we’ve got various people identifying with different genders, and you know, working class, white collar workers, or whatever.”

As for what’s next, Goodwin concedes that with the band all having day jobs, it’s really more about the fun than the money.

“People have asked us if we’d like to go to Windsor or wherever, but we’re not really interested,” he says flatly.

“We just kind of take gigs of convenience or anything we feel like we want to play.”

This summer, those gigs include Pride London’s mainstage, Ribfest and an upcoming slot at Old South’s Wortley Roadhouse.

“We’re also doing a Hamilton Road block party and something for the Forest City Music London awards as well,” Goodwin explains. “So, we’ve got a lot of little kind of showcase shows like that over the summer. And that’s right up our alley. That’s exactly the kind of stuff we want to do.”

Upcoming Betamaxx Shows:

July 4:   Wortley Roadhouse, 9pm-1am

July 18: Hamilton Rd Block Party, 2-3pm

July 19: Pride Festival, Victoria Park, (Date and time TBD)

July 31: Ribfest, Victoria Park, 7:30-9pm

Sept 26:Richmond Tavern, 3-6pm

Follow Betamaxx on Facebook https://www.facebook.com/share/1BTKY5MTRv/

By Bob Klanac

Bob Klanac is a London-based music journalist who has penned hundreds of reviews and interviews. He was a juror for the Polaris Music Prize, a member of the Slaight Family Polaris Heritage Prize Jury and a Juno Awards juror. Bob has also penned two books, Promo Man about London’s late music legend Nick Panaseiko and Shooting Stars, Telling Tales, about photographer to the stars photo-journalist John Rowlands.

London’s Jones Family receives Forest City London Music Awards Lifetime Achievement Award.

by Richard Young

by Richard Young

On Wednesday, May 21, 2026, the 24th annual Forest City London Music Awards (FCLMA) announced this year’s inductees into the non-profit organization’s Hall of Fame and Lifetime Achievement categories.

(Pictured: Fred Smith, Ted Leonard, and Don Jones. Photo Credit: Jack Sutton/CBC.)

This year’s honourees are blues guitarist Ted Leonard, who was inducted into the Hall of Fame, long-time CHRW-FM Hardcore Country host Fred Smith, and the Jones Family, London entertainment pioneers and entrepreneurs, who received Lifetime Achievement Awards.

FCLMA Hall of Fame recognition is granted to individuals who have a long-standing connection to London and area, and who have demonstrated an outstanding career in music and have made a significant impact on the local, national, and/or international community. To be considered, the nominees must have started in the music industry at least 20 years ago.

The Lifetime Achievement Award is presented to an individual (or individuals) who has been an outstanding contributor to the London and area music community over many years and who has inspired others to contribute to the London area’s music community in an impactful manner. 

The Jones Family received a Lifetime Achievement Award for their long-time contributions to the London Music scene, which began with the building of Wonderland (Summer) Gardens, London’s famed entertainment venue, in 1935, and continues today with the Jones Entertainment Group, which continues to build on that legacy through touring productions, festivals, and large-scale live experiences.

To be sure, it is an honour well-deserved and long overdue.

Coming on the heels of the Lifetime Achievement Award is the unveiling of commemorative Interpretive Signage recognizing and celebrating Wonderland Gardens’ contribution to London’s music scene on Sunday, June 21, at 1:30 pm, at Springbank Gardens, before the first Springbank Gardens Summer concert at 2:00 pm.

The Interpretive Signage unveiling is a joint project of the London Public Library’s Historic Sites Committee (of which the author is a member) and the City of London Culture Office.

____________________________________________________________

In the following article, brothers Chuck Jr. and Don Jones share their memories of operating Wonderland Gardens during its heyday in the 1950s and 1960s. (Source: Interview with brothers Chuck and Don Jones, December 11, 2023.)

Younger brother Don Jones was tasked with booking the entertainment at age 14. He remembers booking an up-and-coming artist named Alice Cooper for $500 in 1967.

“I took care of booking Bob Seger one time, who came with his band, equipment and all, in a cube van and slept in the parking lot,” recalls Don.

Don had a talent for this and continued booking the entertainment there until the mid-1970s, getting to know and becoming friends with musicians from across the country and the U.S. He has kept many of them as long-time friends to this day.

Prominent local musical groups, including Johnny Downs, Ted Pudney, Lionel Thornton, and Neil McKay, performed at Wonderland Gardens in the venue’s early years. Later, local acts included the Hawthorne Good Times Band, led by John Hotson, which participated in twenty-five consecutive New Year’s Eve celebrations. Other local acts included The Bluesmen Revue, A Small Experience, The New Set, and many others.

(Pictured: The Bluesmen Revue.)

As musical preferences shifted over time, Wonderland stood as one of the few local vestiges of the big band era. By 1956, the once-gravel driveway leading to the attraction from Springbank Drive had transformed into Wonderland Side Road. The venue continued to host headline acts such as Roy Orbison, Chuck Berry, and Sly and the Family Stone. The Jones brothers remember when Wonderland hosted a two-day Pop Festival featuring Frank Zappa and the Mothers of Invention in August 1969.

(Pictured: Frank Zappa performs at Wonderland Gardens, August 1969.)

Chuck can finally put to rest the rumour that Zappa engaged in water skiing on the polluted Thames River.

“This did happen, I was the one driving the boat!” he jokes.

In 1982, Don met CBC children’s icon Mr. Dressup (Ernie Coombs), and together they embarked on a twenty-year journey of touring success. Don and Ernie developed a steadfast friendship that continued long after their touring stopped. Following Ernie’s retirement, these two best friends could still be found on the golf course each year, raising funds for Peter Gzowski’s Literacy Foundation.

(Pictured: Ernie “Mr. Dressup” Coombs.)

From 1999 onwards, Don’s primary focus was on the late Stuart McLean, CBC Radio host and best-selling author. Together, they covered Canada coast to coast and the northern United States, playing over 50 live shows each year with The Vinyl Cafe.

(Pictured: Stuart McLean.)

The talent kept pouring in, and Wonderland Gardens, in its heyday, was the venue where bands wanted to play.

“I would often reach out to entertainers who were playing in Detroit and catch them on their way to Toronto,” recalls Don.

Sadly, Charles Sr passed away in 1971. In the mid-1970s, Don left to continue with his music promotion business and started Don Jones Entertainment, which remains a powerhouse in the industry to this day.

By 1974, Chuck realized that to keep up with the times, the facility needed to get into the food business. He decided to open up the facility with its 1000-person capacity for company conferences, proms, parties, and fundraising events. He carefully vetted the companies that wanted to rent out the space to ensure that they were solid, upstanding businesses.

Initially, local catering companies would provide the food for these events until Chuck realized that he wanted to expand and offer the food directly.

(Pictured: Riverview Restaurant.)

“I also realized that to remain competitive, we needed to license the facility,” says Chuck. “In 1984, we opened the fully licensed Riverview Restaurant with a one-hundred-person capacity inside and one-hundred-person capacity outside. The restaurant was renowned for its great food, great service, and stunning backdrop looking over the Thames River.” 

Wonderland Gardens and the Riverview Restaurant were closed in January 2004 after the City of London failed to negotiate a reasonable new lease for the property. The last evening was a New Year’s Eve celebration with the local band, Hawthorne, playing to a sold-out crowd.

Unfortunately, Wonderland Gardens burned down in 2005, and the empty hall remained empty until June 8, 2008, when the City of London opened Springbank Gardens, featuring a renovated bandshell and the Guy Lombardo Pavilion, an arched pine and cedar building resembling the original ballroom. Today, the venue hosts summer music events and private functions.

(Pictured: The Guy Lombardo Pavilion, Sprigbank Gardens.)

Today, the two Jones brothers are mostly retired and enjoy family time. Chuck and his wife, Bea, are avid birders and house sixteen colonies of the endangered Purple Martin birds. Don and his wife Linda enjoy spending time with their four kids and eleven grandchildren. Don enjoys cooking and is known to make delicious soups and roasts that he generously drops off to family and neighbours.

Don’s sons, Brad and Greg, are successfully running the Jones Entertainment Group, offering a one-stop service to the entertainment business. Locally, they have successfully filled Harris Park with 50,000 fans each year for the past nineteen years for the local charity fundraiser, Rock The Park.

Don and Chuck Jones have vivid memories of Wonderland Gardens and the bands that performed there.

One such memory includes the time that the popular British band The Crazy World of Arthur Brown was booked to play one evening at Wonderland Gardens in 1969. The day before Brown was scheduled to perform, Don received a phone call from the band’s manager informing him that the whole band had quit, and the eccentric and outlandish band leader was on his own. Don flew him in from New York and chartered a plane from Toronto to London to get him to the venue on time.

(Pictured: The Crazy World of Arthur Brown.)

“He was without his band, his stage gear, and his signature flaming head costume. I quickly improvised. The opening band knew all the songs and agreed to step in for Arthur,” Don recalls. “I found a lampshade, stuffed it full of cotton balls, soaked it in lighter fluid, and duct-taped it to his head. As he stepped onstage, the cotton balls were lit, and Arthur’s outlandish entrance was restored. Unfortunately, the flaming head didn’t have protection for his head, and it was quickly doused after singeing his hair. There was a burn on the stage floor after that concert!”

By Richard Young, Publisher & Content Manager, The Beat Magazine 2025

Richard Young is a retired History teacher who taught with the Thames Valley District School Board for thirty years. Richard published The Beat Magazine, an independent print arts magazine, from 2009 to 2013. In 2025, he revived the magazine as an online publication. He is currently a member of the London Public Library Historic Sites Committee.

His band, The Comic Opera, played at Wonderland Gardens numerous times in the late 1960s and early 1970s. He has many fond memories of the venue.

http://www.thebeatmagazine2025.ca

London Pro Musica and Chor Amica present Water: an environmental oratorio, Saturday, May 23, at First-St. Andrews Church.

by Richard Young

Prepared with Files from London Pro Musica

Chor Amica is partnering with London Pro Musica at First-St. Andrew’s Church for its largest ever production — the London premiere (and second-only orchestral performance) of Canadian composer Stephanie Martin’s Water: An environmental oratorio on Saturday, May 23, at 7:00 pm.

(Pictured: Paul Ciufo.)

Written in collaboration with playwright and librettist Paul Ciufo and Anishinaabe scholar Vicki Monague, Water tells the story of a fictional Northern Ontario town and its pivotal decisions to protect its local freshwater resources for future generations. 

(Pictured: Vicki Monague)

Performed by four exceptional vocal soloists — Katy Clark, soprano, Hillary Tufford, mezzo-soprano, Chris Fischer, tenor, and Paul Grambo, baritone — full orchestra, and the combined forces of three local adult choirs and a children’s choir under the baton of Chor Amica’s music director, Patrick Murray, this is a community musical collaboration not to be missed.

Synopsis:

Canadian composer Stephanie Martin’s new oratorio receives its London premiere with the combined forces of London Pro Musica, First-St. Andrew’s Senior Choir, Chor Amica, St. Mary School Children’s Choir, orchestra, and professional soloists.

It is the story of the importance of this precious resource (water) and a community’s efforts to protect it. In this modern-day oratorio, the Mayor of a small Canadian town must choose between an ambitious developer whose questionable plans for a clothing factory will endanger a pristine water source, and her environmentalist son who pleads for her to take a stand and protect Water. The Mayor is troubled by dreams in which WATER appears as a woman and is finally brought to her senses by the spectre of her future grandchild.

The composer Stephanie Martin’s wish is, “I hope ‘WATER: An Environmental Oratorio’ will bring people together to start a conversation about this very precious resource that sustains life on our planet but that we take for granted.”

This work disrupts stagnant modes of thinking and complacency around the importance of water by considering this Anishinaabe teaching: it is our sacred duty to protect water, as human existence depends on it. The music in this oratorio utilizes several styles to embrace all listeners. Some styles include opera, folk, jazz, classical choral, and orchestral music.

Soloists:

(Pictured: Katy Clark.)

Renowned for her versatility and captivating stage presence, Canadian soprano Katy Clark has appeared across North America as a soloist, chorister, teacher, lecturer, and director. She has appeared as a soloist with many groups, including the Amici Chamber Ensemble, the K-W and Windsor Symphonies, and Michigan Opera Theatre. She is a member of the Elora Singers and of Opus 8, and has sung with the Tafelmusik Chamber Choir and the Canadian Opera Company Chorus. An active teacher, lecturer, and clinician, Katy holds a DMA from the University of Toronto. She operates an active teaching studio in London, Ontario.

Canadian mezzo soprano Hillary Tufford is a versatile and engaging performer, a Graduate of Western University (M.Mus. Voice Performance) and Alumna of the Yulanda M. Faris Young Artist Program at Vancouver Opera. In 2024, Hillary debuted as Carmen with Toronto City Opera. She has performed as a soloist in Messiah with the Elmer Iseler Singers and Hamilton Philharmonic, and in Beethoven’s Ninth Symphony with Kingston. This summer, Hillary will perform with Festival d’opéra de Saint-Eustache in Quebec.

(Pictured: Chris Fischer.)

Tenor Chris Fischer has appeared as a soloist in more than two dozen major works for choir and orchestra. Operatic credits include the title role in Bernstein’s Candide, Nanki-Poo in Gilbert & Sullivan’s The Mikado, and Kaspar in Menotti’s Amahl and the Night Visitors. Chris has sung with the Grammy and JUNO-nominated Elora Singers since 2012. They are also the collaborative pianist for the Rainbow Chorus of Waterloo-Wellington, and the Minister of Music at London’s First-St. Andrew’s United Church.

(Pictured: Paul Grambo.)

Baritone Paul Grambo is an active member of the local music and theatre community, having performed works at the London Fringe Festival and with local theatre companies, jazz and classical musicians, London Symphonia, and as a chorister and soloist with the Grammy and JUNO-nominated Elora Singers. Additionally, Paul is the artistic director of London Pro Musica Choir, conductor of the Canadian Celtic Choir, and assistant director of St. James Westminster Church choir. As a teacher, clinician and conductor, Paul maintains a vibrant private studio, regularly holding workshops in and around Southwestern Ontario. Paul holds a Masters of Music degree in Performance and Literature from Western University.

Tickets: $40 general admission | $10 students/children with ID

Visit: London Pro Musica Choir – London Pro Musica Choir