Ting Draws You in and Holds You Captive

Reviewed by Beth Stewart

The Ting Comic and Graphic Art Festival Exhibition kicked off May 1, in time to take part in Free Comic Book Day, and is now in full swing.

The 10th year of the festival features the work of 20 artists working in the mediums of comic and graphic arts. Almost half hail from, or have strong connections to, London.

Attendees will enjoy work by Aidan Urquhart, Alayna Hryclik (Soft Flirt), Antony Hare, Archie Cromwell, Ben O’Neil, Billy Bert Young, Brenda Fuhrman, Cai Sepulis, Christopher Runciman, David Collier, Dave Lapp, Derek Laufman, Eric Vedder, Jeff Lemire, Jeremy Bruneel, Jesse Jacobs, Matt James, Merle Tingley, Scott Chantler, and Scott Brian Woods.

(Pictured: Merle “Ting” Tingley.)

The festival, curated by TAP Centre for Creativity, is named after Merle “Ting” Tingley, who was the London Free Press’ editorial cartoonist from 1948 to 1986. It pays homage to Tingley’s work and provides exposure for the work of other comic and graphic artists from Southwestern Ontario.

Graphic novelist Diana Tamblyn pitched the concept that became Ting Fest and was involved in its planning committee until 2024, says TAP executive director Sandra De Salvo.

Derek Laufman has been involved with Ting Fest as a local artist and creator since 2019, when he was first invited as a featured guest.

Laufman has several pieces in the current show, including the cover art for his graphic novel “The Rats of Ironwood”. Three of his novels can be found in the Ting Shop.

(Detail of Derek Laufman’s “The Rats of Ironwood Cover Art”, ink on Bristol. Photo by Beth Stewart.)

Laufman calls Ting Fest a “rare gem” and says the curators “do an incredible job highlighting local talent while helping foster a real community of comic storytellers right here in London.”

He continues, “Events like this inspire the next generation of creators within our own community, which is something truly special. Ting Fest is a unique part of the London arts scene, and I’m proud to be involved with it.”

(The May 9 opening reception was well attended. Shown here are participating artists Scott Chantler and Scott Brian Woods. Photo courtesy of TAP.)

Christopher Runciman had the honour of exhibiting his work in the inaugural 2016 show and appreciates being asked to come back and to do so again. He says the festival is a fantastic way to celebrate the importance of Merle Tingley’s artistic contribution to the history of London and the surrounding area.

(Detail of Christopher Runiciman’s “Traveller” white pencil and ink on black cardstock. Photo by Beth Stewart.)

Runciman is deeply involved in the comic industry. He has been hosting the London Comic Jam out of TAP for over a decade now, is the Art Director of the London Comic Con and owns Runciman Press Publishing. He has three pieces in the 2026 show. Most striking is “Traveller”.

He says, “TAP is an important landmark in London’s art scene and history. The Ting event and its focus on comics and graphic arts by individuals in the area proves that the gallery endeavours to support all manner of creative expression.”

(Christopher Runciman at Ting Comic Jam. Photo courtesy of TAP.)

Brenda Fuhrman, who first exhibited at Ting in 2023, also feels honoured to be part of this festival. She says, “For me, it is an opportunity to show my comic/ illustration work and to be inspired by the works of others. She has four pieces in the show, including “Drawing my Friends”, an intaglio and watercolour piece that is rich in detail.

(Brenda Fuhrman’s “Drawing my Friends”, intaglio and watercolour. Photo by Beth Stewart.)

The Ting Fest festival is more than just art on the walls; it also features free events and programs.

On May 2, exhibiting artists Billy Bert Young and Aidan Urquhart lead a Ting Punk Rock activity as part of this year’s festival. Visitors were invited to “pull up a seat”, select collage materials, and make their own 8.5-by-14-inch poster. This was a collaboration with Punk Rock Flea Market London. Some of the resulting posters are displayed along the ramp hall to the right of the main exhibition space.

(Ting artist Aidan Urquhart presides over the May 2 Punk Rock Poster Mash-up – a collaborative activity with Ting artist Bill Bert Young. Photo courtesy of TAP.)

On May 11, a special Ting edition of the Comic Jam was hosted by RP Comics and Heroes Comics. It challenged jammers to use the number 10 or images in multiples of 10 from panel to panel. The resulting collaborations are clever and creative and are now on display.

Yet to come, on Tuesday, May 26, from 6 to 8 pm, is The Exchange during which Brahm Wiseman, owner of Heroes Comics, and Scott Chantler, creator of Two Generals, will present five of their favourite comics or graphic novels. Also on site will be Ben Johnson of Ben’s Beer Blog who will share his brewery beverage of choice for each literary pick. Sounds like a great time.

No one needs to leave this exhibit empty-handed. The Ting Shop offers a terrific collection of print materials – from novels to T-shirts at affordable prices.

The Ting Comic and Graphic Art Festival Exhibition Gallery continues to June 6 at TAP Centre for Creativity, 203 Dundas Street, London. The centre is open Tuesday to Saturday from noon to 5 pm. For more information, visit: https://www.tapcreativity.org/

(More merch! Spotted was a signed edition of “The Rats of Ironwood Chapter One”. Photo by Beth Stewart.)

Reviewed 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

The Beat Magazine Q&A Interview with Brittney-Lee Lowey, Director of Musical Theatre Productions’ Shrek: The Musical.

What follows is a Q&A Interview with Brittney-Lee Lowey, Director of Shrek: The Musical, now playing on the Auburn Stage at the Grand Theatre until May 17. The Interview was conducted by The Beat Magazine’s Publisher & Content Manager, Richard Young.

Q. Tell me about Shrek: The Musical — backstory, author, performance history, etc

Shrek: The Musical was written by David Lindsay-Abaire (Book and Lyrics) and Jeanine Tesori (Music), based on the DreamWorks movie from 2001, as well as the children’s book by William Steig. The musical premiered in 2008, and original cast members included Brian D’Arcy James, Sutton Foster, and Daniel Breaker as Shrek, Fiona and Donkey.

Q. What prompted MTP to select Shrek for its Spring production?

I’ve been applying with this show for years, and I finally wore the season planning committee down. Jokes aside, 2026 is the 25th anniversary of the film coming out, so it seemed like the perfect time to stage this production. There’s a scene in the show where Shrek and Donkey talk about ogres and how they have layers, just like an onion. Well, that’s also true of this show – on the outside, this show seems silly. But when you peel it back, it’s actually a really lovely story about finding love, not just platonic and romantic love, but also self-love and acceptance. In a time where it’s not always easy to be yourself, a show that embraces your differences and encourages you to “let your freak flag fly” is important to hear.

Photos by Ross Davidson

Q. Could you provide a brief plot synopsis?

“Once upon a time, there was a little ogre named Shrek…” And thus begins the tale of an unlikely hero who finds himself on a life-changing journey alongside a wisecracking Donkey and a feisty princess who resists her rescue. Throw in a short-tempered bad guy, a cookie with an attitude and over a dozen other fairy tale misfits, and you’ve got the kind of mess that calls for a real hero. Luckily, there’s one on hand… and his name is Shrek.

Q. Shrek has been staged several times by different troupes in the London area in recent years. What sets MTPs’ production apart from the others?

This show is usually a huge spectacle show, but being in the Auburn Stage has challenged us to scale this back, and this approach has actually allowed us to focus on the talent of the actors and production team. This doesn’t mean there aren’t showstopping moments, especially in a lot of the choreography and vocal moments; we just have a lot more room to show that. For example, by not having a huge puppet for the Dragon, we can focus on the talents of our three actors, Amelia, Ahrielle, and Celine, who are free to do choreography on top of their impressive vocals in their big number.

Photos by Ross Davidson

Q. Could you comment on your lead actors — Adriano Burgo, Dwight P. Anderson and Rosalie Mattison?

In both their individual moments and their time together onstage, they are so genuine and confident in the portrayals of their characters. They knew how they wanted to play the characters right away, and have only gotten stronger with each rehearsal and now performance. Adriano has such sincerity in his role as Shrek, and brings the heart and earnestness of Shrek out; Dwight has really found the humour and charisma with Donkey, and in his first musical ever, has really made his mark; and Rosalie combines the delicate and fiery qualities of Fiona to perfection. We really lucked out having them, not only onstage, but offstage, where they’ve been instrumental in getting this show up on its feet.

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

My vision when pitching this show was to focus a lot on the children’s book that the movie is based on, a “Live Storybook”; bright and colourful, and looking like they were ripped from the pages of said book. Siblings Haley and Griffen Helm beautifully tied our set together with a large storybook centre stage, setting up each scene with a backdrop, and putting the characters right there in the story. As each page gets peeled away, the audience is invited into the book as it comes alive around them.

Photos by Ross Davidson

Q. What can audiences expect from Shrek: The Musical?

Whenever I watch the show, which has been a lot now, I’m constantly impressed by the care and fun the cast is injecting into their performances. Their vocals, dance moves, and characters are so polished, and I’m genuinely blown away by the level of talent on that stage every time. The lighting design by Joe Recchia is also beautiful, and complements the set so well.

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

The show is rated 7+, and contains minor profanity, mild rude humour, violence, use of haze and loud noises. Audiences are encouraged to dress up as their favourite fairytale character on Wednesday, May 13th. May 15th is also our Understudy Performance, and audiences can see Michael Heath in the role of Shrek, as well as Lucas McHugh featured in new roles as their swing.

Photos by Ross Davidson

CAST:

Shrek – Adriano Burgo
Donkey – Dwight P. Anderson
Fiona – Rosalie Mattison
Lord Farquaad – Leo Sigut
Gingy – Eden Eidt
Pinocchio – Cameran Shalatski
Dragon – Amelia Hilton
Child Fiona – Emily Molina
Child Shrek – Tevin Pritchett-White
Teen Fiona – Tessa Pritchett-White
Ensemble – Keirah Buckley, Matt Butler, Nicole Chapple, Niamh Coady, Lauren daSilva, Michael Heath, Mariana Hrnjak, Elvis Ibekwe, Solange Kirkwood, Natalia Martin, Lucas McHugh, Celine Medeiros, Olivia Power, Haven Raeburn-Gibson, Duncan Sizeland, Ahrielle Tilson Diaz, Ewen Van Wagner

CREW:

Director – Brittney-Lee Lowey
Assistant Director – Emilie Forrat
Choreographer – Stephany Pritchett
Music Director – Jaclyn Cunneyworth
Rehearsal/Show Pianist – Juan Giraldo
Stage Manager – Aleesa Prendergast
Assistant Stage Managers – Sam Stack-Couture, Samantha Takacs
Props Master – Alyssa Palma
Lighting Designer – Joe Recchia
Set Designer – Haley Helm
Set Illustrator – Griffen Helm
Set Construction Coordinator – Gerry Johnston
Hair and Makeup Team – Rachelle Goebel, Rebecca Jiang, Cate Connell, Jordann Atha

IF YOU GO:

What: Musical Theatre Productions presents Shrek: The Musical.

Where: Auburn Stage at the Grand Theatre, 471 Richmond St., London, Ontario

When: May 7 to 17, 2026

Tickets: Call the Grand Theatre Box Office by phone at (519) 672-8800, and online at https://www.grandtheatre.com.

Q&A Interview Conducted by Richard Young, Publisher & Content Manager of The Beat Magazine 2025.

Read Kim’s Kaitell’s Review here: https://thebeatmagazine2025.ca/2026/05/08/enthusiasm-and-talent-abound-at-mtps-shrek-the-musical/

Auditions Notice for St. Marys Community Players: You’re a Good Man, Charlie Brown.

Directed by Peter Van Wart  
Musical Direction by: Jocelyn Nicholson  

Produced by Stephen Brockwell & Marie Stevens

Performances begin October 22 to November 7, 2026

Town Hall Theatre

The St. Marys Community Players invite you to bring the beloved Peanuts Gang to life in the classic musical “You’re a Good Man, Charlie Brown!”
Running October 22-November 7, Town Hall Theatre, St. Marys.

Tell us which Peanuts Character you want to audition for and send your interest to:
info@stmaryscommunityplayers.ca
ATTN: Jacob!


Audition Dates:
– **Friday, May 22:** 6:30-8:30 PM  
– **Saturday, May 23:** 1:00-4:00 PM  
– **Sunday, May 24:** Callbacks 2-4 PM (if needed).

Cast of The Peanuts Gang:

Sally Brown

Lucy Van Pelt

Snoopy

Schroeder

Charlie Brown

Linus Van Pelt

What to Prepare:  
Unleash your inner artist with a short monologue (1-2 minutes) and a song. We may ask you to read from the script as well and pair you up with a potential Lucy or Linus! An accompanist stands ready to support your vocal brilliance—bring your sheet music or recorded track and your player.

Join us for a thrilling, heartwarming production packed with joy and laughter. We can’t wait to see the magic you bring! 

St Marys Presbyterian Church
147 Widder St E, St. Marys, ON N4X 1B1

Take your place on stage—break a leg!

Unveiling of the London Cricket Club Commemorative Historic Plaque

The unveiling of the London Public Library Historic Sites Committee’s commemorative plaque for the London Cricket Club took place at North London Athletic Fields, on May 9, 2026.

The Beat Magazine 2025 Publisher & Content Manager Richard Young joined his fellow Historic Sites Committee members in congratulating the Cricket Club on its enduring presence in the London sports community.

That’s Historic Sites Committee member Lindsay Kernohan at the podium. Lindsay initiated the process that led to the plaque unveiling.

To learn more about the London Historic Sites Committee, visit https://www.lpl.ca/…/london-room/local-historic-sites

Renée Silberman reviews London Symphonia, The Brahms Effect with Tom Allen; London Symphonia, Beethoven, Shostakovich and Marsh; The Jeffery Concerts, James Ehnes, violin, Andrew Armstrong, piano.

The Beat Magazine 2025 is thrilled to introduce its newest volunteer contributor, Renée Silberman, founder and director of London’s Serenata Music. Alongside Daina Janitis, who previews coming concerts, Renée will be reviewing selected Classical Music events. Renée offers a roundup of recent Classical Music concerts in her first story for The Beat Magazine.

Dear music-loving friends and those who wish to join this august circle of the concert-going public. I offer you a report on the final three events of the 2025-26 season and hope it will give cause to rejoice in the kind of offerings now regularly available here in London.

In quick succession, London Symphonia presented a pair of concerts showcasing the artistry of their musicians, who performed cleverly curated programs.

On April 18, Graham Lord, principal clarinet and London Symphonia’s String Quartet, explored works from the clarinet repertoire that represent the gamut of expressive language and technical complexity inherent in the instrument’s nature. Without question, musician, raconteur, CBC broadcaster Tom Allen, enriched the experience, having first of all helped shape the evening’s format, and then enlarged upon the historical development of the clarinet in its many aspects – discussing many of its uses, as an orchestral voice, as a solo instrument in art music and jazz, and more.

(Pictured: Tom Allen.)

The first half of the program took us on a tour of the musical magic the clarinet produces with samplings from works by four composers: Gerald Finzi (1901-1956),  Samuel Coleridge-Taylor (1875-1912), Mozart (1756-1791), and Steve Reich (b. 1936). Tom Allen elucidated the characteristics of each piece with his unique combination of knowledge and storytelling skill, always engaging, never didactic. Graham Lord’s consummate musicianship drew the audience in – his sensitivity to style,  especially in the tenderness of the second movement, Larghetto of Mozart’s Clarinet Quintet and in the exhilarating New York Counterpoint multi-voiced tape plus live line – prepared us for the emotional heart of the concert, the Brahms Quintet for Clarinet and Strings in B Minor Op. 115. The Quintet, Brahms’ valedictory work written for Richard Mühlfeld, in Brahms’ opinion, the most outstanding wind player he had ever heard, traverses a grand range of feeling, mood, tones and textures.

There is an elegiac quality, a sense of retrospection, and yet, in this remarkable gift to the generations, the artist’s creative drive evidently had lost none of its energy. On hearing the Quintet, Clara Schumann wrote to Brahms, “The joy that I had survives in my heart, and for that I am grateful.” And so it is that we, too, find renewal in this epic, Protean composition.

On May 2, London Symphonia wrapped up its season with “Beethoven, Shostakovich, and Marsh,” a program of disparate compositional traditions and voices.

Under the leadership of Conductor Tania Miller, the orchestra produced a stimulating journey through time and spirit, a reflection of the type of programming that presents a combination of the contemporary with the tried and true. Moreover, London Symphonia provides a generous opportunity for its members to savour the limelight. This was notable in singling out Laura Chambers, Principal Flute, to take a solo turn in a World Premiere commissioned by the orchestra, with funding support from SOCAN Foundation and the Ohio Arts Council. Composer Alexis Dyan Marsh and flautist Laura Chambers became colleagues at the University of California and have continued a working relationship over the years.

(Pictured: Laura Chambers.)

View of a Cartwheel From An Ascending Plane for Flute Solo and Orchestra is written in six parts, “as a collage of lived experience. The work is woven from three distinct threads: the vastness of the Canadian West grounded in the Manitoban landscape, the evolution of human connection, and the vertical trajectory of personal ambition.” The composition is atmospheric, depicting landscapes and human connections. The element of friendship sets humans in the vast landscape, and may describe the friendship between Marsh and Chambers, linking people to place; furthermore,  Marsh acknowledges her personal motivation in developing her artistry as a composer. Laura Chambers plays with great warmth and vitality, a strong personality within the wind section and in the orchestra.

(Pictured: Alexis Marsh.)

The Chamber Symphony in C Minor, Op. 110a (after String Quartet No. 8), orchestrated by Rudolf Barshai, inevitably reminds citizens of the 21st century of the tragic circumstances in which Dmitri Shostakovich lived. The tale of Shostakovich, and indeed of Rudolf Barshai, who was eventually declared persona non grata in the Soviet Union, is a cautionary one – to endure the horrors of authoritarianism is a problem not strictly relegated to the past. Tania Miller fielded this powerful work with deep understanding – her intellectual energy is supported by kinetic energy which pulsated through her body, a driving force that animated the orchestra. Maestra Miller spoke of the composer’s view that the Eighth String Quartet, the point of departure for Barshai’s orchestration, was in fact a requiem for himself. 1960, the year of the Quartet’s publication, was a time of distress and depression for Shostakovich, for although he believed he had betrayed his principles in joining the Communist Party, he lived in continuing fear of arrest or execution, incessantly hounded by the director of cultural policy, Andrei Zhdanov. No amount of abasement was enough for the Soviet authorities. Shostakovich was trapped in the Soviet Union, and his music conveys his pain. But in the devoted hands of Tania Miller, the music becomes the instrument for vindicating Shostakovich’s suffering.

Every good performance of a work by Shostakovich is an almost sacred act that validates yet again all those who were or are caught in a vortex of evil. By contrast, a performance of Beethoven’s  Seventh, which he referred to as “a grand symphony in A Major (one of my most excellent works),” is essential life affirmation! Rhythmic intensity is written into the score, but still, there is a requirement that the conductor will truly sustain the orchestra’s propulsive momentum. Wagner identified the symphony as “the apotheosis of the dance.” Tania Miller danced in joy as she partnered with the buoyant musicians of London Symphonia! The dynamic range, the sophisticated play of key signatures, and the studied wildness of the Finale animated the finale of the orchestra’s 2025-26 season!

On Monday, May 4, The Jeffery Concerts brought its season to a remarkable conclusion with a recital by James Ehnes and Andrew Armstrong.

(Pictured: James Ehnes and Andrew Armstrong.)

Mr. Ehnes is billing the programs this year as a “50th Canada Birthday Tour,” and what a celebration it is! James Ehnes is Canada’s foremost violinist, a peerless artist, dedicated to his profession and a musical ambassador who is renowned for performing on major stages internationally and with a particular commitment to bringing music to communities across Canada.

Ehnes brought his wonderful vitality to a full house at the Wolf Performance Hall with works by Christian August Sinding (1856-1941), Johannes Brahms (1833-1897), Carmen Braden (b. 1985), and Bela Bartók (1881-1945). Each of these pieces is close to Ehnes’ heart, and each speaks in a distinctive voice.

The first movement of Sinding’s Suite for Violin in A Minor, op. 10, set the pace and tone for the recital, beginning as it did with a dizzyingly swiftly moving Presto. For an audience member who began studying the violin at an advanced age, it was both daunting and instructive to watch Ehnes’ bow glide efficiently across the strings. But there was more to the playing than mere technique – The Brahms Violin Sonata No. 3 in D Minor, op. 108, intense and dramatic, reveals a powerful side of Ehnes’ playing style. Two years ago, Mr. Ehnes performed the Brahms Violin Concerto with London Symphonia, and on that occasion, showed, as he did the other night, that these big works with significant content are well suited to his musical personality. The playing is both dazzling and refined.

And there is always an interest in the new, as evidenced in Carmen Braden’s Imaginal. Braden composed this piece in honour of James Ehnes’ fiftieth birthday, to celebrate “…anything that held us together in this crazy world, it’s music, friends, curiosity and caterpillars.” (“Imaginal” cells are the catalysts for the transformation of caterpillar cells into butterflies, according to Carmen Braden). And Bartók’s Rhapsody No. 1 for Violin and Piano, Sz. 86 makes full use of traditional Hungarian verbunkos dances, transforming folk music into high art.

Mssrs. Ehnes and Armstrong finished the program with three encores, which they announced from the stage. Scherzo-Tarentelle by Henryk Wieniawski; La Guitar by Moritz Moszkowski, arranged by Pablo de Sarasate; and La Ronde des Putins (The Dance of the Goblins)  byAntonio Bazzini.

This scintillating, thrilling recital rounded out a remarkable season of music making!

I  encourage one and all to discover the profound satisfaction of hearing extraordinary live performances here in London! There is first-class music to be enjoyed in our city! Come out to some of the wonderful concerts London offers! Support our city’s art scene!

Renée Silberman, May 2026

To learn more about London Symphonia, visit Concerts | London Symphonia

To learn more about The Jeffery Concerts, visit The Jeffery Concerts

To learn more about Serenata Music, visit Serenata Music – Home

Enthusiasm and Talent Abound at MTP’s Shrek: The Musical!

Reviewed by Kim Kaitell

(Pictured: Cast & Crew of Shrek: The Musical. Photo by Ross Davidson.)

Attending Musical Theatre Productions’ Shrek: The Musical, now playing on the Auburn Stage at the Grand Theatre, was honestly not something I was particularly excited about going into this particular evening. As a person with children, I’ve seen the original film countless times, and after sitting through several elementary school productions over the years, I assumed I had already experienced everything this show had to offer.

However, I always like my mind to be changed, and it was almost immediately! From the moment I walked into the sold-out preview performance, filled with audience members of all ages, the positive energy in the theatre was impossible to ignore.

Settling into reviewer mode, I first took note of the production design. The set itself was fairly simple, but the forest scenes were well executed and created a warm, inviting atmosphere. What truly stood out throughout the production was the lighting design by Joe Recchia. The lighting danced between shades of shimmering calm to reverberating sparkle and beautifully enhanced the mood of each scene without overwhelming the stage. Well done!

(Photo by Ross Davidson.)

The real strength of this production, however, lies in its ensemble. For a volunteer-driven community theatre project, the level of talent onstage was genuinely impressive. Under the choreography of Stephanie Pritchett, musical numbers such as “Story of My Life,” the hilarious tap-dancing “What’s Up, Duloc?”, the uplifting and powerful ensemble anthem “Freak Flag,” and the finale “I’m a Believer” were so polished and energetic that I often forgot I was watching an “amateur” theatre production.

(Pictured: Members of the Shrek Ensemble. Photo by Ross Davidson.)

The cast attacked every number with enthusiasm and confidence, creating an infectious sense of fun that carried throughout the evening. There were so many exceptional, individual performances from the ensemble that if I had to name one, I would have to name them all. That alone is well worth the ticket price.

Further into the show, I had expected Lord Farquaad, played by Leo Sigut, to appear shuffling about on bent knees as traditionally portrayed in many productions. This staging chose not to go that route, meaning the character initially took me a moment to recognize, and admittedly, some of the short jokes lost a bit of their impact. Still, it proved to be a far more comfortable choice for the actor, and Leo Sigut’s wonderful over-the-top performance more than compensated for the missing gag.

(Photo by Ross Davidson.)

One of the standout performances of the evening came from Dwight P Anderson as Donkey, who very nearly stole the show. His performance was high-energy, hilarious, and packed with physical comedy that kept the audience laughing throughout the night. Paired with Amelia Hilton as Dragon, the number “Forever” became one of the highlights of the production — a soul-inspired song that was funny, and surprisingly heartfelt all at once. (I should mention that Amelia’s costume is stunning!) I was also deeply touched by “I Know It’s Today,” performed by the three Fionas. In particular, young Fiona, played by Emily Molina, delivered such a clear and sweet vocal performance that it genuinely brought a tear to my eye. I sincerely hope to see more from her in future productions.

(Pictured: Rosalie Mattison as Princess Fiona. Photo by Ross Davidson.)

One final surprise of the evening came during intermission, when I discovered the music was being performed by a live band. I had assumed the score was pre-recorded because the sound was so seamless and professional. That revelation alone speaks volumes about the quality of the musicians involved.

Overall, this production of Shrek The Musical is family-friendly, energetic, and genuinely delightful entertainment. Congratulations to director Brittney-Lee Lowey and to the entire cast, crew, and musicians on a thoroughly enjoyable production. You deserved your standing ovation! I loved it and highly recommend it.

IF YOU GO:

What: Musical Theatre Productions presents Shrek: The Musical.

Where: Auburn Stage at the Grand Theatre, 471 Richmond St., London, Ontario

When: May 7 to 17, 2026

Tickets: Call the Grand Theatre Box Office by phone at (519) 672-8800, and online at https://www.grandtheatre.com.

CAST:

Adriano Burgo as Shrek
Dwight P. Anderson as Donkey
Rosalie Mattison as Princess Fiona

Leo Sigut as Lord Farquaad
Eden Eidt as Gingy and others
Cameran Shalatski as Pinocchio and others
Amelia Hilton as Dragon and others

Tevin Pritchett-White as Child Shrek and others
Emily Molina as Child Fiona and others
Tessa Pritchett-White as Teen Fiona and others

Ensemble:

Keirah Buckley (featured as the Ugly Duckling)
Matt Butler (featured as the Captain of the Guard)
Nicole Chapple (featured as the White Rabbit)
Niamh Coady (featured as the Wicked Witch and 3 Blind Mice)
Lauren DaSilva (featured as Queen Lillian and Peter Pan)
Michael Heath (featured as Pig 1)*

Mariana Hrnjak (featured as Pig 3 and Duloc Greeter)
Elvis Ibekwe (featured as Papa Bear)
Solange Kirkwood (featured as Pied Piper and Elf)
Natalia Martin (Featured as Mama Ogre and Fairy Godmother)
Lucas McHugh (featured as Papa Ogre and Grumpy)**
Celine Medeiros (featured as Mama Bear and Dragon Wing)

Olivia Power (featured as Humpty Dumpty and 3 Blind Mice)
Haven Raeburn-Gibson (featured as the Mad Hatter)
Duncan Sizeland (featured as Pig 2 and the Bishop)
Ahrielle Tilson Diaz (featured as the Sugarplum Fairy and Dragon Wing)
Ewen Van Wagner (featured as the Big Bad Wolf)

*Shrek Understudy
**Swing

CREATIVE TEAM:

Director: Brittney-Lee Lowey
Assistant Director: Emilie Forrat

Stage Manager: Aleesa Prendergast
Assistant Stage Manager: Sam Stack Couture
Assistant Stage Manager: Sam Takacs

Music Director: Jaclyn Cunneyworth
Pianist: Juan Giraldo

Choreographer: Stephany Pritchett
Set Designer: Haley Helm
Set Illustrator: Griffen Helm
Lighting Designer: Joe Recchia

Props Master: Alyssa Palma
Head of Wardrobe: Sally Buchanan
Head of Hair: Jordann Atha
Lead Makeup and SFX Artist: Rachelle Lov Goebel
Makeup Artist: Cate Connell

*Shrek is also supported by a Production Committee, consisting of members from the MTP Board of Directors and the local theatre community.

Reviewed by Kim Kaitell

Kim Kaitell is the Owner of OĀZA, an Artist, Actor, and Director.

Musical Theatre Productions presents Shrek: The Musical

No more waiting – today’s the day to book for Shrek the Musical!

The big bright beautiful fairytale musical full of farts and hearts starts tomorrow with a sold-out preview performance.

Tickets are selling fast for the first week of shows, with limited seats left for opening night and Saturday. There is good availability later in the run, including these special performances:

⭐ Relaxed Performance:

Sunday May 10 at 2pm. Designed to offer a comfortable and accessible experience for everyone, with adjusted light and sound levels to create a sensory‑friendly environment.

⭐ BookTok Performance:

Wednesday May 13 at 7:30pm. Dress up as your favourite fairytale character.

⭐ Understudy Performance:

Friday May 15 at 7:30pm. See understudy Michael Heath step into the role of Shrek, supported by swing Lucas McHugh.

Don’t miss your chance to see this laugh‑out‑loud, heart‑warming hit. Book your tickets now: https://www.mtplondon.ca/shrek

🗓️ May 7-17, 2026

📍 Auburn Stage, Grand Theatre

☎️ 519.672.8800

🎟️mtplondon.ca/shrek

#MTPLondon#MTPShrek#MTPBrightSeason#LondonON#LondonOntarioTheatre

Pacheco Theatre is back with BUG: the Gripping Psychological Thriller by Tracy Letts

Get ready for an experience that will crawl under your skin and stay there. Pacheco Theatre, known for bringing gritty, high-impact drama to the London theatre community, presents the psychological thriller, BUG, by celebrated playwright Tracy Letts (Pulitzer Prize winner for August: Osage County). Following its acclaimed Broadway debut in its 30th anniversary year, and more timely than ever, BUG is a must-see in its upcoming limited run.

Set in a claustrophobic Oklahoma motel room, BUG plunges into a spiral of loneliness, paranoia, and conspiracy theory as a solitary waitress, Agnes White, connects with a mysterious young drifter, Peter Evans. What begins as a spark of hope quickly blurs the line between delusion and reality, fuelled by a creeping, unseen threat.

BUG runs at the TAP Centre for Creativity from December 3 – 12, 2026, for only six exclusive shows. 

Pacheco Theatre is proud to partner once again with Jordan Thomas and London Trauma Therapy, who will host a post-show Q&A following BUG‘s opening night performance.

THE CAST: BUG features an ensemble cast of some of London’s finest actors.

  • Andre Cormier
  • Mara Fraccaro
  • John Garlicki
  • Jack Sizeland
  • Catharine Sullivan

THE CREATIVE STAFF:

  • Director/Producer: John Pacheco
  • Stage Manager: Lisa DesGroseilliers
  • Set Design/Construction: Mario Rodrigues
  • Costume Design: Logan Smith Rodrigues
  • Lighting Design: Rob Coles
  • Makeup/Special Effects: Lindsay Alvaro
  • Props: Diana Barr
  • Sound Design: David Bogaert
  • Intimacy Coordinator: Sarah Taylor
  • Fight Direction: Held Space Theatre Consulting
  • Videographer/Photographer: Laurence Simner
  • Special Consultant: Howie Kittelson
  • Social Media: Mara Fraccaro
  • Graphic Design: Jennifer McCormick

Prepare yourself for the theatre event that will keep you talking long after the curtain call. Get your tickets at the link below, before this brief run disappears:

www.tapcreativity.org/events/bug

Presented by Pacheco Theatre.

Please be advised that BUG contains mature themes and subject matter and is recommended for ages 16+.

Audition Notice Theatre Aezir

Audition Notice: BLUEBIRDS by Vern Thiessen

Produced by Theatre Aezir

Theatre Aezir is seeking two dedicated actors for our upcoming production of Bluebirds by Vern Thiessen. This poignant drama follows three Canadian nurses (the “Bluebirds”) serving in the Great War, finding hope and sisterhood amidst the shadows of the front lines.

Production Details:
Performance Dates: November 4th – 15th, 2026.
Venue: A site-specific production at the RCR Museum, Wolseley Barracks (London, ON), running through Remembrance Day.
Rehearsals: 3 weeks (approx. 30 hours/week, daytime) beginning October 11th.

Roles Available:
We are looking for two actors (female-identifying) to form the trio. (The role of Christy is already cast.)
Ages: Early 20s to early 30s.

Requirements: Strong acting ability is a must. A good singing voice and musical training are highly desired, as music plays a key role in the emotional landscape of the play.
Audition Requirements: Be prepared with a 1 – 2-minute monologue of your choice and to sing a song of your choice, perhaps a folk song or hymn. A script will be sent to you. Sides will be provided

Audition Date: May 16th, venue TBD. Chemistry Reads: May 30, 2026

About the Play:

Nurses Christy, Maggie, and Bab have crossed oceans to care for wounded Canadian soldiers. Despite the staggering injuries they treat daily, they maintain a resilient hope as the dangers of the front draw closer to their hospital. Through letters to loved ones and their growing bond with one another, they reveal the personal costs of war and the strength found in service.

How to Apply
This is a paid opportunity. Please submit your headshot and resume to elizabeth@theatreaezir.com
At this time, we are only considering local talent or those who can provide their own local housing and transportation.

Submission Deadline: May 13, 2026 #londonont #localtheatre #LiveTheatre