Author: Richard Young

A retired History and Politics high school teacher (1978-2008). Former Publisher/Managing Editor of The Beat Magazine (2009-2014). Freelance Writer. Proud Grandfather.

The Rocky Horror Show: A Wild, Fearless, and Fabulous Ride.

by Richard Young

Reviewed by The Beat Magazine’s Jo-Anne Bishop.

(Pictured: Shaidon Woods in full costume and makeup as Dr. Frank-N-Furter, and other cast members in The Rocky Horror Show. Photo Credit: Ross Davidson)

The Infuse Productions/Palace Theatre co-production of The Rocky Horror Show is a bold, electrifying spectacle that bursts with energy, confidence, and campy fun from start to finish. Under the inspired direction of Mel Stewart (in her directorial debut, no less) the show hits every outrageous note with style and precision. Stewart’s leadership brings cohesion to the chaos, celebrating the spirit of the cult classic while adding a fresh, local flair that absolutely dazzles.

The choreography throughout is nothing short of outstanding. Crisp, creative, and packed with personality. Every movement feels deliberate and dynamic, perfectly suited to the show’s eccentric energy.

David Long’s minimalist set design is both practical and imaginative. Built to accommodate a live band on stage, it provides the perfect backdrop without ever detracting from the vibrant costumes or the incredible performances that command the audience’s attention.

(Pictured: Betamaxx)

The live band, Betamaxx, deserves special mention. Their tight, polished sound drives the entire show with precision and power. Every cue lands perfectly, every riff energizes the room. Positioned on stage, they manage to be a visible part of the world without ever intruding on the action, which is a testament to both their musicianship and the thoughtful staging.

(Pictured: The Rocky Horror Show Cast Members. Photo Credit: Ross Davidson)

Casting for this production is simply spot-on. Each performer seems born for their role. Shaidon Woods (Frank N. Furter) and Brendon Ainscow (Rocky) lead spectacularly, heating up the theatre with their charisma and—let’s call a spade a spade—incredibly toned physiques.

(Pictured: Jared Brown as Brad and McKenna Langdon as Janet. Photo Credit: Ross Davidson)

Jared Brown (Brad), McKenna Langdon (Janet), Sarah Dennison (Columbia), Aidan Coutts (Riff Raff), and Jenn Marino (Magenta) all deliver outstanding performances, with vocal talent well above typical community theatre calibre. Their voices soar. Sometimes sultry, sometimes raw, always captivating. And of course, the chorus rounds out the cast wonderfully, never missing a beat.

(Pictured: Jenn Marino as Magenta. Photo Credit: Ross Davidson)

Part of what makes The Rocky Horror Show such an unforgettable experience is its infamous audience participation. At the Palace, this tradition is embraced wholeheartedly. It’s wild, raucous, and loud—perhaps too loud for some tastes—but it’s an essential part of the cult phenomenon. As one audience member aptly shouted, “It’s just a jump to the left!” Indeed, the crowd is as much a part of the show as the cast.

At times, Jeff Werkmeister’s performance as the Narrator was momentarily drowned out by the audience’s enthusiasm, but he handled it with wit and ease, working the crowd masterfully and keeping the energy high. His effortless breaking of the fourth wall mirrored Frank N. Furter’s gleeful command of the same device, pulling the audience ever deeper into the madness.

(Pictured: Jeff Werkmeister as The Narrator. Photo Credit: Ross Davidson)

The bravery of the cast cannot go unmentioned. This is a show that demands vulnerability, often performed in little more than underwear, yet the actors deliver with total confidence. Their comfort and commitment make their performances all the more believable, powerful, and liberating to watch.

Overall, The Rocky Horror Show at the Palace Theatre is a fantastic, fearless production that’s both outrageous and artful. It’s community theatre at its most daring, bursting with talent, energy, and unapologetic fun. Whether you’re a longtime “Rocky” fan or a first-timer, you’re in for a wild ride. And a word of advice, if you’re a newcomer: wear pearls—you may need to clutch them.

If You Go:

What: The Rocky Horror Show
Where: Palace Theatre Arts Commons, 710 Dundas St, London, Ontario
When: Thursday, October 30 – 7:30 pm, Friday, October 31 – 7:30 pm, Saturday, November 1 – 2:00 pm and 7:30 pm, Sunday, November 2 – 2:00 pm
Tickets: Palace Theatre Arts Commons | London ON Community Theatre
Adults: $38 – Deluxe ticket with party supplies – $43
Students/Seniors (55+): $36 – Deluxe ticket with party supplies – $41
Youth (under 18): $23 – Deluxe ticket with party supplies – $28

For more information about Infuse Productions, visit https://www.infuseldn.ca/infuse-productions

For more information about the Palace Theatre, visit https://palacetheatre.ca/

Reviewed by Jo-Anne Bishop.

Weekend Roundup of Arts Events in the London Area, October 24-26.

by Richard Young

Compiled by Richard Young, Publisher & Content Manager, The Beat Magazine 2025

This is the first in a series of weekly features highlighting selected arts and culture events in the London area. What better way to begin than with International Artists Day, celebrated annually on October 25th!

Continuing Art Exhibitions in the London Area

There is a lot of great art being exhibited in London area galleries. Let’s take a look at some of it.

The Simple Reflections Art Exhibition continues at TAP Centre for Creativity until November 1, while over at Westland Gallery, The Root of Wisdom featuring works by Clara Kim and Christopher Cape closes Saturday, October 25. Maritime Minute, featuring works by West Coast artist Les Ramsay, continues to October 30 at Forest City Gallery,

The Vice-President’s Day Quilts Throughout the Years exhibition runs to November 1 at the Ingersoll Creative Arts Centre, while works by Lyn Carter and Aiden Urquhart are on display at the Woodstock Art Gallery. At Museum London, the new permanent collection exhibition All Around Me, All Around You still features Canadian artworks and historical artifacts from the museum’s collection.

The Benz Gallery’s “Scared Stiff” Halloween Exhibition continues during our regular hours until October 31st. Stop by to collect or just get into the spirit! 👻

https://www.thebenzgallery.com/current-exhibition

The Gallery Painting Group’s Art Show and Sale opens tonight at 5 p.m. and continues to Sunday at 3 p.m. at First-St, Andrew’s United Church, 350 Queens Ave. in London.

(“Bridge Robin”, coloured pencil on Museum Board, 12 by 12 inches by Beth Stewart)

You can find Beth Stewart’s reviews of some of these exhibitions elsewhere on The Beat Magazine 2025 website.

You Want Theatre? We’ve Got Theatre!

If you are craving some live local theatre, there is lots to choose from this weekend.

The hilarious The Play That Goes Wrong continues at the Grand Theatre until November 2, while sold-out performances of Infuse Productions’ The Rocky Horror Show continue at the Palace Theatre on October 25 and October 26. The show continues until November 2.

AlvegoRoot Theatre’s production of Sleigh Without Bells: A Donnelly’s Story has two additional matinee performances, scheduled for October 25 at 2:00 PM and October 26 at 2:00 PM at The Manor Park Memorial Hall in London.

Over at the Princess Ave Theatre in St. Thomas, Odesa Company presents Stephen King’s Misery on October 25th and 26th, while the St. Marys Community Players present Norm Foster’s hilarious Hilda’s Yard until November 2.

You can check out Jo-Anne Bishop’s theatre Reviews elsewhere on The Beat Magazine 2025 website.

The Forest City Film Festival Celebrates Its 10th Anniversary

The Forest City Film Festival returns for its tenth year, hosting nine days of screenings and events at multiple venues in Downtown London. London creative, Donald D’Haene’s documentary, Interpreting Erik, is one of the award-winning films being screened.

The FCFF continues until November 2. For a full schedule, visit https://fcff.ca/schedule/

Music To Soothe The Soul

The London Community Orchestra presents From Salzburg to Paris on Sunday, October 26, 3:00 pm. at Dundas Street Centre United Church, 482 Dundas St., London, ON.

Featuring soloist Joshua Lee, performing Mozart’s Violin Concerto No. 4 in D Major, K218, composed by Mozart in his hometown of Salzburg in 1775.

The program also includes:
🎶 Debussy – Second Arabesque
🎶 Ravel – Le tombeau de Couperin

Experience the journey from Mozart’s classical elegance to Debussy and Ravel’s Parisian impressionism, a celebration of musical evolution from structure to atmosphere.

Tickets: Adults – $25
Seniors – $20
Students – $15
Children 12 and under – $5

Available at the door and online @ https://www.lco-on.ca/eng/

Encore The Concert Band holds it 2025 season opener, Forward Momentum, on Sunday, October 26 at Sir Frederick Banting Secondary School.

London’s Eastside Bar & Grill hosts Farewell Stanleys release of their brand new, fifth album Mystery To Me, produced by Moe Berg (of The Pursuit of Happiness & The TransCanada Highwaymen), with special guests Brother Leeds, on Saturday, October 25th. Showtime at 8:30pm, 10$ at the door. Copies of Mystery To Me will officially be on sale at this event, available on vinyl & CD. https://linktr.ee/FarewellStanleys

The Gavin Adcock Need To Tour concert takes place Saturday, October 25th, at the London Music Hall.

Visit https://londonmusichall.com/

Over at the Palasad Socialbowl, 63’ MONROE is back to tear the roof off. Loud, raw, and unapologetic—London’s punk pioneers bring decades of sweat, snarls, and speed to the stage. They’re rolling in with the razor-sharp riffs of Limited of Approach and the outlaw rock’n’roll chaos of Jesse James Medicine Show. Expect snarling guitars, thundering rhythm, and a night of pure, high-voltage punk energy.

Licensed – All Ages – $5 Door.

That’s it for this weekend. If your venue has an event you would like featured next weekend, send the details to Richard Young, Publisher & Content Manager of The Beat Magazine at richardyoung@thebeatmagazine2025.ca

Interpreting Erik: Donald D’Haene’s love letter to his late brother.

by Richard Young

By J. Bruce Parker

Well-known London creative, Donald D’Haene, is riding the crest of a wave.

His documentary, Interpreting Erik, being screened at this year’s Forest City Film Festival, is getting noticed; everywhere. It has garnered just under three hundred awards and accolades worldwide. But like all waves, there is a trough, which is the content of the documentary. Interpreting Erik follows the tragic life of Donald’s brother, who died on the streets of Vancouver in 2020. Erik, like Donald, brother Ronny, and sister Marina, was sexually abused by their father, not just once but repeatedly.

The documentary is not just Erik’s story, but the story of Donald and his two siblings’ survival throughout this ordeal. For Donald, it was through therapy, outlined in his two books Father’s Touch and Nobody Wants To Read You Are Happy. For Ronny, it was photography, and he became an award-winning nature photographer. When the family unit broke up, Marina found solace, guidance, and hope in various group homes in London. The D’Haene children survived and grew beyond the horrible abuse of their past, but not Erik.

(Pictured: The D’Haene siblings, Marina, Donald, and Ronny.)

Donald’s documentary explores Erik’s life through his art, his diaries, and his letters. Erik is portrayed by actors Tyler Lionel Parr and Tyrone Traher, reading Erik’s words and characterizing his image on the street. At the film’s end, there is a sense of understanding his struggle.

“You see, we have no videos of our brother, but I found over one thousand letters, some with prose or poems, and over one hundred art pieces and drawings. I never knew I had them. I took care of my mom until she passed, and we had our own ‘Grey Gardens’ (a 1975 film) going,” says Donald. “Thank goodness I never listened to anyone as I never de-hoarded. While I was writing my memoir, I picked up what I thought was a date book my mother kept in an old box. Lo and behold it was a diary and there were more than twenty of them. I never knew she kept a diary.”

“Then I went through scores of bags and found Erik’s letters and art. Erik’s life had meaning; he had incredible talent. More importantly, he had hopes and dreams like any other displaced member of our society. He could never escape the past, although he tried with drugs and other forms of self-abuse. My guilt was suffocating me. My depression consumed me until I decided to tell Erik’s story, first through my book and then through sharing his works and art. I have been reborn telling my Erik’s story. I feel I’m alive again, but I have to be, for him”.

Erik’s life and death on the streets of Vancouver echoes the plight of all marginalized people who end up without a home and little hope. Erik becomes the ‘everyman’ on the street, but he has a name, and he had a life. 

“He was not nothing, he was everything,” as Donald reminds us.

Erik stated, “I need an interpreter in my own skin”. Brother Donald has been successfully able to do that.

Interpreting Erik will be shown at the Forest City Film Festival at Wolf Performance Hall, October 26th at 12:00 p.m. and November 2nd at 2:30 p.m.

For more information about the Forest City Film Festival, visit https://fcff.ca/

Written by The Beat Magazine’s J. Bruce Parker

Meet Jordyn Elliott, a Nashville Artist Manager with Roots in Southwestern Ontario

by Richard Young

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

What follows is a Beat Magazine Q&A Interview with Nashville Artist Manager, Jordyn Elliott, who got her start in the music business in the London area.

(Pictured: Jordyn Elliott. Photo Credit: Jeanette Dowler.)

Q. For the benefit of readers who may not know, what is an Artist Manager? What do you do for the artists you represent?

An Artist Manager looks after all aspects of a musician’s career including but not limited to signing them to record deals, publishing deals, coordinating with team members like booking agents, business managers, record labels and negotiating contracts for shows and any live appearances. As well managers are the liaison for all correspondence with the artist and over sees all budgets and music releases.

Q. I understand you are originally from the London area. Can you tell me a little bit about your upbringing in Southwestern Ontario?

I was born in Clinton, Ontario, and at the age of four years old, I moved to Mount Brydges. My family owns the funeral home in the small town. I attended public school there and went on to high school in London at St. Thomas Aquinas and then on to Fanshawe College. I graduated from college in a two-year program for Event Management and jumped right into the workforce. I had my first real job when I was eighteen, selling merch for a local band in London.

Q. What motivated you to get involved with the music industry while you were still in London? I think you told me you worked for Brad Jones and Rock The Park. Can you tell me about that?

I come from a very musical family. My grandma was a music teacher for years, and my mom sang along with my aunts and uncles. I always loved music, and I actually sang until the age of sixteen, but experienced anxiety and stage fright, so I decided it was not for me. I did work for Brad! He was a great manager/boss. I helped on the day-to-day activities in his office at Centennial Hall and his yearly festival, Rock The Park. The year I was present, Alice Cooper, Peter Frampton, and Heart played. Such a cool experience. It was that job that I really got excited about management, watching Brad and how successful his company was.

Q. What drew you to the role of Artist Manager? Any mentors, other than Brad Jones?

I have had a solid mentor since the age of twenty-one. I met this rock producer Brian Howes (Skillet, Hinder, Daughtry, and Nickelback) and he kind of took me under his wing. I still collaborate with him on projects to this day. I actually share in three gold plaques for artists we have worked on together. I think artist management is a calling. It wasn’t something I could just learn, it was a feeling, and I really love the development portion of an artist’s career and watching them grow and be successful.

Q. Can you describe a typical day in your life as an Artist Manager?

I usually start my day with answering emails from promoters, agents and label representatives. Usually, I have weekly calls with all team members to strategize for the upcoming week. I attend content shoots for social media, coordinate budgets and approve all assets for releases. I usually have little time to eat ha! I end my day around 7:00 or 8:00 pm unless I have a show then I attend to represent the artist.

Q. What brought about your relocation to Nashville, Tennessee? How long have you worked out of Nashville?

The country music scene was really appealing to me when I met artist Canadian country pop singer and songwriter, Eric Ethridge. I managed him for years, and he was rapidly growing, and we would make trips often to Nashville. Nashville is such a community city, and I was told there are thousands of hit songs written here daily. I was having some really great success with Eric and Sirius XM The Highway. I also signed Eric to his record/publishing deal in Nashville. I have been here since 2020.

(Pictured: Eric Ethridge, cover of California.)

Q. Can you identify some of the acts and artists you have represented since moving to the US? Do you represent any specific genre of music? Do you represent any Canadian acts?

Currently, I manage country artist Shaylen, who is signed to Big Machine/ Nashville Harbor. I also manage British pop artist Karl Michael, who is signed to Peer Music here in Nashville. I have mainly been a manager in the Pop and Country genres. I am developing a country artist from Canada, Sean Michael Ryan.

(Pictured: Karl Michael. Photo Credit Sean Hagwell. ) 

Q. Could you give me some highlights of your career to date? Can you share a success story or major milestone you helped an artist achieve?

I have been fortunate to have some really cool wins with some great artists like Eric Ethridge. I have two gold singles with If You Met Me First, California, and Eleven Past One. I have a gold single for their song The World is Ours. I was also a part of getting Shaylen her Opry debut in October 2024. So special.

(Pictured: Shaylen. Photo Credit: Sean Hagwell. ) 

Q. Artist Managers and Promo representatives sometimes get a bad rap in the music industry. How do you respond to this?

That is unfortunate to hear. I consistently deliver high-quality work for artists, demonstrating my loyalty and dependability in every collaboration.  I really build my relationships in the industry on trust, and I never make promises I can’t keep. There will always be bad eggs in any type of business, but I really want to be known as fair and competent, and I appreciate anyone willing to give me the opportunity to work with them.

Q. What are the biggest, most fundamental challenges or opportunities for emerging artists in the music industry right now?

Social Media! Artists have to constantly be relevant on there. They have to post at least two to three times a week to keep up with their audiences. I also feel like a lot of newer artists have to fund a lot of the marketing assets and productions, and it can be very costly to compete with artists on a label level. A lot of artists work a side job or hustle to make ends meet while they are doing music.

Q. Is there anything else you think our readers should know about Jordyn Elliott, the Artist Manager, and Jordyn Elliott the person?

I want to tell anyone out there who wants to try their hand at management that consistency and networking are the keys to building those contacts. Hands-on experience is the best way to learn! I love my job, and I couldn’t think of anything else in the world I would want to spend my time doing. You have to love it and be passionate because it’s a long road, but the payoffs are worth it!

Q. Do you have any plans to visit Canada at some point in the near future?

Yes! I will actually be back next week to visit family for a few days and again at Christmas.

Follow Jordyn on Instagram https://www.instagram.com/hjordynelliott/

Meet The Beat Magazine 2025 Writer: J. Bruce Parker

by Richard Young

J. Bruce Parker is a retired oncology nurse. As an avid cyclist, he crossed the country by bicycle in 1991 and still explores Ontario’s north via canoe trips. He has published a short story based on his camping experiences.

For over 20 years, as a citizen scientist, he was involved with Monarch Watch, an organization that monitors the annual migration of the Monarch butterfly. He has written about this species and other articles on nature for The Cardinal, Nature London’s quarterly magazine.

For more information about Nature London and The Cardinal, visit https://www.naturelondon.com/the-cardinal/

He is documenting his ongoing friendship with Canadian poet bill bissett, which he hopes to eventually publish. 

Bruce has been writing articles for Villager Publications since 2022. To read samples of Bruce’s writing, visit https://www.villagerpublications.com/

Review – Hilda’s Yard Delivers Heart and Humour

by Richard Young

Reviewed by Jo-Anne Bishop

The St. Marys Community Players’ production of Hilda’s Yard by Norm Foster is a warm, funny, and heartfelt slice of mid-century life that charms from start to finish. Before the play even begins, we see Hilda sitting in her yard with a glass of lemonade on the table, listening to music, tidying up and getting ready to go about her day – and the audience is immediately captivated by her presence.

Set in 1956, the story follows Hilda and Sam Fluck as they finally settle into their long-awaited empty nest, only to find it suddenly full again when their grown children return home, each with problems of their own.

The set is simple yet beautifully realized. From the moment the stage lights rise, the impeccable set design transports the audience straight into the Flucks’ backyard, complete with period-perfect details that make the story feel authentic and lived-in. There is so much attention to detail, from the lawn furniture to the clothesline, grass, and fence, that it creates a space that feels both nostalgic and intimate, allowing the audience to step right into Hilda’s world.

(Pictured: Cast of Hilda’s Yard. Photo credit: Jayne Fuller Photography)

The ensemble cast is truly outstanding. Edie Pedersen (Hilda) and Don Van Galen (Sam) convincingly portray the elder Flucks, a couple ready to while away their quiet hours in front of their new “major purchase” — a 21-inch, state-of-the-art television set. With their children out of the house, they finally believe they can afford a little luxury, and Sam is thrilled at the prospect of a reduced grocery bill (the costs of which he tends to fuss about) — at least until the children come home.

Their son, Gary (Matthew Schell), and daughter, Janey (Alex Pedersen), return, much to their parents’ dismay, each bringing chaos and comedy to the Fluck household. Gary is followed by Bobbi (Sarah Nixon), a hepcat trombone player who’s caught his eye, and Beverly (Derek Roberts), an articulate and surprisingly charming bookie determined to collect on Gary’s unpaid bets. Both Nixon and Roberts deliver outstanding supporting performances, leaving the audience in stitches throughout.

Each performer brings warmth, wit, and depth to their role, perfectly capturing Norm Foster’s trademark blend of humour and humanity. The chemistry among the actors keeps the energy vibrant, and their timing, both comedic and emotional, is impeccable. Costumes and props are spot-on for the era, further enhancing the show’s charm and realism. Every detail, from the 1950s wardrobe to the small domestic touches, contributes to the play’s delightful sense of time and place.

Norm Foster’s dialogue flows naturally, and Hilda’s Yard may well be one of his finest examples of relatable humour and heartfelt storytelling. The pacing is smooth and the transitions seamless, with just enough surprises along the way to keep audiences engaged. Conflicts are resolved in satisfying and believable ways, and the direction by Costin Manu makes excellent use of every inch of the stage. The result is a beautifully blocked, perfectly balanced production.

Hilda’s Yard is an evening of laughter, nostalgia, and heart, beautifully realized by a talented cast and creative team whose passion shines through in every moment. It’s a production that reminds us why community theatre matters and why Norm Foster’s plays continue to resonate with audiences across Canada. Don’t miss this funny and touching show that’s sure to leave you smiling.

If You Go:

What: Hilda’s Yard, presented by the St. Marys Community Players
Where: St. Marys Town Hall, 175 Queen St. East, St. Marys, Ontario
When: October 16 – November 2, 2025
Tickets: $20, available at Home | St. Marys Community Players or in person at Troyer’s Spices, 110 Queen St. E., St. Marys.

Reviewed by The Beat Magazine’s Jo-Anne Bishop

Let’s Get this Show on the Road!

by Richard Young

Reviewed by Beth Stewart

A leisurely drive to Ingersoll and then to Woodstock revealed a cornucopia of artwork this past week.

The Ingersoll Creative Arts Center (ICAC) has a fabulous display of works by the Oxford Quilters’ Guild. They are the result of the Guild’s annual first Saturday in February sewing marathon. Apparently, neither sleet nor snow stops quilters, and the results are stunning. A pattern is chosen before the day, usually by the Vice-President, and then put together by participating guild members on the day. Vice-President’s Day Quilts Throughout the Years runs to November 1.

(Installation shot of Vice-President’s Day Quilts Throughout the Years at ICAC featuring Julie Martin’s Blue Flowers, 100 inches by 63 inches, 2021. Photo by Beth Stewart.)

Also, at ICAC, there is a selection of collaged work by Linda Yeoman. Its pop-art style is perfectly suited to the subject, which is – pop. Fanta, Orange Crush, 7-Up, Coke, it’s all there.

(Coke 2, by Linda Yeoman, collage, 8 by 8 inches. At ICAC. Photo by Beth Stewart.)

There was a lot to see at Woodstock Art Gallery, even though during my visit, a new show was in the midst of being installed.

The Pinks by Lyn Carter occupies a small room off the main floor gallery. This is my third visit to this show, and I feel I could just sit in that room all day. Comprised of six digital screens, it is quirky and sassy, yet satisfyingly soothing. The “Pinks” are humanoid creatures that unabashedly go about their bodily functions. They move, they mimic, they morph, and they are hands-down the cutest things ever.

(A still shot from Lyn Carter’s digital work The Pinks. At WAG. Photo by Beth Stewart.)

Upstairs, the three window vitrines feature work by London’s Aiden Urquhart. Taking a Walk includes colourful mixed media pieces and several of the artist’s circular “Gourd Man” faces, in constructed settings of related objects and footprints.

(Gourd Man by Aiden Urquhart. At WAG. Photo by Beth Stewart.)

Both shows continue to January 24, 2026. See them at WAG’s Fall Open House on November 1, between 1 and 3 p.m.

For additional information, visit ICAC’s website at https://www.creativeartscentre.com/ and WAG’s website at https://www.cityofwoodstock.ca/en/live-and-play/wag.aspx

Reviewed by The Beat Magazine’s Beth Stewart

For information about Beth Stewart’s art, visit https://bethstewart.ca/

Meet The Bohemians, London’s Newest Community Choir

by Richard Young

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

There’s a new community choir in town called The Bohemians, and it has a well-articulated mission.

“Our mission is to bring people of all ages together and through the joy of singing, create a welcoming, supportive, and non-competitive choir community that nurtures connection, learning, health, and happiness,” says Lesley Andrew, the choir’s Artistic Director and Conductor. “Our mandate is to perform at community fundraising events. All ages and vocal abilities.” 

The choir was formed by Lesley in response to Art Fidler’s call for acts to perform at the Groovin’ for Good London Food Bank fundraiser in September at the Palace Theatre. Consisting of Silver Spotlight Theatre and The Artful Players members, the choir performed Queen’s epic tune, Bohemian Rhapsody.

“At the request of various choir members, we have kept the group together,” says Lesley. “One member, Carol Wilks, thought of the name, and it stuck. It suits our repertoire and our musical philosophy. We have opened membership to include people of all ages. We are now an official choir.” 

Lesley brings some very impressive credentials to his position.

She performs everything from opera to jazz, oratorio to musical theatre, and has made soloist appearances with orchestras around the world.  An active performer, Lesley is also in much demand as a voice and drama instructor through her studios, Dream In Progress Productions. Her theatre/television credits include the Stratford Festival, Windsor Lite, Huron Country Playhouse, the Guelph Spring Festival, The Tonight Show, Oprah, Donny and Marie, and much more.

(Pictured: Lesley Andrew, Artistic Director and Conductor of The Bohemians.)

“Lesley is the heart of this choir. We are in the unique position to have a leader who is also a professionally trained singer, has been on world tours, and has her own records. It is a unique position for our choir, as we will have the opportunity to perform with Lesley and learn what it is like to sing with a professional,” says Dawn White, the choir’s President. “Members of the choir also have the opportunity to sing duets with Lesley, which will also be an amazing experience.”

“Beth Zuwala, our Assistant Director and Conductor, and media guru, is also an incredible talent who is highly trained with the voice of an angel, and she will also provide some great experience for choir members who want to sing with a partner during our concerts, if the occasion arises! The choir will then be provided with a myriad of experiences to learn from, and it will elevate our performances and fun, and allow us to sing a variety of music under Lesley and Elizabeth’s tutelage,” Dawn adds.

Currently, the choir has approximately thirty members, although a few have had to take a brief leave of absence until after Christmas, as they are in various theatre productions that are quite time and energy-demanding.  

“We are hoping to get entire families involved, “ says Lesley. “Our members range in age from twenty to eighty and come from all walks of life. For some, this is their first time singing in a choir, and others have much experience with community theatre and various choirs.”

The Bohemians’ repertoire is accessible and diverse and includes pop, show tunes, folk, and rock. Selections include Queen’s Bohemian Rhapsody, For Good from the show Wicked, The Climb, Let the River Run, and Fight Song.

“To date, even before we were an official choir, The Bohemians have performed three times publicly to rave reviews,” says Lesley. “We’d like to perform where fundraising is needed, or at community events needing entertainment. We’ll be performing a few ‘flash mobs’ as well and will be entering the Kiwanis Music Festival.” 

“We would like to consider The Bohemians as a welcoming group of musically-minded people, gathering to not only sing, but to socialize and meet new people. It’s also an awesome way to train your voice, as each rehearsal is like a group voice lesson,” adds Lesley. “Those interested in joining The Bohemians are always welcome.”

Contact bohemian.choir@gmail.com or message the choir on Facebook https://www.facebook.com/profile.php?id=61580064927636

“We will be connecting to my website (www.dreaminprogress.com) and will be posting regularly on our Facebook page,” Lesley says. 

Jo-Anne Bishop Reviews The Play That Goes Wrong — A Perfectly Executed Disaster at The Grand Theatre

by Richard Young

by Jo-Anne Bishop

(Pictured: Jawon Mapp as Robert, Alexander Ariate as Jonathan, Honey Pham as Annie behind, Daniela Vlaskalic as Krista, and Vanessa Leticia Jetté as Sandra. Photo Credit: Dahlia Katz.)

If you’re looking for a night of non-stop laughter, look no further than the Grand Theatre’s season opener, The Play That Goes Wrong, written by Henry Lewis, Henry Shields, and Jonathan Sayer. This hilarious and brilliantly executed slapstick comedy feels like Saturday Night Live meets Monty Python — equal parts clever and chaotic, with just the right dose of British absurdity.

A play within a play, the action unfolds as the fictional Comley Polytechnic Dramatic Society presents their production of Murder at Haversham Manor (a loving nod to Agatha Christie’s The Mousetrap). Predictably, everything that can go wrong does, and spectacularly so. But in this case, everything that goes “wrong” lands perfectly right.

The set itself is a marvel: an architectural masterpiece designed to fall apart piece by piece in all the right ways. Watching walls collapse, doors jam, and props rebel against their actors is pure theatrical magic. It’s impossible not to marvel at the precision with which chaos unfolds. A symphony of slapstick timing and technical mastery. Under the sharp direction of Dennis Garnhum, with outstanding set design by Beyata Hackborn, every collapse, cue, and calamity is executed with clockwork precision. The set becomes a character of its own, and one that quite literally brings the house down.

(Pictured: Photo by Nanc Price for The Citadel Theatre’s production of The Play That Goes
Wrong (2024), in partnership with Theatre Calgary and Royal Manitoba Theatre Centre,
featuring Vanessa Leticia Jetté and Honey Pha)

The cast delivers standout performances across the board; each actor fully committed to their characters-within-characters and the glorious mayhem that ensues. Timing is everything in a show like this, and they all nail it. Still, if gold stars were being handed out, John Ullyatt (Dennis, aka the butler Perkins) and Andrew MacDonald-Smith (Max, aka Cecil Haversham) would take top honours. Their impeccable comic timing, physicality, and effortless charm make every scene they touch an absolute highlight. Max’s frequent breaking of the fourth wall adds to the fun, delivering endearing and consistently comical moments that delight the audience.

That said, The Play That Goes Wrong is truly an ensemble triumph. Daniela Vlaskalic (Krista/Director/Inspector Carter), Alexander Ariate (Jonathan/Charles Haversham), Vanessa Leticia Jetté (Sandra/Florence Colleymoore), Jawon Mapp (Robert/Thomas Colleymoore), and Honey Pham (Annie/Stage Manager) all deliver spectacular performances as the hapless cast struggling to keep the play afloat. Their commitment to the chaos — from bungled lines to hilariously choreographed fight scenes — keeps the audience in stitches. Bernardo Pacheco (Trevor), Emily Meadows, and Izad Etemadi (Stage Crew) round out the cast perfectly, adding an extra layer of comic brilliance.

The Play That Goes Wrong is a joyful disaster done right: a masterclass in controlled chaos that will leave your cheeks sore from laughing. You’ll find yourself rooting for this endearingly incompetent troupe right to the final curtain — and thankful they didn’t “just call it a day” when everything started to fall apart. Whether you’re a theatre buff or simply in need of a good laugh, don’t miss this one. It’s proof that sometimes, when everything goes wrong, theatre can go so wonderfully right.

What: The Play That Goes Wrong

Where: The Spriet Stage at The Grand Theatre, 471 Richmond Street, London, Ontario

When: October 14th to November 2nd.

Tickets: Single tickets range from $25 to $97 and are available at grandtheatre.com, by phone at 519.672.8800, or at the Box Office, 471 Richmond Street.

The Grand Theatre is grateful to offer Canada Life Pay-What-You-Can pricing, presented on Sunday, October 19 at 2:00 p.m., as well as an Open Captioned Performance on Saturday, October 25 at 2:00 p.m.

Runtime: Approximately 2 hours and 10 minutes, including intermission

Reviewed by Jo-Anne Bishop

The Jeffery Concerts Bring Jewels of Chamber Music to London for Another Season

by Richard Young

By Daina Janitis

Just so you know, I took notes at a recent London Health Coalition meeting on how to reach Gen Z to persuade them that privatization of Ontario health care will hurt THEM in the future. The guest speaker, Angie Cavallin, made several suggestions to us, aged relics on ZOOM screens who can’t even recognize when we’ve muted ourselves:

  • Use digital platforms they favour- TikTok, Instagram, Discord, and X.
  • Leverage relatable memes, short videos, and hashtag campaigns (???)
  • Frame messaging to create clear personal stakes.

SO, I watched TikTok for a few precious hours I’ll never get back … but don’t want to put this wrinkled mug on a video selfie. “Necessity is the MoFo”… you know … so imagine this:

Baby Boomer Daina and Gen Z Madison (#2 favourite name of the generation) talking about the Jeffery Concert at Metropolitan United on Sunday, October 19th, 2025, at 3:00 p.m.

Daina: Madison, are you going to the second Jeffery concert of this season on Sunday afternoon? It’s a unique chance for Londoners to hear world-class chamber music – and if you’re still a student, your ID gets you in free at the door!

Maddie: Jeffery? What’s he play? I’m lowkey interested …

Daina: No, Maddie. He’s dead.

Maddie: Bummer.

Daina: Gordon Jeffery was one of those amazing “characters” of London. A lawyer who joined the family firm, but his heart was in music. He practised law but played the organ at St. Peter’s Cathedral. In 1947, he bought an abandoned church in East London – Beecher United – and renovated it into a concert hall and teaching studios. He even had a Gabriel Kney organ installed there. He had an orchestra, a choir, and started a Music School.

Maddie: If I WAS interested, could I see it?

Daina: Sorry, no – an arsonist set fire to it in 1968. Jeffery bought the old Town Hall further east on Dundas, renovated it as well, and called it The Aeolian Hall. He also purchased and donated countless music scores to Western, Wilfred Laurier, and Windsor. He scoured Europe for string instruments, too, now part of the Music Instrument Bank at Western.

Maddie: So, what are these Jeffery Concerts if he’s dead?

Daina: Well, as tough as it may be to understand what a “benefactor” is these days, Gordon Jeffery left a whacking sum of money to some old friends when he died – with the directive that they work to bring fine chamber music to London for the benefit of its citizens.

Maddie:  Music for a small room?

Daina: Not really. Chamber music is a type of classical music designed for a small group of musicians—usually two to eight players—who each play unique parts. Because of its small size and close communication between players, chamber music is often called “the music of friends,” resembling a musical conversation where each instrument takes turns sharing and responding to ideas. This intimacy allows listeners to feel more connected to the performers and the music itself.

Maddie: I’m shook. And these friends did that in London for FREE?

Daina: That’s the mission of not-for-profit organizations – and the board of today’s Jeffery Music Foundation continues to create an annual series of world-class chamber concerts at very low prices – and free for students.

Maddie- So if I show up on October 19th … what am I going to see? – a classical concert. Yeet!

Daina: Well, this one is officially called “Accademia de Dissonanti and Elinor Frey, cello with Joseph Lanza, violin and Mélisande McNabney, harpsichord.”

Maddie: “Dissonan …”  Did you mean they don’t sound good together? Big Yikes!

Daina: Not at all. Their brilliant co-ordinator, Elinor Frey, decided to call her group that because of a historic connection: Accademia de’ Dissonanti refers to the learned society of the same name founded in Modena, Italy, in the early 1680s. Its meetings stimulated discussions on music, poetry, and other subjects connected to the d’Este family.

(Pictured: Elinor Frey)

Maddie: And this Frey lady? What’s her fire?

Daina: She’s a phenomenon! Or … she has RIZZ! She was born in Seattle but now makes Montreal her home base. She’s a cellist, does major research, and is a “gambist.” She’s performed all over America and Europe and received dozens of grants and prizes for her work- including a Fulbright. She’s got degrees from McGill, Mannes, and Juilliard.

And at THIS concert, she’s including a few beloved local guys – Joe Lanza on violin and Joe Phillips on double bass. Both are world-class musicians!

Maddie: But am I going to LIKE any of this Broke stuff? Any season from Vivaldi?

Daina: Yes- but no season. You’ll hear TWO concertos by Vivaldi – one in D Minor and the other in G Minor. The Big Viv taught music in Venice- and wrote those as delightful stuff for his students- full of in-jokes and amusements. There is also a harpsichord toccata- yes, the tinny piano – by JS Bach and a cello concerto by CPE.

(Pictured: Antonio Vivaldi, 1678–1741)

Maddie: And they’re not going to be boring?

Daina: How could CPE Bach be boring? That cello concerto … C.P.E. Bach’s Cello Concerto in A minor is a significant work characterized by its blend of Baroque and Classical styles, with an overall tone of emotional intensity and dramatic flair typical of the Sturm und Drang movement. It features a powerful, virtuosic first movement in 3/2 time, a deeply moving and introspective slow movement in C major (6/8 time) with a dramatic dialogue between solo and orchestra, and a finale that is a fast, energetic march. The concerto showcases the cello’s full range and expressive capabilities, with frequent shifts between turbulence and lyricism. Sorry … I got carried away …

Maddie: Touch grass, lady – I’m still not sure …

Daina: Hon, I’ll get back to what you are going to experience at The Met on Sunday – a close emotional relationship with amazing chamber musicians, some real stress relief. Some brain stimulation that is guaranteed to improve your memory, creativity, and problem-solving skills.

Just watch the musicians closely – they’re leading and following without a conductor and probably experimenting with phrasing, dynamics, and interpretation. They’re creating community- and during that concert, you’re part of it.

Maddie: SLAY – I’ll be there!

For more information about The Jeffery Concerts, visit https://www.jefferyconcerts.com/season2526/index.html

To purchase tickets for this concert, please contact the Grand Theatre online at https://tickets.grandtheatre.com/11649, by phone at 519-672-8800, or in person at 471 Richmond Street. Single tickets are also available at the door.

Students with a valid ID are welcome free of charge.

By Daina Janitis, The Beat Magazine 2025 Classical Music Writer