A retired History and Politics high school teacher (1978-2008). Former Publisher/Managing Editor of The Beat Magazine (2009-2014). Freelance Writer. Proud Grandfather.
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
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:
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
Mavis Productions returns with a bold, electrifying production of The Rocky Horror Show—and we’re looking for fearless performers ready to fully commit to the madness.
This production demands high energy, strong character work, and performers who aren’t afraid to take risks, break boundaries, and command the stage.
This form is your first step into the lab. Click the links below:
We are thrilled to announce the WORLD PREMIERE cast for THE FOREST BETWEEN TWO KINGDOMS.
👵 Harriet: Anna Lee-Diemert 🤴Obsidian: Skylar Shelley 🫅Sorrel: Matt Butler 🧚♂️Ezra: Greg George 👱♂️Simon: Coleton Denomme 👸Queen: Laura Williams 🌼Daisy: Nicole Surette-Bourque 👑King: Brent Smith
ℹ️ ABOUT THE SHOW: Prince Obsidian has come of age to take the same quest as every prince before him: to rescue a princess and take her for his bride. The issue? Obsidian isn’t sure if this will bring him his happy ending.
Will Obsidian find “happily ever after”, or stay trapped in a life he didn’t choose?
2026 Season sponsored by @siftonproperties
🎭 FOREST BETWEEN TWO KINGDOMS ✍️ Written & Directed by Jacob Wiley 🗓️ August 11-15, 2026 📍 Auburn Stage, Grand Theatre
The Grand Theatre is closing out its 2025/26 Season with a new London Made production of the beloved Canadian musical, Come From Away. Director Julie Tomaino returns to the Grand to lead a new vision and an all-star Canadian company.
“How do you re-imagine a show when the original is so well-known? What makes a non-replica production great? These were the questions that lived in my brain when I started dreaming about our production. What to do with this iconic, practically perfect, original production?” says Tomaino. “We are honouring what makes Come From Away special while also reimagining what that looks like.”
(Pictured: Come From Away Director, Julie Tomaino.)
At the heart of it, are the words inscribed on the wall at Gander International Airport, and a powerful visual to represent both individual identity and shared connection.
“You Are Here – a simple phrase that means so many things. You Are Here is Gander, You Are Here is symbolically every passenger forced into the present moment due to unimaginable tragedy, You Are Here is Canada. Iconic red chairs mark more than 100 locations throughout Canada’s national parks, marking You Are Here in this beautiful country,” shares Tomaino. “The Parks Canada red chairs originated in Newfoundland, where our story takes place. We ran with it – making chairs the centrepiece of our production, representing individuals from all over the world, representing countries, religious backgrounds, and communities.”
Come From Away at the Grand Theatre is London Made exclusively for this production by the Grand Theatre Scenic, Props, and Wardrobe Teams and is run by a talented London stage crew including audio, lighting, scenic automation, dressers, and stagehands.
(Pictured: Come From Away Set Designer, Scott Penner.)
Set Designer Scott Penner’s bold, expansive vision for the set called for more than 180 wooden chairs – all on stage at once, mounted on towering 23-foot walls. London and area answered this call, with community members rallying behind social media posts, quickly donating as many as were needed and some to spare!
“In programming this show, and in the incredible response I have had from Londoners in their excitement to come and see this brand-new London-made production, I can feel that sense of coming together,” shares Rachel Peake, Artistic Director of the Grand Theatre. “In addition to the impact of these incredible stories, tunes, and performances, I believe the sense of community it creates is this show’s greatest gift.”
(Pictured: Cast of Come From Away. Photo: Dahlia Katz.)
The Canadian cast of Come From Away at the Grand Theatre includes Darrin Baker as Claude, Divine Brown as Hannah, Sheldon Elter as Oz, Izad Etemadi as Kevin T, Joema Frith as Bob, Steven Gallagher as Nick, Andrew Hodwitz as Standby, Kelly Holiff as Janice, Lori Nancy Kalamanski as Diane, Heather McGuigan as Standby, Denise Oucharek as Bonnie, Darlene Spencer as Beulah, Cailin Stadnyk as Beverley, Alex Wierzbicki as Kevin J, and Travae Williams as Standby.
Each member of the cast will play additional roles beyond those named above – twelve performers on stage at a time, telling the stories of hundreds.
Working alongside Director Julie Tomaino, is a creative team recruited from across the country including Music Director Sarah Richardson, Choreographer Nicol Spinola, Set Designer Scott Penner, Costume Designer Ming Wong 黄慧明,Lighting Designer Jareth Li, Sound Designer Brian Kenny, Intimacy Director Dani Jazzar, and Stage Manager Erika Morey – and more including a quartet of Dialect Coaches.
Richardson will conduct the live orchestra performing on the stage, including herself on Keyboard and Accordion, Matt Ballagh on Mandolin, Dale-Anne Brendon on Drums, Jennifer Cahill on Whistles, Romano Di Nillo on Bodhrán, Stephen Ingram on Guitar, Erik Larson on Bass, and Devon Martene on Fiddle.
Creative Team
Julie Tomaino – Director
Sarah Richardson – Music Director
Nicol Spinola – Choreographer
Scott Penner – Set Designer
Ming Wong 黄慧明 – Costume Designer
Jareth Li – Lighting Designer
Brian Kenny – Sound Designer
Dani Jazzar – Intimacy Director
Hailey Hill – Assistant Director
Dariusz Korbiel – Associate Set Designer
Ziad Ek – Dialect Coach
Adam Henderson – Dialect Coach
Robin Hutton – Dialect Coach
Teo Owang – Dialect Coach
Erika Morey – Stage Manager
Suzanne McArthur – Assistant Stage Manager
Abby Stevenson – Apprentice Stage Manager
Cast
Darrin Baker – Claude and Others
Divine Brown – Hannah and Others
Sheldon Elter – Oz and Others
Izad Etemadi – Kevin T and Others
Joema Frith – Bob and Others
Steven Gallagher – Nick and Others
Andrew Hodwitz – Standby
Kelly Holiff – Janice and Others
Lori Nancy Kalamanski – Diane and Others
Heather McGuigan – Standby
Denise Oucharek – Bonnie and Others
Darlene Spencer – Beulah and Others
Cailin Stadnyk – Beverley and Others
Alex Wierzbicki – Kevin J and Others
Travae Williams – Standby
Orchestra
Sarah Richardson – Conductor / Keyboard / Accordion
Matt Ballagh – Mandolin
Dale-Anne Brendon – Drums
Jennifer Cahill – Whistles
Romano Di Nillo – Bodhrán
Stephen Ingram – Guitar
Erik Larson – Bass
Devon Martene – Fiddle
IF YOU GO:
Come From Away plays on the Spriet Stage at the Grand Theatre from April 28 to May 31. Single tickets are priced starting at $29.95 and are available in-person at the Box Office, by phone at 519.672.8800, and online at grandtheatre.com/event/come-from-away.
(Pictured: London Symphonia Guest Conductor Tania Miller.)
If you recall the disaster of that season – and were part of the London spirit that helped to rebuild – you really should join in celebrating the spirit of resistance and revival that has taken London Symphonia toward its 10th anniversary.
And the program of the final concert of the 9th season – as well as the musicians – of Beethoven, Shostakovich, and Marsh will be an evening of three survival strategies: a spinning cartwheel, a searing letter from a war‑torn city, and a symphony that refuses to stop dancing.
I was the Volunteer Committee Chair in 2015 when Orchestra London formally filed for bankruptcy, ending decades of orchestral history in the city. And I had the joy of seeing London Symphonia incorporated later that year, picking up the tradition that began back in 1937 and continuing as the only professional orchestra to offer a full season in the region. Many current players, including concertmaster Joe Lanza, bridge both eras, having performed with Orchestra London and now with London Symphonia. And the community helped with trust and creativity. The glorious concert space of “The Met” would not have happened without Londoners’ belief in all the gifts of the spirit.
This concert is music about resilience, played by an orchestra that had to prove its own.
(Pictured: LS Principal Flute Laura Chambers.)
And what a dazzling group of talents our London orchestra has brought together in these nine years. Laura Chambers is the LS Principal Flute. Her solo work, ensemble contributions, and innovations are renowned across Canada- but did you know …
She’s a lover of the outdoors. Her performance of Stravinsky’s Rite of Spring for an audience of over 30,000 at sunset in the Nevada desert is her most memorable to date.
She’s a passionate educator. Laura’s studio of students spans in age from 5 to 85, and she is welcomed as a guest clinician at schools, music camps and festival workshops throughout Canada.
In addition to her performance and private teaching, Laura is a PhD candidate at York University, where her research is focused on the recontextualization and sustainability of classical music in today’s world.
She currently holds a sessional lecturer position at the University of Toronto and is a faculty member of the Royal Conservatory of Music’s Oscar Peterson’s School of Music.
And because you supported us for the last nine years, LYS has thrived. You can now be part of a world premiere- the flute concerto that Laura Chambers commissioned from Alexis Marsh just for Laura by London Symphonia.
(Pictured: Composer Alexis Marsh.)
Alexis Marsh, a Canadian composer from Winnipeg, built her career in Los Angeles, scoring films and series like TNT’s Animal Kingdom, animated feature Next Gen, and numerous indie projects. She’s used to writing music that lives inches away from the camera, following tiny facial expressions and shifts in mood. A concerto lets that language move into the open, onto a stage. You’ve heard Laura Chambers in countless moments this season—now imagine an entire work tailored to the way she phrases a single line. The concerto’s title, View of a Cartwheel from an Ascending Plane, sounds like a film shot: a spinning shape seen from above, slowly receding.
And Tania Miller is one of London Symphonia’s favourite guest conductors. Of course, the musicians like her; they know what it means to rebuild something, and so does she. In her writing on leadership, she talks about being “the fuel and the fire,” about creating a spark and then “sometimes letting them play and standing back to enjoy the performance. She sees orchestral work as a “collective search for the meaning in the music,” emphasizing fresh ideas and connection rather than top‑down control.
(Pictured: Tania Miller.)
She is a builder herself, renewing ensembles, most famously as music director of the Victoria Symphony for 14 years, where she developed a reputation as a visionary leader and innovator. She was the first woman to lead a major Canadian orchestra, appointed to Victoria at 33, and now directs the Brott Music Festival and its training programs, all of which underscore her comfort with change and institution‑building. She’s a creative risk-taker — leaving a secure position in Victoria to become, as one article suggested, a guest conductor for hire exploring ‘uncharted waters.
Beginning to sound like a feminist manifesto? No apologies from me- but even the Old White Dead Guy pieces chosen for this program are exciting expressions of resistance and revival.
Shostakovich’s Chamber Symphony Op. 110a came to life as a string quartet dashed off in three days in bombed‑out Dresden, dedicated ‘to the victims of fascism and war’ and packed with his own musical initials like a secret signature—a grief‑stricken protest from someone who knew all about other kinds of terror. It was a piece written amid literal rubble, carrying both an official dedication to war’s victims and a coded act of resistance from a composer who knew about other kinds of terror in his life under Stalin’s iron rule.
Ludwig Van’s Seventh? He composed it in 1811–12, and it was first heard in Vienna in 1813 at a benefit concert for soldiers wounded at the Battle of Hanau, one of the late‑war clashes that helped drive Napoleon’s army out of German territory. No wonder the symphony feels like resistance turned into rhythm—an entire orchestra insisting on life while a collapsing empire limps away in the background.
Its rhythms carry little melancholy. Wagner called it “the apotheosis of the dance” – and other musical worthies of the time said it was “exuberant,” “boisterous,” and “life-affirming”. Don’t we need something right now to remind us that we can choose to dance in the face of pointless war and the threat of domination?
Londoners … every ticket bought since 2015 has been a small act of faith, and on this night the orchestra pays that faith back in music about survival, defiance, and hard‑won joy. You helped the rebuilding – now come to the concert and celebrate this local source of pride.
IF YOU GO:
What: London Symphonia presents Beethoven, Shostakovich, and Marsh
When: Saturday, May 2, 2026, at 7:30pm.
Where: Metropolitan United Church, 468 Wellington Street, London, Ontario.
What follows is a Q&A Interview with Brian Speagle, Director of Memoir playing at the Manor Park Memorial Hall from April 29 to May 3. The Interview was conducted by The Beat Magazine’s Publisher & Content Manager, Richard Young.
(Pictured: Director Brian Speagle with Charlene McNabb and Dan Curtis.)
Q. Tell me about Memoir – backstory, author, performance history, etc.?
Memoir is set in the summer of 1922. It will prove to be Sarah Bernhardt’s last. The action of the play takes place at her island estate off the coast of Brittany, France. Sarah, with her secretary and assistant Georges Pitou, is doing her best to remember events from her life to be included in volume two of her memoirs. Sarah Bernhardt dominated the world of theatre for most of her life, in France, all of Europe, and North and South America. The Divine Sarah achieved worldwide fame in the 19th century, which was unprecedented. Sarah Bernhardt was known as much for her personal life, which today would have been tabloid and internet fodder, as for her multitude of on-stage personas.
Canadian playwright, the late John Murrell, premiered Memoir at the Guelph Spring Festival in 1977. It has since been presented in the UK, Ireland, Japan, and the U.S. It enjoyed a two-year run at the Theatre Edouard VII in Paris. The play has also been adapted for TV and film in Canada, Europe, and Asia.
Q. What prompted you to select Memoir for your 2026 season?
I first came in contact with this play in 1978, when I was in a scene study class at university. I played ‘Pitou’ in a few scenes! I also used Memoir in my teaching career with senior drama students. After forty-five years, I decided it was time to direct this show.
Q. Could you provide a brief Plot Synopsis
Sarah Bernhardt is trying to write volume two of her memoirs. She enlists Pitou to play characters from her past, to jog her memory. At first reluctant, Pitou eventually begins to revel in his roles. As the play proceeds, however, many of her memories become painful and traumatic for her. In the end, Sarah comes to accept her life decisions, and the play ends on an optimistic note.
(Pictured: Sarah Bernhardt.)
Q. It’s my understanding that Sarah Bernhardt performed in London. How, if at all, does this play into the show?
Sarah’s appearances at the Grand Opera House in London, Ontario, do not play directly into the show. However, she may have worked closely with a local stagehand or two! You’ll have to see the show to find out!
Q. Two-character plays can sometimes present significant challenges to the actors. Comment?
The text of Memoir presents a major challenge for actors. The ‘Sarah’ character is on stage for the entirety of the action. It is physically and emotionally demanding for both actors.
Q. Could you say a few words about your actors – Charlene McNabb and Dan Curtis?
I first presented Charlene and Dan with this script in 2019! We were hoping to produce it in 2020. Well, we know how that turned out! After seven years, we are all quite enthused to finally stage Memoir for London audiences. Throughout the rehearsal process, Charlene has been totally committed to faithfully developing ‘Sarah!’ She has done extensive research into the amazing life of her character, and that background dedication shows in her portrayal. Dan Curtis takes on the demanding role of ‘Pitou’ with aplomb, as he does with every character I’ve seen him portray. He plays several characters within the character of ‘Pitou,’ sometimes switching back and forth within the same sentence. Quite amazing to witness. Charlene and Dan are both experienced actors, and their professionalism is first-rate.
Q. Why did you choose Manor Park Memorial Hall for this run?
Manor Park Memorial Hall was, for me, the natural choice for this show. The set design invites the audience into an intimate environment with the actors. We are doing something different with the seating, which theatregoers will notice as soon as they enter the space.
Q. How would you describe the sets, props and costumes of the play?
The set is minimal, a few flats. Most of what the audience sees onstage is furniture and props. Tannis Daoust, our costume designer, has done her research for the historical era of the show, and the results are wonderful.
Q. What can audiences expect from Memoir?
The audience can expect some laughs and some tears. I hope they learn something about Sarah, the complexities of her life, and the contradictions. They will also notice the strong bond between Sarah and Pitou as the play unfolds.
Q. Is there anything else you think readers should know about Memoir?
Murrell does take some poetic license with Sarah’s life. For example, in reality, Pitou was not in Sarah’s service at the end of her life.
About Scooter Productions:
Scooter Productions was formed in 2017. Founding members are Phil Cal, Heather Rivet, Sherine Thomas-Holder, and Brian Speagle. Scooter Productions encourages and supports all of the arts in southwestern Ontario.
As excitement builds around the hit Percy Jackson series on Disney+, Misfits Theatre Collective is bringing the beloved demigod story to life on stage with The Lightning Thief: The Percy Jackson Musical, performing at the Old Town Hall Theatre in Aylmer, Ontario, from April 30 to May 3.
Based on the best-selling novel by Rick Riordan, this high-energy musical follows Percy Jackson, a teenager who discovers he is the half-blood son of a Greek god. With newly discovered powers he can’t control, a destiny he doesn’t want, and a mythology final exam he never studied for, Percy must embark on an epic quest to find Zeus’s stolen lightning bolt and prevent a war among the gods.
The production is presented by Misfits Theatre Collective, a company founded in 2025 under extraordinary circumstances. When a previous production was unexpectedly cancelled midway through rehearsals, the cast and creative team refused to let the story end there. Instead, they came together to form Misfits Theatre Collective, an artist-driven company built on resilience, collaboration, and a shared belief that the show must go on.
“This story of Percy discovering where he belongs really mirrors how our company began,” says Skylar Shelley, co-founder and producer. “We created Misfits out of a moment of uncertainty and built something bold and supportive out of it. That spirit is at the heart of this show, and in everything we do.”
Audiences can expect a dynamic, rock-infused score, imaginative staging, and a heartfelt story that celebrates identity, belonging, and the hero in all of us. Perfect for longtime fans of the Percy Jackson books and viewers discovering the story through the Disney+ series, The Lightning Thief: The Percy Jackson Musical is an unforgettable theatrical adventure.
Tickets are available now at misfits-lightning-thief.eventbrite.com. For more information, follow Misfits Theatre Collective on Facebook, Instagram, and TikTok (@misfitstheatrecollective).
(Pictured: Cast & Crew of The Family Creetin. Photo by Ross Davidson)
Every so often, a local production comes along that makes you rethink your expectations entirely. The Family Creetin, presented by Banished by the King Productions, is one of them.
I’ll admit it, I went in cautiously. Locally written shows can be hit or miss, and sometimes the humour leans too heavily on inside jokes. Not here. Patrick Brennan has written something that feels bigger than that—and funnier, too.
The setup is classic: a group of siblings gathered in an English country house, all carrying a ton of baggage and very little patience for one another. From there, things unravel quickly (in the best way). The comedy comes from character, not gimmicks, and it lands because it feels familiar. If you’ve ever survived a tense family gathering, you are in on the joke.
It’s not without its bumps. A lot is going on, and at times the play can feel like a ping-pong match, your head constantly turning to keep up with the action. A bit of tightening would sharpen some of the bigger moments. That said, Brennan’s direction keeps things impressively controlled. The pacing is tight where it needs to be, and even when the script edges toward chaos (which it does – a lot!), the staging keeps it from tipping over. There’s a clear sense that this is a play that has evolved over time, and if this is the result of that evolution, it’s very much in the right direction.
(Photo by Ross Davidson)
The production makes smart use of the black box space in Procunier Hall at the Palace Theatre. The set is simple, tasteful, and exactly what it needs to be, no more, no less. It fits the space beautifully while leaving plenty of room for the performances to breathe. But if I’m to be honest, this is a show that feels ready for a larger stage; it has the legs for it.
And it’s the performances that really carry it. This is a strong cast across the board, and more importantly, they work as a true ensemble—feeding off each other, building momentum, and clearly enjoying the ride. That sense of connection translates directly to the audience.
A big part of what elevates the production is the physicality and facial work. Reactions are sharp, expressions are doing just as much work as the dialogue, and it adds an extra layer of comedy that keeps scenes lively even in quieter moments. The casting feels particularly well matched—these actors fit their roles in a way that makes the dynamics feel natural and fully lived-in.
(Photo by Ross Davidson.)
Dylan Rock as Frederic is a standout, with a strong physical presence and consistently engaging reactions. Ben Kennes’s Reginald is equally memorable, bringing excellent timing and expression that make every moment count. And Kevin Avram nearly walks away with the show as Bertrand. His portrayal of the perpetually drunk brother is fully committed and genuinely hilarious, especially with his repeated, perfectly timed “Oh mother” lines, which somehow get funnier every time. His final moment ties everything together beautifully.
The sisters—Sophie Thompson (Victoria) and Sue Harrington (Gloria)—land some big laughs with their sharp back-and-forth, while Jennifer Groulx’s Sybil provides a sweet, grounding counterbalance to the chaos. Rachel Sherret’s prim, all-knowing Mary (who has a quote for everything) is crisply timed and consistently funny, and Nicole McTeer nails the Hollywood starlet as Ginger.
(Photo by Ross Davidson.)
Luis Marin turns up the heat as Latin lover Raul, while Dustin Didham’s Nigel—a sooty, slightly suspect chimney sweep—adds another comic layer. Ryan Starkweather’s Roger, the curious banker, doubles as narrator, punctuating the action with a clicker that freezes the stage in well-executed tableaux—timing the cast delivers to hilarious effect. Rounding out the ensemble is Patrick Hoffer as Archibald, the family patriarch with a watchful eye.
Costumes by Tanis Daoust suit the period nicely, and the technical team—stage manager Jeremy Hewitson, assistant stage manager Eric Curtis, sound by Doug Deschenes, and lighting by Mark Mooney—keep everything running smoothly behind the scenes.
(Photo by Ross Davidson.)
What’s most impressive is how easily this play connects. It doesn’t feel small or niche. It feels like something with real staying power. You could see it on a bigger stage, in a longer run, or picked up by other companies around the globe—without missing a beat.
Bottom line:
A sharp, funny, and well-played ensemble comedy that proves local theatre can punch well above its weight. It is busy at times, but consistently entertaining, and the kind of show that makes you hope someone is already planning the encore.
IF YOU GO:
What: The Family Creetin, written by Patrick Brennan and presented by Banished by the King Productions
Relaxed Performance:
May 7-17, 2026
Auburn Stage, Grand Theatre
519.672.8800
