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.

Introducing Theatre Tillsonburg

by Richard Young

This is the twenty-second in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile Theatre Tillsonburg.

Q. When was your company founded? By whom and why? 

Theatre Tillsonburg was founded in 1981 by the following people: Tom Heeney, Dennis Noonan, Laurel Beechey, Peter Beechey, Darlene Murray, and Lorne Boyd.

This group of people came together to create a local theatre group with a Board of Directors, a not-for-profit organization run by volunteers with no paid staff, dedicated to crafting good, wholesome entertainment. The first shows were presented in the local community centre, until the spring of 1990, when the current building was purchased. Numerous renovations were required to transform the former Hungarian Hall into the theatre it is today. Once the building was purchased, the group wanted to distinguish between the group and the building, so a contest was held to name the building. The winning name was The Otter Valley Playhouse, and the person who chose the name received a lifetime supply of theatre tickets, which she continues to use today.

Q. Is your company best described as professional or not-for-profit community theatre? Or both? 

Theatre Tillsonburg is a not-for-profit community theatre.

Q. What venue(s) do you use to stage your productions?

All Theatre Tillsonburg shows are staged in the Otter Valley Playhouse.

Q. Does your company have a Mission or Statement of Purpose? 

The Mission of the theatre shall be to provide a creative outlet and venue for quality entertainment and opportunities for education in areas of theatre craft for members and the surrounding community.

The Purpose of the theatre is to:

  • Promote and develop amateur theatre in Tillsonburg and surrounding communities.
  • Provide the community with a year-round schedule of live theatre to enrich the cultural life and serve the entertainment needs of the community.
  • Welcome and provide a vocational opportunity for all volunteers interested in the theatre arts to participate in the many activities of community theatre.
  • Assist other dramatic and cultural groups in the community, as well as cooperate with other theatres within and beyond our community.
  • Accept gifts, bequests, donations, and legacies, and expend all monies received to promote the Theatre and its objectives.
  • Maintain in a safe and functional manner and provide improvements to the building owned by the theatre.
  • Remain an amateur and not-for-profit organization.

Q. Does your company have a Board and paid staff?

We have a Board of Directors, and there are no permanent paid staff members.

Q. Tell me about your 2025-2026 Season. Does it have any underlying theme?

Our 25/26 season consists of the following three plays:

Ken Ludwig’s ‘Twas the Night Before Christmas – November 20-30, 2025

Hilda’s Yard – February 18-March 1, 2026

Having Hope at Home – May 28 – June 7, 2026.

It is a season for everyone. We also run a summer camp for children.

Q. What show(s) will you be staging this fall (September to December)? Could you tell me a little bit about each?

Ken Ludwig’s ‘Twas the Night Before Christmas is a festive comedy full of mischief, music, and holiday magic! A mouse, an elf, and a spunky young girl team up to help Santa save Christmas in this wildly entertaining holiday adventure. Packed with clever wordplay, wild characters, and heartwarming cheer, it’s the perfect outing for the whole family.

Q. Do you have any thoughts about the London area theatre community and your part in it?

We have had patrons and cast members come from London, and we are thrilled to be part of an integrated community theatre experience.

For more information about Theatre Tillsonburg, visit https://www.theatretillsonburg.com/

Follow on Facebook https://www.facebook.com/theatretillsonburg

Follow on Instagram https://www.instagram.com/theatretillsonburg/

London Symphonia Opening Night – the ONLY Night – and I can hardly wait!

by Richard Young

Previewed by Daina Janitis

This is one of many 2025-26 season first concerts- opportunities I hope to tell you more about soon – but this one is special. “Classical” music is my passion to hear live and to write about. Not because I’m a musician or an instructor, but because I’m committed more than ever to the shared experience of being at a concert played or sung by London’s formidable talent pool. The energy and emotion felt by the players are felt by everyone in the audience – it’s a shared experience that increases the pride and identity of our city.

Opening Night, London Symphonia

October 4, 2025, at 7:30, Metropolitan United Church

(But as Londoners, let’s call it “The Met” – The Met halfway between Toronto and Detroit)

(Pictured: Opening Night Guest Artist, Canadian pianist, David Jalbert.)

And on the program …

Augusta Holmès, La Nuit et l’Amour

Rodrigo Prats, Canta el Carretero Cuando Dan Las Seis
Ravel, Piano Concerto in G Major 
Mozart, Symphony No. 39

First, David Jalbert- the guest artist. The Canadian is ranked “among the best 15 pianists of all time” by the CBC. Critics have strived to explain what makes him unique: “In an age of knuckle-busting keyboard technicians fixated on a single era, composer or concerto, it is a great pleasure to encounter an artist of Jalbert’s stature for whom the piano is simply a transcendent means of human expression” (WholeNote)” His recordings are already legendary- Prokofiev, Faure, the Goldberg Variations, and on Saturday night, he’s performing Ravel.

In an interview with Andrew Chung, Jalbert admits that he’s like an actor, changing characters with every composer that he plays. Ravel, to him, is an “old friend” who “never ceases to amaze”. The concerto he’ll perform with London Symphonia is only twenty-two minutes long- but it’s “an astonishing piece” with French themes, touches of flamenco, and hints of American jazz.

And I can’t omit this detail about Jalbert. In the “dark times”, when Orchestra London musicians were regrouping through “We Play On” into the stunning ensemble we know today, Jalbert offered to perform with them – refusing to take a fee!

You can watch Andrew’s interview in its entirety here https://youtu.be/4BlZrRFSPAc?si=sz0R3wCFSwmfylD4

You know by now that London Symphonia has no permanent conductor. An exciting new conductor is invited for every program- and this opening night has an upcoming young Cuban-born maestra on the podium.

(Pictured: Opening Night Guest Conductor, Cosette Justo Valdés.)

Cosette Justo Valdés has conducted in a mind-boggling number of cities around the world. She is Honorary Director still of the symphony of Santiago, Cuba where she spent nine years, but her contributions to Canadian culture through music are particularly interesting: “Through her daring, innovative programming with the Vancouver Island Symphony Ms. Valdés has quickly ignited new passion in her audiences, inspiring them to engage personally not only with living, contemporary music but also with rarely heard historical works. As an ongoing part of her artistic agenda in Vancouver Island, Ms. Valdés proudly continues to give a powerful voice to the works of women composers and composers from Native Canadian and American heritage.”

I promised myself I would not drag current politics into notices about London’s rich classical music scene – but with every new announcement and curtailing of DEI, cutting of support for the arts and education, and ridicule of “wokeness’ – I’m breaking that promise. As Thom Hartmann reminds his fellow Americans, “[The old Democrats] knew that politics is not just about what laws are passed but about what stories a nation tells itself about who it is. They knew that culture is not an afterthought; it is the riverbed through which politics flows.”

London Symphonia is one of London’s most valuable forgers of our Canadian culture. This opening night concert will add to our cultural fabric – and level up your internal immunity to the noise pollution of social media and politics.

What: London Symphonia Opening Night

When: October 4th, 2025

Where: Metropolitan Church, 468 Wellington St, London, ON 

For more information and to purchase tickets, visit https://www.londonsymphonia.ca/

Previewed by Daina Janitis

Introducing Theatre Aezir: Q&A with Elizabeth Durand.

by Richard Young

This is the twenty-first in a series of Q&A Profiles of London area theatre companies and groups. Today, we interview Elizabeth Durand, co-founder and Artistic Director of Theatre Aezir.

Q. When was your company founded? By whom and why? 

Theatre Aezir was co-founded in 2017 by Elizabeth Durand, David Bogaert, Rob Deman, and Olaf Plotzke. Our last show before COVID in 2019 was Falling: A Wake. When Theatre Aezir came back in 2023, I was the remaining co-founder, and I decided to change the company into a professional company. We became a non-profit and a registered charity in 2024.

Q. Is your company best described as professional or not-for-profit community theatre? Or both? 

We are a professional company and registered charity with a mandate to expand our services into educating actors and theatrical professionals.

Q. What venue(s) do you use to stage your productions? 

Theatre Aezir is a theatre production company without a home theatre, so we use various spaces based on the needs of the play. We have used the Auburn Developments Stage, Procunier Hall, outdoors at the Guy Lombardo Pavilion, and the gym at First Baptist Church. 

Q. Does your company have a Mission or Statement of Purpose? 

Theatre Aezir is a professional live theatre production company located in London, Ontario, and serves London and the surrounding counties. Positioned between the region’s large-scale productions and mid-sized community theatre, Theatre Aezir fills a vital gap in London’s theatre scene. We are theatre artists committed to presenting audiences with a diverse selection of engaging and thought-provoking performances by playwrights from across the city, the nation, and around the world.  

Theatre Aezir’s Motto is “Theatre that makes you think.” Our mission is to create theatre that challenges the intellect, excites emotion, and confronts the present. Quirky, edgy, and provocative.

(Pictured: Theatre Aezir co-founder and Artistic Director, Elizabeth Durand.)

Q. Does your company have a Board of Directors and paid Staff? 

Yes, we have a Board of Directors and paid part-time staff.

Q. Tell me about your 2025-2026 Season. Does it have any underlying theme? 

At this time, we are still planning 2026.

Q. What show(s) will you be staging this fall (September to December)? Tell me a little bit about each. 

Coming This Fall: Disastrous Dates. Delightful Theatre. Serious Training.
This Fall, it’s Dating Games — and it’s not just a show.

This November, Theatre Aezir invites you to laugh (and cringe) your way through Dating Games by Garth Wingfield — a night of five hilariously awful dates, brought to life by some of the most promising emerging talent in London.

But here’s the twist: Dating Games is more than just a comedy. It’s also a hands-on, full-throttle training initiative for the next generation of theatre professionals.

Early-career directors will be responsible for a short play, supported every step of the way by an experienced mentor.

Ten+ local actors will dive into an intensive week-long skills workshop in breathing work, vocal production, diction, and character analysis — the kind of rigorous, pro-level training that usually only happens behind conservatory doors.

Our design team — including professional lighting, sound, and stage management — will bring their A-game.

Performances: November 6–16, 2025, evenings at 8:00pm, matinees at 4:00pm
First Baptist Church, 568 Richmond Street. 

Q. Do you have any thoughts about the London area theatre community and your part in it? 

London needs another venue for independent theatre companies. If London had another space that was technically adequate and reasonably priced, more production companies would create more theatre.

For more information about Theatre Aezir, visit https://theatreaezir.com/

Follow Theatre Aezir on Facebook https://www.facebook.com/media/set/?set=a.568444074983017&type=3

Follow Theatre Aezir on Instagram https://www.instagram.com/theatreaezir/

Introducing Shrew’d Business

by Richard Young

This is the twenty-first in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile Shrew’d Business.

Q. When was your company founded? By whom and why? 

We founded Shrew’d Business in 1998. Brian “Brock” Brockenshire and I were the Artistic Directors of the original Renaissance Festival in Ontario. That year, we were thinking of ways that we could use our skills outside of our regular theatre commitments and possibly develop some workshops/performances. We edited down Taming of the Shrew to be only Kate and Petruchio, and we performed that at the Renaissance Festival each weekend. We also performed it at the Parent Festival in Maryland later that summer. From that, we took the name to become Shrew’d Business. 

(Pictured: Ceris Thomas, co-founder of Shrew’d Business.)

Q. Is your company best described as professional or not-for-profit community theatre? Or both? 

We can fit in either category. We do a large amount of work in the community theatre scene and in high school in and around London, but since Brock is an Equity member, he has also done work with professional companies. Specifically, he has done nineteen shows for the Lighthouse Festival. Usually, one a season, depending upon pandemic influences, and it is due to them that we have a naval cannon in our home that we can fire for the trick-or-treaters on Hallowe’en.

Q. What venue(s) do you use to stage your productions? 

We have staged two Fringe productions, The Fantasticks and [They Fight!]. These were both in the Spriet Theatre in the Covent Market Building. We also staged The Seafarer at TAP in 2016. We plan to remount that show in 2026.

(Pictured: Brian “Brock” Brockenshire, co-founder of Shrew’d Business.)

Q. Does your company have a Mission or Statement of Purpose? 

We provide quality training for violence on stage. We do more than just violence of course, but that is our main focus. We have been instrumental in several exciting productions for Londo Community Players, Original Kids Theatre Company and Musical Theatre Productions, as well as multiple productions in high schools, and smaller community groups. We rent equipment and have accessed specialty items for specific shows. We are licensed pyrotechnicians, so we have helped shows like You Can’t Take it With You to blow up things on stage. 

Q. Does your company have a Board of Directors and paid Staff? 

We only have four company members, so we do not require a Board. Our members are paid for many productions, as violence is not something you should leave to the untrained. Depending upon the budget of the show, we can usually come up with a reasonable fee. It is more important to us that a show be safe than incredibly lucrative. 

Q. Tell me about your 2025-2026 Season. Does it have any underlying theme? 

We don’t have any specific productions for our company this year, but we are helping with Deathtrap, Urinetown, Misery, and The Three Musketeers for other companies.

(Pictured: Apprentice Fight Director Kerry Hishon.)

Q. Do you have any thoughts about the London area theatre community and your part in it? 

We moved to London from Toronto in 2005. The intention was for Shrew’d Business to be able to help a variety of productions and members of shows grow in their experience and training for dangerous stage movement. Even in professional theatre we have witnessed real slaps on stage, and this should never happen. The safety of performers and the comfort of the whole team and audience are paramount in our work. 

Since I have a love of puppets, we have also been charged with building some interesting creations that have been used on a bunch of stages in and around London. Helping a show be the best possible version is always our goal. There are very few cases where we have said “no” to a team. This has only happened when the timeline was too short, the expectations were too high, or the team was deluded about their thoughts for their show. We’d always prefer to be helpful, but there just are sometimes when you know you can’t have your name associated with something, and safety is that line in the sand.

We’ve been working in London theatre for twenty years and many more years before that elsewhere. At some point, we will need to slow down and eventually stop because staging this specialized kind of work is very draining and becomes physically impossible as the body ages. Hopefully, when that time comes, London companies will realize that they will have to either choose shows without violence or hire them elsewhere to keep their productions safe. 

(Apprentice Fight Director, Dustin Didham.)

For more information about Shrew’d Business, visit https://www.shrewdbusiness.com/

Follow on Facebook https://www.facebook.com/shrewdbusiness.ca/#

Follow on Instagram https://www.instagram.com/shrewd_business/

This Week in London and Area Arts & Culture, Sept. 29 – October 5.

by Richard Young

westland gallery, the roots of wisdom, sep. 30 – oct. 25.

The Root of Wisdom, by Christopher Cape and Clara Kim, opens Tuesday, September 30th, at Westland Gallery.

This exhibition is a must-see in person. New landscapes and wildlife paintings by these two incredible artists will be on display until October 25th! Preview the full exhibition today at www.westlandgallery.ca.

The front page: scooped continues at the palace theatre until oct. 5.

Read Jo-Anne Bishop’s Review at https://thebeatmagazine2025.ca/2025/09/27/review-the-front-page-scooped/

blue rodeo tribute featuring diamond mine, oct. 4, at the aeolian.

If you’re a fan of Blue Rodeo, you won’t want to miss Diamond Mine. With their energy and musicianship, they have captured the soulful, country-inspired sound that made Blue Rodeo a beloved icon of Canadian music. From “Try” to “Bad Timing” to “Lost Together,” Diamond Mine transports listeners to a different time and place, evoking memories and emotions with every note. This 7-piece band truly celebrates the music of Blue Rodeo. Derek Barnes (Jim Cuddy) and Barry James Payne (Greg Keelor) sound so much like the originals that if you close your eyes, you can’t tell the difference. Rounded out by Londoners Paul Aitken on electric guitars and mandolin, Adam Plante on keys, and Craig Sharp on drums, as well as Eric Lundgren from Stratford on electric guitars and Drew Moore from Kitchener on bass. This band rocks hard and really pulls off all the stops musically. Don’t miss your chance to experience this unforgettable tribute to one of Canada’s most iconic bands. Whether you’re a die-hard fan of Blue Rodeo or just appreciate great music, this is a show you won’t want to miss. So mark your calendars, get your tickets, and prepare to rock the night away with Diamond Mine.

this week at the london public library

thursday night jazz at the peppermoon restaurant, oct. 2.

Join us at Peppermoon Restaurant for an unforgettable evening of live jazz featuring:

Rick Kish & Dean Harrison

Thursday, October 2, 2025

6 PM – 9 PM

Peppermoon Restaurant – 1100 Commissioners Rd E, London, ON

Enjoy soulful performances in partnership with the London Jazz Association

this week at the eastside bar & grill

the month of october at the palasad socialbowl.

back to the days of wonderland gardens with big bandemic, oct. 5, at the aeolian.

Big Bandemic welcomes you back the days of Wonderland Gardens!

An afternoon of big band swing featuring the music of Glenn Miller, Tommy Dorsey, Glenn Miller, Artie Shaw, Count Basie, and more!

For tickets, visit https://events.humanitix.com/big-bandemic-back-to-the-days-of-wonderland-gardens

oh! canada art show at art with panache continues until oct. 10

Canadian-themed artwork by local artists. Runs from Sept 20 to October 10. Elbows up!

Follow Art With Panache on Facebook https://www.facebook.com/ArtWithPanache/about

october at mustang sally’s pub

99 Belmont Drive, London, ON,

pumpkins after dark, oct. 3 – nov. 1, at storybook gardens.

Pumpkins After Dark comes to London for the first time ever this fall! Experience the magic of 10,000+ glowing pumpkins at Storybook Gardens.

Discover monster mazes, live pumpkin carving, costumes, fall treats and photo ops around every corner. Get ready for a haunting fall evening that’s fun for the whole family (no jump scares here!)

🍂Pumpkins After Dark London

🗓️ Oct. 3 – Nov. 1

📍Storybook Gardens

🎟️ Get your tickets before they’re gone: https://www.londontourism.ca/events/pumpkins-after-dark

stories and song with denise pelley, oct. 5, at fanshawe pioneer village

Enjoy an afternoon of Black history and incredible music inside the restored African Methodist Episcopal Church at Fanshawe Pioneer Village!

Musical artist Denise Pelley and accompanist Stephen Holowitz present the latest edition of this intimate lecture and listen series. Hear tales of Famous Black Canadians interspersed with moving musical performances.

Our fourth edition focuses on Carrie Best, Human Rights Activist, Author and Journalist, as well as Oscar Peterson, Jazz Pianist, Composer and Educator.

This event will take place on Sunday, October 5th at 2:00pm. Limited tickets will be available for $20 (+ Eventbrite fee), and will include admission to the Heritage Village. Purchase your tickets at fanshawepioneervillage.ca/events

traci kennedy in october.

laura gagnon & trio, oct. 4, at fitz rays.

Featuring Sid on Drums and SPG on Bass!! The vibe feels like – TLC/Dua Lipa/Elton John/Alicia Keys/Bruno Mars kinda deal!

Introducing St. Marys Community Players

by Richard Young

This is the twentieth in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile St. Marys Community Players.

.

Q. When was your company founded? By whom and why? 

St. Marys Community Players (SMCP) is a vibrant not-for-profit community theatre group that has been illuminating the stage since its inception in 1974. Over the decades, SMCP has blossomed into one of the premier amateur theatres in Southwestern Ontario, captivating audiences with its diverse array of productions, from classic plays to contemporary performances.

Theatre in St. Marys began in the late 1940s with Rev. Parsons’ staging of *The Desert Song*. This production relied on the efforts of over 60 volunteers who created costumes from old drapes, curtains, and sheets, embodying community spirit and resourcefulness.

Q. Is your company best described as professional or not-for-profit community theatre? Or both? 

SMCP is a not-for-profit community theatre

Q. What venue(s) do you use to stage your productions? 

The Town Hall Theatre in St. Marys.

Q. Does your company have a Mission or Statement of Purpose? 

Our Motto: The best in each of us, nourishing all of us. This guiding motto encapsulates the essence of our collective ambition; we believe that theatre is not just an art form but a vital community connector. 

Our Mission transcends merely putting on plays. We strive to offer compelling live theatre productions that engage the broader community on multiple levels—inviting audiences not only to enjoy the performances but also to actively participate in the creative process. At SMCP, we cherish the involvement of community members of all ages and backgrounds. We actively encourage new members to join our ranks, whether they seek the spotlight or prefer the behind-the-scenes magic. Our group thrives on a spirit of creativity and fun, and we are always ready to support your individual interests, whether you aspire to act, direct, or work on technical and production teams, such as lighting, sound, set design, or costume creation.

Join Us: Whether you are a passionate performer, a budding playwright, or someone who simply enjoys the thrill of live theatre, SMCP welcomes you with open arms. By joining our community, you contribute to local culture and help nurture the artistic spirit that fuels our passion for live performances. Together, let’s create unforgettable theatre that leaves a lasting impact on our community.

Q. Does your company have a Board of Directors and paid staff? 

The nine-member board includes the President, Vice President, Secretary, and Treasurer.

Q. What show will you be staging this fall (September to December)? Tell me a little bit about it.

Canadian playwright Norm Foster’s comedic play, Hilda’s Yard, directed by Costin Manu and produced by Marie Stevens and Stephen Brockwell. Set in the 1950s, the play follows the Fluck family as they navigate the challenges of everyday life. When their two adult children unexpectedly move back home, Hilda and Sam Fluck are dealing with a full house again. As the family members come to terms with their new living arrangements, they must confront their struggles and relationships. Filled with humour and heart and in typical Norm Foster form, Hilda’s Yard explores the complexities of family dynamics and the enduring bonds that hold them together.

Q. Do you have any thoughts about the London area theatre community and your part in it? 

St. Marys Community Players continues to reach out to our local, neighbouring theatres, building relationships and connections, piggybacking on our collective successes and sometimes mistakes. We aim to shift away from the competitive nature of the southwestern Ontario community theatre scene and establish a support group for all local community theatres.

For more information and to purchase tickets, visit  https://www.stmaryscommunityplayers.ca/

Follow on Facebook https://www.facebook.com/StMarysCommunityPlayers

Follow on Instagram https://www.instagram.com/st.maryscommunityplayers/

(Pictured: St. Marys Town Hall Theatre)

Introducing Silver Spotlight Theatre: London’s Community Theatre Branch For Those 55+

by Richard Young

This is the nineteenth in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile Silver Spotlight Theatre.

Q. When was your company founded? By whom and why? 

Although the initial seeds for a senior’s theatre group were planted before the pandemic, it came to life in 2022. Art Fidler approached Rick Smith, who was then president of London’s Musical Theatre Productions, to see if MTP would take the idea under its wing. A seniors’ grant was obtained from the provincial government, and Silver Spotlight Theatre came into being.

Locally, there are a number of theatre groups that provide opportunities for both children and older youth. Many other companies tend to skew younger in their demographics, and the number of (particularly on-stage) opportunities tends to decrease as performers age. Silver Spotlight was created to provide additional opportunities to older performers who weren’t ready to be put out to pasture.

(Pictured: Silver Spotlight Theatre co-founders, Art Fidler and Rick Smith. Photo Credit: Jim Cressman)

Q. Is your company best described as professional or not-for-profit community theatre?  

As a branch of Musical Theatre Productions, SST is a not-for-profit community theatre group. All members of the Silver Spotlight community are impassioned volunteers who are committed to providing opportunities for seniors to bring musical theatre to London.

Q. What venue(s) do you use to stage your productions? 

To date, all of the SST productions have taken place in the Auburn Stage at the Grand Theatre. We work within the framework of MTP’s season planning process to select the shows we will produce as well as the venue.

Q. Does your company have a Mission or Statement of Purpose? 

We don’t have a formal statement of purpose, but our primary goal is to provide opportunities for seniors to get involved in all aspects of community theatre, both on- and backstage. Additionally, we’re not looking just to attract people with previous theatrical experience, but also people who have no background in theatre but wished they’d had the opportunity to participate when they were younger and thought those opportunities had passed them by. Several performers in SST’s first production, Babes in Arms, had never been on stage before. Everyone who has become involved with Silver Spotlight has enthusiastically embraced the concept of a seniors’ theatre group.

Q. Does your company have a Board of Directors and paid Staff? 

As a branch of MTP, Silver Spotlight does not have its own Board of Directors, but several members of the Silver Spotlight community serve on the MTP Board. We also have a small advisory group of SST members who provide guidance on future plans for the group.

Q. Tell me about your 2025-2026 Season. Does it have any underlying theme? 

Presently, SST only stages one production per season. As participation in the group increases and the number of participants rises, we may look at mounting additional shows.

about it.

Q. What show will you be staging this fall (September to December)? Tell me a little bit about it.

We will be staging Showtune from December 4-14, 2025, at the Auburn Stage. Showtune is a musical revue that celebrates the music and lyrics of Jerry Herman, one of the most prolific Broadway composers of all time. A casual observer may not recognize the name Jerry Herman, but everyone has heard the songs from some of his most famous works, including Mame, Hello, Dolly!, and La Cage aux Folles. Herman was awarded the Tony Award for Lifetime Achievement in the Theatre in 2009 and was a recipient of the 2010 Kennedy Center Honors. Auditions for Showtune have taken place, and we are well into rehearsals for the show.

Q. Do you have any thoughts about the London area theatre community and your part in it? 

The local theatre community is incredibly vibrant, and London residents are fortunate to have numerous choices. From musicals to dramas to comedies, well-known titles to locally-written plays, children to youth to adults, everyone should find something that appeals to them. Silver Spotlight provides additional opportunities to senior performers, many of whom have been involved in the local theatre scene for decades and all of whom feel they still have something to offer to the community.

For more information about Silver Spotlight Theatre, visit https://www.mtplondon.ca/silver-spotlight

Tom Dunphy – Everything Was New Reviewed by Ian Gifford

by Richard Young

Released April 2025
Reviewed by Ian Gifford 09/27/2025

It’s been a while since I’ve penned an album review, but sometimes you just need the right album to come along to inspire the writing bug, and Tom Dunphy’s debut solo release, Everything Was New, is one such album. I’ve been thinking about it since I first dropped the needle and decided that it’s something that should be shared.

As one half of the husband and wife writing duo for London’s favourite Honky Tonk band, The Rizdales, Tom is no stranger to writing a great song. This collection features five fresh Tom Dunphy originals, as well as some reworked tracks and a single cover song. The album is a stripped-back classic country record with songs that sound like they could have been written by Marty, Merle, Hank, or Willie themselves, but with Tom’s unique vocal styling. Tom covers the acoustic guitar and upright bass duties deftly, with the added talents of Toronto session stars, Steve Briggs on electric guitar and Burke Carroll on lap steel (both of the Brothers Cosmoline/BeBop Cowboys).

This overall tone is in stark contrast to the rocking Rizdales sounds we are used to, but is reminiscent of the early writers that inspired that sound. The no drums approach, coupled with the lightly strummed acoustic guitar and twangy colourings of the Telecaster and the steel, takes you back to the early days of the Grand Ole Opry and the records that were getting the artists there! It feels like Tom could have been born in a different era, yet he writes with contemporary themes and issues at heart.

Highlights for me are the first single, the lively “You Make me Shake” or “September is Gone” which provides some vivid images of the autumn and the striking line “They say new life begins with the spring, ours will begin with the fall”; and the rework of Tom’s old band’s single The Juke Joint Johnny’s’ – “Leaving Train” which has had new life breathed into it by both Steve and Burke’s contributions.

This album is true country music that reaches the same passion and emotions as its American predecessors. While it contains the expected themes of breakups and beer drinking, it’s never hokey or kitschy, it’s just a good listen from front to back, of some well written and well executed tunes, where even the lone cover (“Song to a Dead Man” by T-Bone Burnett), which the album is named after a line of, doesn’t seem out of place.

If I had to give it a Star Rating, it would be 5 Stars, because I simply can’t find anything wrong with it. It’s a record I could play over and over again and be transported to some old diner in Nashville at 3:00 am, with the jukebox gently humming in the corner.

Follow on Facebook https://www.facebook.com/tdandthecoldhardfacts

Follow on Facebook https://www.rizdales.com/tomdunphy

Reviewed by Ian Gifford (Photo Credit: Paul LaTorre)

The Front Page: SCOOPED Reviewed by Jo-Anne Bishop

by Richard Young

By Jo-Anne Bishop, The Beat Magazine 2025

The Palace Theatre opened its 2025–2026 season last night with a bold, gender-bending adaptation of the 1928 classic The Front Page, written by Ben Hecht and Charles MacArthur. Set in the 1920s, the play unfolds in the press room of Chicago’s Criminal Courts Building, which overlooks the gallows at Cook County Jail where an execution is scheduled for the following day.

Director Dinah Watts spent months reshaping the piece, removing offensive language, cutting certain characters, and casting women in the traditionally male roles. The result, The Front Page: Scooped, is a slightly gentler interpretation of what Watts has called a “dated, offensive” and “terrible, old play.”

On the technical side, the production shone brightly. David Long’s set design, brought to life by Heather Meadows and her crew, captured the messy, frenetic spirit of a 1920s newsroom with papers scattered, shelves disorganized, and period-appropriate furnishings. Costumes reflected the era well, even if a few fits felt off, while lighting and sound provided a consistent sense of atmosphere and polish.

(Pictured: The Cast & Crew of The FrontPage: SCOOPED. Photo by Ross Davidson)

The performances themselves offered a mix of strengths and challenges. The play’s hallmark rapid-fire dialogue sometimes tipped into an overly frantic pace, making it harder for the audience to catch every clever line. At times, the energy felt more like shouting than sharp wit, which dulled some of the humor. With just a touch more pacing and clarity, the comedy might have landed with even greater impact.

(Pictured: Peggy (Mara Fraccaro) and Hildy (Danika Tipping) Photo by Ross Davidson)

That said, there were many highlights. Danika Tipping (Hildy), Sarah Rice (Endicott), Lisa Eastick (Murphy), Judy Cormier (Pincus), and Martha Zimmerman Ross (Walter) each delivered memorable turns. David O’Garr provided delightful comic relief as “Mother”/Mrs. Grant, while Catharine Sullivan offered a standout performance as Mollie Malloy—authentic, layered, and engaging. At times, the ensemble’s choice to lean into exaggerated mannerisms when portraying male characters distracted from the storytelling, but the commitment to character was never in question.

(Pictured: Louie (Chandie East) addresses the Press Room reporters. Photo by Ross Davidson)

The two acts also carried different energies. The first flew by in a blur of chaos, leaving little time to fully connect with the characters. The second act found a steadier rhythm, allowing the humor to breathe and the performances to shine more naturally. Still, the play’s darker themes—corruption in politics, the media, and the looming execution—are a tricky fit for comedy, even in a reworked form. Ultimately, The Front Page: Scooped was a production full of ambition and craft. Its technical achievements were undeniable, and while its delivery sometimes felt overwhelming, the cast’s dedication and the creative vision behind the adaptation gave the audience plenty to reflect on. Add in the Palace’s welcoming touches—a live jazz ensemble in Procunier Hall before the show, a signature cocktail at intermission, and the theatre’s warm atmosphere—and the evening made for a memorable start to the season

(Pictured: David O’Garr provided delightful comic relief as “Mother”/Mrs. Grant. Photo by Ross Davidson)

What: The Front Page: SCOOPED

When: September 25th – October 5th, 2025

Where: The Palace Theatre Arts Commons, 710 Dundas Street

Tickets: The Palace Theatre Arts Commons
Adults: $33 
Students/Seniors (55+): $30 
Youth (under 18): $20 

For more information, visit https://palacetheatre.ca/

Reviewed by Jo-Anne Bishop

Here are some additional photographs taken by the talented Ross Davidson:

(Photo by Ross Davidson)
(Photo by Ross Davidson)
(Photo by Ross Davidson)
(Photo by Ross Davidson)
(Photo by Ross Davidson)
(Photo by Ross Davidson)
(Photo by Ross Davidson)



Introducing Scooter Productions

by Richard Young

This is the eighteenth in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile Scooter Productions.

Q. When was your company founded? By whom and why?

Scooter Productions was founded in 2017. The founding members are Phil Cal, Heather Rivet, Brian Speagle, and Sherine Thomas-Holder. We got together to produce serious drama with current social themes. Our first production, Penguin Blues, tackled addiction and isolation.

Q. Is your company best described as professional or not-for-profit community theatre?

We are a non-profit community theatre group.

Q. What venue(s) do you use to stage your productions? 

Our last two productions have been staged at Manor Park Memorial Hall.

Q. Does your company have a Mission or Statement of Purpose?

“Scooter Productions strives to produce quality live theatre and to promote all of the arts in the Greater London Area.”

(Pictured: Brian Speagle, co-founder of Scooter Productions.)

Q. Does your company have a Board of Directors and paid Staff? 

There is no board of directors or paid staff.

Q. Tell me about your 2025-2026 Season. Does it have any underlying theme? 

At the moment, our 2025-26 season consists of one production, Memoir, by John Murrell. Our next show is TBD.

Q. What show(s) will you be staging this fall (September to December)? Tell me a little bit about each. 

Memoir will run from November 19th to 23rd.

Plot summary: It is the summer of 1922; Sarah Bernhardt’s last at her beloved island estate off the coast of Brittany. With her erstwhile secretary, butler, and general dogsbody Georges Pitou, she attempts to write volume two of her memoir. Sarah enters a world of memories, spanning her entire life and theatre career. Many of her reminiscences are of her many accomplishments, but there are also memories of pain and trauma. However, she is The Divine Sarah, and she triumphantly rises above them and overcomes! John Murrell has created a moving and complex script that has touched theatregoers around the world.

Q. Do you have any thoughts about the London area theatre community and your part in it?

It is my belief that community theatre groups in London need to collaborate and support one another to grow an audience that will appreciate theatre and all the arts in London. In practical terms, we should be attending each other’s shows and helping to promote them. We are all in the same boat.

For more information about Scooter Productions, visit https://scooterdotproductions.wordpress.com/

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Follow on Instagram https://www.instagram.com/scooterproductionsldn/