A retired History and Politics high school teacher (1978-2008). Former Publisher/Managing Editor of The Beat Magazine (2009-2014). Freelance Writer. Proud Grandfather.
This is the eleventh in a series of Q&A Profiles with London area theatre companies and groups. Today, we interview Chase R. Montgomery, founder of Mavis Productions.
Q. When was your company founded? By whom and why?
Mavis Productions got its start in 2019, but it really came into being in November of 2022 as the pandemic lockdown came to an end. It was founded because I wanted to bring more performing opportunities to South Western Ontario communities in the form of musicals and plays of all kinds, both famous/family and infamous/cult.
Q. Is your company best described as professional or not-for-profit community theatre? Or both?
Mavis Productions is best described as a touring community theatre company that visits multiple communities with our productions. It is our hope to continue to make shows bigger and bigger so that one day, grand-scale productions can be accessible to everyone during these hard financial times.
Q. What venue(s) do you use to stage your productions?
As a touring company, Mavis has several venues we currently call home.
London: The Wolf Performance Hall, Joanne and Peter Kenny Theatre, and Paul Davenport Theatre.
Fergus: The Fergus Grand Theatre.
Chatham: The Kiwanis Theatre.
St. Thomas: The Princess Playhouse.
Alymer: Old Town Hall Theatre.
Brantford: The Sanderson Centre of Performing Arts.
Q. Does your company have a Mission or Statement of Purpose?
To bring new and unique entertainment, created by our communities for our communities.
Q. Does your company have a Board of Directors and paid Staff?
Mavis is comprised entirely of volunteers from many of our South Western Ontario and Michigan, USA communities
Q. Tell me about your 2025-2026 Season. Does it have any underlying theme?
Our 2026 Spring Season focuses on the struggles of Misfits.
Those of us, young and old alike, who just don’t fit in. Whether it’s because they were born different or thrown into circumstances that cause them to feel alone and struggle through this world.
However, through sheer determination and self-reliance (or the help of newly found friends who are also misfits), they find their place in life and are ready to take on the rest of the world and the monsters that brought them to ruin.
We feel this resonates with Mavis and our communities, as it is a long-standing theme of our past seasons, and we are so excited to be bringing it forward again with these three musicals:
The Lightning Thief: A Percy Jackson Musical (London and Fergus)
Evil Dead the Musical (London)
Joseph and the Amazing Technicolor Dreamcoat (Fergus and Brantford)
Q. What show(s) will you be staging this fall (September to December)? Tell me a little bit about each.
London Oct 9-18:
Richard O’Brien’s The Rocky Horror Show
This cult classic has become not only a long-standing tradition for Mavis but also one of London’s favorite annual events. As this will be the 4th year Mavis has brought this show to life for our London community, AND it is the 50-year celebration of the film, we cannot express the excitement and effort being put into it.
The show tells the story of young lovers Brad Majors and Janet Weiss, who find themselves in the company of a strange doctor (whose scientific endeavours are as strange to them as the clothes he wears), his servants, and a party full of unique characters. To say that it is a tale of Frankenstein with flair would be an understatement!
With so much history and so much love from the world, especially for the iconic songs like Time Warp and Sweet Transvestite, Rocky Horror will delight any and all with its pleasurable ways.
Fergus
November 13-16
Tom Stoppard’s The Real Inspector Hound
Moon and Birdboot, two drama critics, arrive to watch the performance of a new detective play, a parody of the conventional stage thriller. However, the private lives of the critics become inextricably mixed with those of the play’s characters until Moon is shot dead and the real Inspector Hound proves to be…?
Brantford
December 27 and 28
Andrew Lloyd Webber’s Sunset Boulevard the Musical
In her mansion on Sunset Boulevard, faded silent-screen goddess Norma Desmond lives in a fantasy world. Impoverished screenwriter Joe Gillis, on the run from debt collectors, stumbles into her reclusive domain.
Persuaded to work on Norma’s “masterpiece,” a film script that she believes will put her back in front of the cameras, Joe is seduced by her and her luxurious lifestyle. Joe becomes entrapped in a claustrophobic existence until his love for another woman leads him to try to break free with dramatic consequences.
Q. Do you have any thoughts about the London area theatre community and your part in it?
The London community has been among the greatest communities to create an experience that we have ever had. For four years, they have welcomed our unique artistic views with open arms, coming by the thousands to our adult/cult shows and our family shows. London is truly a city that embraces all forms of expression.
For our part, Mavis Productions will continue to push the envelope to create bigger and better shows for all our communities from all walks of life. It is a privilege to produce these shows, and we will continue to honor it.
Palace Theatre Arts Commons (PTAC) kicks off its 2025/26 London Community Players season with The Front Page: SCOOPED — a rollicking newsroom comedy that flips the script on gender and power.
First staged in 1928, The Front Page was celebrated for its razor-sharp wit and cynical take on the cutthroat world of journalism — a world historically dominated by men. PTAC’s version, adapted and directed by Dinah Watts, keeps the original’s hard-boiled Chicago newsroom intact but turns the casting inside out: women actors play the roles of men, as men.
This is not gender-swapping for laughs. It’s a deliberate artistic choice that asks: What happens when women inhabit roles traditionally written to embody power, bravado, and authority — without changing a word? How does the audience see these dynamics differently when spoken through women’s voices and bodies?
(Pictured: Scooped Director, Dinah Watts.)
This is not gender-swapping for laughs. It’s a deliberate artistic choice that asks: What happens when women inhabit roles traditionally written to embody power, bravado, and authority — without changing a word? How does the audience see these dynamics differently when spoken through women’s voices and bodies? “Our production is about more than reviving a classic,” says Watts. “It’s about reframing it. We’re holding up a mirror to the systems of authority and exclusion that shaped journalism in the 1920s — and asking what’s shifted, and what hasn’t, nearly a century later.”
The production is paired with a Beyond the Stage: PTAC Conversations panel titled Women in 2025: Perspectives in Art, Culture and Society, moderated by Dr. Nicole Kaniki, the discussion brings together artists, activists, and community leaders to reflect on gender equity, cultural representation, and the role of art in catalyzing change. The panel complements The Front Page: SCOOPED by interrogating the intersections of performance and lived reality, exploring both progress and persisting inequities.
“By pairing performance with dialogue, we’re deepening the experience for audiences,” says Melissa Parker, PTAC’s Executive Director. “This isn’t just about a night at the theatre — it’s about sparking conversations that matter.” Audiences of The Front Page: SCOOPED can expect a high-energy comedy filled with quick-fire dialogue, outrageous newsroom antics, and a satirical look at truth, politics, and the press — now layered with a contemporary examination of gender and voice.
OPENING NIGHT PRE-SHOW JAZZ:
Opening night of The Front Page: SCOOPED is about to be the bee’s knees, and we’re servin’ it up hot with some toe-tappin’ tunes from Rubin & the Scoops — a swell 4-piece jazz band straight outta the speakeasy spirit of the 20s & 30s.
Joel Jacobs keepin’ time on the skins
Peter Karle strummin’ the strings
Gianny Correa blowin’ sweet saxophone
Patrick Leduc layin’ down the bass line
Friday, September 26
Doors at 6:00 pm — come early for the hot jazz!
The Front Page: SCOOPED at 7:30 pm.
Stick around after for an opening night reception with the cast & crew!
Big thanks to the London Arts Council and London Community Foundation for backing this jam and keepin’ local music swingin’.
Event Details:
The Front Page: SCOOPED September 25 – October 5, 2025 David Long Stage, Palace Theatre Arts Commons 710 Dundas Street, London, ON
Tickets available now at palacetheatre.ca/the-front-page-scooped
For more information about the Palace Theatre Arts Commons and other shows and events, visit https://palacetheatre.ca/
Extra! Extra! Read all about it! The High School Project Does It Again! By Jo-Anne Bishop
If you’ve never attended a Grand Theatre High School Project production, you’re missing out. For nearly three decades, the Grand has showcased the best and brightest young stars in our region through spectacular musicals such as The Sound of Music, West Side Story, Evita, and The Phantom of the Opera, to name just a few. These productions are so polished and rich, they rival professional theatre in larger cities. And the best part? They’re performed and co-produced by high school students—on, behind, and below the stage. It truly is something to be celebrated.
(Pictured: Newsies Company)
This year’s offering is Disney’s Newsies, and once again, the Grand proves why this project is worth sustaining year after year. The depth of talent among our local students—whether homeschooled, unschooled, or attending one of our many schools—is nothing short of inspiring.
Newsies tells a fictionalized account of the 1899 New York City newsboys’ strike, when young workers took a stand against unfair prices and poor working conditions. The musical captures their fighting spirit as Jack Kelly leads his fellow “newsies” in a battle for justice. When publisher Joseph Pulitzer raises newspaper prices overnight, the boys—and girls—along with journalist ally Katherine Plumber, rally together to demand fair treatment.
The casting was spot on, with standout, ovation-worthy performances from Paxton Nair (Davey), Tessa Pritchett-White (Les), Trent Robichaud (Jack Kelly), Keirah Buckley (Katherine Plumber), Leland Chafee (Crutchie), and Chloe Webb, whose hilariously menacing Wiesel was a crowd favourite. Each of these young actors poured heart and soul into their roles. I can’t wait to see what’s next for them and hope they never lose that spark.
(Pictured: Keirah Buckley (Katherine Plumber), Trent Robichaud (Jack Kelly), Paxton Nair (Davey. Costume Design by Lisa Wright. Photo by Mai Tilson.)
A special mention must go to Sophia Belleth as Medda Larkin. Her commanding presence and powerhouse vocals will raise goosebumps and transport you right out of your seat. Her showstopping performance of That’s Rich was Broadway-caliber. If she doesn’t end up on a bigger stage, it will be the theatre world’s loss.
The musical numbers were the strongest element of the production. Whether solo or ensemble, the energy and passion were infectious. The ensemble was the backbone of the show—their athleticism, commitment, and joy lit up the stage and carried the story beautifully. These young people left everything they had on the stage, and I look forward to seeing what the future holds for each of them.
(Pictured: Paxton Nair (Davey). Costume Design by Lisa Wright. Photo by Mai Tilson.)
From a production standpoint, the direction was sharp, the lighting and set design—with clever moveable parts—were seamless, and the costumes were perfection. The only area that fell short for me was the sound. Some solos sounded muffled or canned, and at times dialogue was difficult to catch. It may have been technical or just where I was sitting, but it stood out in an otherwise stellar production.
Director Ray Hogg said, “At first glance, Newsies is about a group of kids who go on strike after repeatedly being taken advantage of by rich and powerful people, but it’s really about young people discovering what it means to be the future… finding the bravery to speak truth to power, seek justice, and demand equality.”
A timely message. To these young stars: may you carry these lessons forward—stay unified, speak your truth, and always shine bright.
(Pictured: Newsies Director Ray Hogg)
Congratulations to the Grand and to every student involved in another triumphant High School Project.
If you go: What: The Grand Theatre High School Project Production of Newsies When: September 17–27, 2025 Tickets: $26–$55 at grandtheatre.com, by phone at 519-672-8800, or at the Box Office, 471 Richmond Street. Canada Life Pay-What-You-Can pricing for the 2:00 p.m. performance on Sunday, September 22.
“I would rather have 30 minutes of wonderful than a lifetime of nothing special.” – Shelby Eatenton-Latcherie, in Robert Harling’s Steel Magnolias
The Elgin Theatre Guild’s production of Steel Magnolias in St. Thomas delivers two and a half hours of something truly special.
Set in Truvy Jones’ beauty salon in small-town Louisiana during the 1980s—where secrets, gossip, and the occasional sweet treats are shared—Steel Magnolias is a story of unwavering bonds and enduring friendship. The set, though simple, radiates authenticity and rustic charm, immersing the audience so completely that it feels as though we are peering through the salon’s mirror where its patrons peer back at us.
A great theatre experience should educate, entertain, and inspire, guiding the audience through a journey of emotions. This production does exactly that—moving effortlessly from heartwarming laughter among friends to moments of fear, loss, and grief. It is performed with such conviction that one almost forgets they are sitting in a small theatre in downtown St. Thomas.
(Steel Magnolias Set. Photo Credit: Ross Davidson)
A Director’s Vision, A Cast’s Strength
Much credit goes to director Cindi Armer Almeida, who assembled a strong ensemble capable of carrying the weight of such a beloved play turned feature film. Each woman brings her own distinctive energy and colourful take on the characters to the role.
Susan Williams perfectly embodies Clairee Belcher, the quintessential Southern lady of society.
Sile Ferguson is endearing as the shy and slightly insecure newcomer, Annelle Dupuy-DeSoto.
Kim Braine-Ott delights as the sharp-tongued yet lovable Ouiser Boudreaux—a role performed with just the right mix of bite and heart.
Their performances provide a rich foundation that ensures the story never falters.
The three leads, however, are the true standouts of this production.
Sarah Abbot-Taylor brings Truvy to life with warmth, wit, and charm. Her facial expressions, movements, and just that absolute feeling of authenticity transport us straight to the bayou.
Makayla Ashenden’s Shelby is magnetic—delicate yet strong, embodying the duality of steel and magnolia with such a beauty and grace, you are completely drawn into her character.
Sam Sabathy gives a breathtaking performance as M’Lynn. Her emotional journey ebbs, flows, and then crescendos into a devastating second act that leaves the audience in tears. It was, quite simply, phenomenal. A word I don’t use lightly.
(Pictured: Cast and Crew of Steel Magnolias. Photo Credit: Ross Davidson)
Rarely have I seen a community theatre performance stir such a genuine emotional reaction from an audience. The believability of these performances and cohesiveness of the cast is what makes it a bona fide success.
In her Director’s Notes, Almeida writes, “It’s the perfect play to see right now given the climate of today’s headlines.” Indeed, the production resonates as a timely reminder of the healing power of laughter, love, and friendship. The need for connection is universal, and this play underscores it with compassion and truth.
Prepare to be moved. Bring your friends, family, and loved ones to Truvy’s beauty parlour, and allow yourself to be immersed in the lives of these six remarkable women. You’ll leave with a renewed appreciation for the strength of friendship and the beauty of human connection.
Bravo to the cast, crew, and director. May this production enjoy an excellent run.
If you go:
ELGIN THEATRE GUILD – Home Where – Princess Avenue Playhouse, 40 Princess Avenue, St Thomas Tickets: $25 plus fees When – September 18th – 28th, 2025
Vocalist and guitarist, Anne Moniz, is one of London’s most prolific musicians. Chosen by London music fans to be a member of the Forest City London Music Awards Fantasy Band twice (2021 and 2022), Anne continues to be one of the city’s busiest and in-demand musicians. These days, she is making music as the lead vocalist for the nine-piece Tell It To Sweeney, and as a duo with her companion and accompanist Daniel Oniszeczko.
The Beat Magazine 2025 caught up with Anne in between gigs. What follows is an edited Q&A profile.
Q. Where were you born? How old are you? How long have you lived in London?
I was born right here in London, Ontario, at St. Joseph’s Hospital. I am old enough to know better. I have lived in London for most of my life, other than some stints in Woodstock and Toronto, Ontario.
(Pictured: Anne Moniz, Age 5)
Q. Was yours a musical home? Did you have any professional training, or are you self-taught? A bit of both? Could you tell me about your early musical endeavours as a child and teenager?
My parents’ record collection was impressive. Classical, Latin, and flamenco, prog rock, and disco. My love for music is well-earned. My mother played piano and sang, and my father played a bit of guitar. They both drew, painted, and wrote poetry. They are both very creative people and were always hugely supportive of my interests as I grew up. I was very lucky. I took guitar lessons from Greigg Fraser for a few years out of the downstairs of Matt’s Music on Wellington Road. I sang in the choir all through school. I have a working knowledge of musical theory. It can open up a lot of doors both compositionally and professionally, but I didn’t like learning it. I naturally possess an excellent ear, and I have had some good teachers who encouraged and facilitated that.
When I was about eleven or twelve, my parents brought me to folk open stages where I met the late and great Dennis Humble, as well as Steve Brown. I performed at Harrington Music Fest when I was about twelve, which was a very big honour. The folk community around here is exceptionally welcoming and kind. As a teen, I very much got into a lot of terrible trouble. When I was eighteen or nineteen, I was in a horror punk band with Toronto-based artist Nyssa Komorowski called The Cha Chas, and we performed around town. We had a room at The ‘Wick and spent a lot of time there.
Q. Do you remember the moment when you decided that music was going to be a big part of your life? How long have you been playing music professionally? Do you consider yourself a full-time or part-time musician?
It was sitting a little too close to the TV one night, absolutely glued to watching Bonnie Raitt perform live on some show when I was six. One of my parents asked if I wanted to do that and I said Yes. I have been playing music ever since. I have always made some money doing it, so it depends on your definition of professionally. At the rate I am playing music nowadays, I would not be able to sustain myself whatsoever in terms of income. Though I do consider myself a full-time musician, in that I am always being a musician, I definitely prefer doing things at my own pace and am really picky about the things I put out and participate in. It’s too personal for me to flog staunchly as a business, as some others are capable of doing. It just feels disingenuous for some reason when I try to do it.
Q. Other than vocals, do you play any other instruments?
I play guitar and some bass. I have a working ability on piano, and actually also Celtic harp. I took some lessons with Roger Muma when I was young as well. He taught Jennifer White, who is a touring Canadian harpist. In school band, I played clarinet, and I am actually taking it up again now in my spare time.
Q. What have your musical influences been over the years?
I have a penchant for old punk rock, Misfits, and The Stooges. Eighties goth rock like Bauhaus, and Sisters of Mercy. Of course, all the famous songwriters, Joni Mitchell, Neil Young, and John Fogerty, to name but a few. I’ll listen to anything. Lately, I have been really into Turkish psychedelic bands like Şatellites and Altin Gün. My favourite album and guilty pleasure is the 1997 club hits compilation Pure Energy Vol. 4, featuring the track “Let Me Clear My Throat” by DJ Kool. If anybody is reading this and has a physical copy they want to part with, please let me know!
Q. Tell me about the various groups and musicians you have played with since you started playing professionally. Who are you currently playing with?
I’ve played in many bands over the years. Of course, there is The Cha Chas, which I mentioned earlier. We had songs like “Zombie Mambo”, “My Boyfriend’s Dead” (parodying of course “My Boyfriend’s Back”, sung originally by The Angels in 1963), and “Vampire Man”. All love songs. We were rather cheeky. I had a brief career as the lead vocalist for The Carnies many years ago while Jaime Short was living elsewhere (RIP). I got told way too often that I have too nice a voice for punk rock, and at the time, I did not take that as a compliment.
After that, I was in a rock band called Wonderjunk. We were very LOUD. We got to open for Spookey Ruben at Bovine Sex Club back in like 2009, which is a bit of a blurry memory. After that, I was in an indie band called High School Sweetheart with Jessica Vanden Boomen. We won a contest through FM96 to record a couple of songs at EMAC Recording Studios, and we were guests on air. She was my best friend. We broke up because we got into a heated argument about me prioritizing school over the band (I could definitely not do both at once).
After I graduated, I played bass for Leanne Mayer’s band Hollow Romance for a bit. I tried to make a go at a full-band rock version of some of my original music, which was Nimway. It had a lot of promise and was gaining traction. We were asked to play at the Demics anniversary showcase at Call The Office, which was my personal favourite highlight. My marriage completely dissolved in 2020, and sadly so did the band.
Nick Elie and I were also the rhythm section for the live, psychedelic, improvisational band Prism Tape Philosophy, led by Howie Kittelson. That man can tell a story and is the finest radio show host I have ever heard. I played rhythm guitar and sang backup for Mad Moxxis for a few years, and we did some really good songs and music videos together. I left after we had a hiatus. I was doing too much stuff and had to reprioritize. Nicole is still a good friend. I sing backups now for Thames Rivieras, which is Pete Dekokker’s baby. Everybody sings. I call it a “punk rock opera” act, which Pete gets a kick out of, but you have to hear it. We actually have a new album coming out soon.
I am the lead vocalist for nu-swing band Tell It To Sweeney, which is a nine-piece funk, disco, jazz-infused wild child. That band saved my life after Nimway fell apart. I get to be a red-hot mama and sashay around the stage, shaking my butt and yelling at people. It’s a lot of fun, and people love it, which is the best part. We have played Northern Lights Festival in Sudbury, Elora Riverfest, and lots of other cool gigs.
And I am playing folk music again with my companion and accompanist, Daniel Oniszeczko, as Anne Moniz. I am on my signature twelve-string acoustic, and he has written some excellent basslines to my songs. I write sad music, but there is definitely a place for it. I have had people walk out of my shows in tears, and many people come up and thank me for the catharsis my music has brought them. I am hoping to finally record it soon, but I am being very picky about things.
Daniel and I also have an instrumental project we call Photoplay. It is a mix of classical- almost klezmer-sounding- assorted film soundtrack music. That is the best way I can describe it. It is so involved technically that we haven’t done much with it, but we would love to get it recorded as well. Many of the bands I discussed have music out for distribution, so please check them out online if you are curious.
Q. Tell me a little bit about any recordings you have made in your career.
I have made it onto a lot of local DIY and indie recordings over the years, as well as studio recordings. High School Sweetheart has a debut self-titled EP from 2012, and a subsequent full-length called There I Was. Nimway has a 2017 self-titled EP still in distribution. I am sitting on a full-length, but I can’t bring myself to release it. I was not in a great place when it was recorded. In 2019, Hyper Squirrel Productions released a nu-metal concept album called DreamWake that features different musicians and vocalists from around the world, including me.
I am featured on Westminster Park’s 2020 album Dark Night, Nearly Dawn on guitar and vocals. They are one of my favourite London bands. Mad Moxxis has music still in distribution. We only ever released singles, most notably “Bad Karma” in 2022. That is a good song. Thames Rivieras released a full-length debut in 2022 called Whatnot Jive, and we have another one on the way.
Tell It To Sweeney released two singles earlier this year: “Hurts My Neck”, which has an accompanying, very DIY music video on YouTube, which was a lot of fun to make. Also, “Behind The Veil” features a voice clip from Boris Karloff. I wrote to his daughter, Sara, and negotiated permissions, and it was a really wonderful experience. I don’t know what compelled me to reach out like that, as I am usually quite shy, but I had to have it. We played a show recently, and people knew the words to our 2020 single “The Countess”. That was the coolest thing I’ve ever experienced.
Q. What projects are you currently pursuing? Do you have any gigs coming up in the next month or two you would like our readers to know about?
Right now, I am the most serious about Tell It To Sweeney, as well as my original acoustic music. Lots of writing, solidifying, and pre-production. Getting our feet wet again, playing live. Refining the live show. Getting my groove back. Daniel and I are playing at The Richmond Tavern on October 16th as guest musicians for The Inside Outside, a cultural showcase hosted by Tami Kegley. October 24th is Great Balls of Fire, a fundraising show benefiting Young Adult Cancer Canada (YACC) that runs from 4pm to 1am. Both Photoplay and Tell It To Sweeney are playing at this event.
Sweeney is also playing a Hallowe’en party on November 1st at Frontier Ghost Town, an old western movie set-turned-campground in Durham County. We’ve been invited to play Come Together, their annual Labour Day weekend music festival, for the past several years, and it is always a great time. On November 28th, Daniel and I are hosting our last full night of acoustic music at Dawghouse Pub, and my friend Nyssa Komorowski from The Cha Chas is coming to open for us. You can find her stuff on Bandcamp! Other than playing a couple of private events, that is it for me in 2025.
Q. In addition to your musical endeavours, are you involved with any other arts organizations or activities in the London community?
I am not! Truthfully, at this point in my life, I am spending a lot of my time cultivating solitude and personal reflection. The last few years have brought many changes that I am still negotiating. I am rewiring my brain, rewriting my story, creating some peace. It is at the same time relaxing and hugely uncomfortable. I always answer my messages, though, so please say hello sometime. I love to share a laugh.
Q. Is there anything else you think our readers should know about Anne Moniz the musician and Anne Moniz the individual?
I graduated from the Ontario Institute of Audio Recording Technology (OIART) in 2015 and have a few production credits (one of those is Leanne Mayer’s debut EP, 2018’s “Bittersweet Remedy”, coproduced with Michael Marucci). I am really into yoga, cats, cartoons, food, plants and flowers, cemeteries, tin toy robots, espresso, and I speak French.
Prism Tape Philosophy performing at The Richmond Tavern, 2021. Left to right: Howie Kittelson, Kevan Carmen, Nicholas Elie, Anne Moniz, Shane Wilcox, Brent Jones. Photo by Vera Kittelson.
Thames Rivieras performing at Palasad Socialbowl, London, ON, 2024. Left to right: Pete Dekokker, Anne Moniz. Photo by What Wave Dave.
Tell It To Sweeney performing at Polish Hall, Brantford, ON, 2024. Left to right: Me, Kyle Gagné, Matthew Greeson, Mitch Brolese, Ryan McNevin. Photographer Unknown.
Anne Moniz and Daniel Oniszeczko performing at The Richmond Tavern, 2025. Photo by Billy Sastard.
Nimway performing at Rum Runners, London, ON, 2019. Anne Moniz. Photo by Jason Roorda.
Tell It To Sweeney performing at Rib Fest, 2025. As you look left to right: Mitch Brolese, Matthew Greeson, Anne Moniz, Kyle Gagné. Photo taken by Bob Klein.
This is the tenth in a series of Q&A Profiles with London area theatre companies and groups. Today, we interview Melissa Ogden, founder of LIT (Live Immersive Theatre) Productions
Q. When was your company founded? By whom and why? I created LIT Productions in 2024, and we officially launched in 2025. LIT stands for Live Immersive Theatre. I have been a professional musician and supporter of the arts most of my life, and I am very excited about this new venture. I saw a need for a different night out that combined film, performance art, live music, and socializing, all for a reasonable ticket price. An alternative to the theatre or going to a nightclub.
Q. Is your company best described as professional or not-for-profit community theatre? Or both? LIT Productions is a professional company. We have a growing team of talented musicians, vocalists, stage managers, and sound and lighting technicians.
Q. What venue(s) do you use to stage your productions? One of the things that makes LIT Experiences different from traditional theatre is the party atmosphere. Guests are seated at tables with their friends, where they can talk and enjoy cocktails during the show. They can walk around, sing, and dance. So, our indoor venues are banquet halls and clubs rather than theatres. I am also actively booking outdoor shows in 2026. These shows will have a similar party vibe with a beer garden where guests bring their own lawn chair. An outdoor movie, live show, and a cold beer on a beautiful summer night – how fun is that?! Our debut production of Grease is being held indoors at The Marconi Club of London on September 26, 2025.
Q. Does your company have a Mission or Statement of Purpose? At LIT Productions, we blend film, live music, and performance theater to create immersive, one-of-a-kind LIT Experiences. We champion collaboration, diversity, and inclusion, and deliver an unforgettable (and affordable) night out. It’s a new way to ‘theatre’.
Q. Does your company have a Board of Directors and paid Staff? As of now, I am the sole owner and decision maker. All the LIT performers and production team are paid. We also have volunteers who help out at events.
Q. Tell me about your 2025-2026 Season. Does it have any underlying theme? We will be putting on more Grease shows in 2026, both indoor and outdoor. We will also be launching our production of The Rocky Horror Show. I am also excited to launch booking packages that will allow businesses to book an LIT Experience for corporate fundraisers and private events.
Q. What show(s) will you be staging this fall (September to December)? Tell me a little bit about each. I will explain what LIT Experiences are. A movie musical plays on the big screen and the musical numbers are performed live in character! Unlike the theatre, you can mingle, sing, dance – it’s a party! Our only show in 2025 is ‘Grease – a LIT Experience’ – Sept 26 at The Marconi Club. It’s sold out. And we are starting production of Rocky Horror to launch in 2026. The ultimate goal is to be staging several different productions (Grease, Rocky Horror, Mama Mia, Hairspray) at various venues throughout the calendar year.
Q.Do you have any thoughts about the London area theatre community and your part in it? We have created a dynamic team by blending together members of the music and theatre communities. We have vocalists who sing in bands but have never performed in theatre before. And we have theatre vocalists who have never performed in front of a live rock band. We have amazingly talented musicians from different genres. It has been so fun and collaborative and we are all learning from and getting the best out of each other. Judging by our sold out show and Londoner’s support of other live shows in the city, we definitely have a thriving arts scene. I want to thank Londoners for that! I have been a member of the music community for many years, but I am new to the theatre scene. I look forward to collaborating with both communities on events and initiatives that support and promote the arts in London.
This is the ninth in a series of Q&A Profiles with London area theatre companies and groups. Today, we profile the London Performing Arts Academy (LPAA).
Q. When was your company founded? By whom and why?
Renée and Courtney Murray founded the company in December 2019, with one high school cast of 14 students.
We wanted to provide a professional level of training for young people and make it affordable and accessible to people who may not otherwise have been able to be involved. We make sure our students feel included in the process and also learn what it is like to be part of a professional theatre production.
(Pictured: Courtney Murray)
Q. Is your company best described as professional or not-for-profit community theatre? Or both?
Not-for-profit, Community Theatre and Youth Performing Arts training in dance, vocals, and acting
Q. What venue(s) do you use to stage your productions?
We used to use The Wolf Performance Hall, but we just built our own 130-seat venue, so they will be at 3-80 Bessemer Road now, in the LPAA Family Theatre
Q. Does your company have a Mission or Statement of Purpose?
We want everyone to have the opportunity to experience the world of Musical theatre and fine arts. We strive to create and maintain an inviting, inclusive community where our students have growth and performance opportunities while enjoying their love of theatre.
Q. Does your company have a Board of Directors and paid Staff?
Yes
Q. Tell me about your 2025-2026 Season. Does it have any underlying theme?
This is a new year, a new direction for us. We have just built a 130-seat Performance venue in our new location. We are adding more programs and look forward to welcoming new families. We are adding programs as young as “mom and tot” and adding homeschool day programs to accommodate the needs of more families in the community.
Q. What show(s) will you be staging this fall (September to December)? Could you tell me a little bit about each?
Our first production is in December, presented by our Senior Company. They will be performing Stephen Sondheim’s Into the Woods. We have two very talented casts of High School Students. The show will run for ten days.
In January, we will be presenting Mary Poppins, and then in February, we will be presenting our Community Theatre Production of The Little Mermaid. Up next in May-June, we have Legally Blonde presented by our Seniors, Beetlejuice presented by our Juniors, and Alice in Wonderland presented by our Minis.
Q. Do you have any thoughts about the London area theatre community and your part in it?
London is a city rich in talented people with a passion for the arts. We love watching theatre here, and we love being able to produce theatre here.
LPAA has been a proud supporter and sponsor of many community theatre and youth programs. The city has a place for all of us, offering various programs, training, and classes to both our students and patrons, and we love being part of that beautiful community.
Jo-Anne will be reviewing local theatre productions for The Beat Magazine 2025. If your company would like your show reviewed, contact richardyoung@thebeatmagazine2025.ca.
Background and Experience in the Arts
My background in the Arts started with an early love for music and dance. I attended my first concert at 10 years old (Helix at the Sarnia Arena in 1983!) and began tap and modern jazz dance lessons around the same time. My love for live theatre was built through school trips to the Stratford Festival to see plays like Romeo and Juliet, The Merchant of Venice, and Macbeth, and a trip to Toronto for The Phantom of the Opera, which quickly became my all-time favourite.
I dreamed of performing for many years, but being too self-conscious to audition in high school, I sat on the sidelines and instead reviewed music and theatre for our school newspaper. In 2013, I finally pushed my fears aside and was cast in my first play, Laughter on the 23rd Floor, as Carol Wyman, the only female writer on the Max Prince show. I have since performed in productions of Birth (Jillian, 2016), Hamish (Annette, 2023) and The Curious Incident of the Dog in the Nighttime (Mrs. Alexander, 2024).
Previous Reviewing Activities
SCITS, Sarnia, Ontario – High school newspaper reviewer for Music and the Arts
London Fringe Festival, London, Ontario, 2012-2015
Independent Reviewer and Blogger (Theatre in London and The Pollyanna Papers), 2015-2016?
Why am I jumping back into the fray now?
After performing for a few years, I’ve decided to take a break from the grind of auditioning, rehearsing and performing. While I love it immensely, it’s a lot of work. Performing has given me a whole new perspective and appreciation of what goes into a production and the ability to look at reviewing with a fresh set of eyes.
Thoughts about the London arts and culture scene, especially local theatre
Hoo wee! London has such a wealth of talent, from youth to adults. Every time I see a play, I am amazed at how talented our actors, directors, producers, set/prop/costume/light/sound designers are. I don’t think causal observers realize just how much goes into making a production from the audition to the curtain call. It is a huge undertaking, and to think our theatres produce such world-class productions on some very tight budgets is astounding, especially at the community theatre level, where volunteers do everything.
Sadly, since COVID, I have witnessed a huge decline in attendance at performances, and it breaks my heart. I have also noticed a sad lack of reviews lately, which I find are necessary to give people an idea of what to expect and a reason to go to the theatre.
So, before I can put my feet on the stage again, I want to help put bodies in the seats. We need to reignite a love for theatre and the arts in this city.
If you are interested in becoming a volunteer writer for The Beat Magazine 2025, please contact Richard Young, Publisher & Content Manager, at richardyoung@thebeatmagazine2025.ca. We are seeking writers and reviewers for local music, visual arts, fiction, poetry, and prose.
This is the eighth in a series of Q&A Profiles with London area theatre companies and groups. Today, we profile the Kettle Creek Players (KCP).
Q. When was your company founded? By whom and why?
Kettle Creek Players was founded in January of 2023 by Jessica Fediw. St. Thomas had started British Pantomimes in 2012 but when the pandemic hit, theatre was put on hold. When the arts resumed, there was a demand for panto again. The local theatre that had done them in the past had decided to no longer do them. Jessica was approached by several people, asking for panto to make a return so she did some research into venues and found Central United. The rest is history!
(Pictured: Jessica Fediw and Judy Cormier)
Q. Is your company best described as professional or not-for-profit community theatre? Or both?
KCP is a not-for-profit community theatre. All of the money made from our shows goes back into the next year’s production costs.
Q. What venue do you use to stage your productions?
Our venue is Central United Church at 135 Wellington St. in St.Thomas, Ontario.
Q. Does your company have a Mission or Statement of Purpose?
Our goal is to provide quality live family shows for all ages. We are an inclusive theatre troupe. We are passionate about giving people of all abilities the chance to shine on stage. Community is very important to us.
Q. Does your company have a Board of Directors and paid staff?
KCP has a board of directors. We are run entirely by volunteers. It takes a village to run a community theatre. We are forever grateful to all those who volunteer their valuable time for our productions.
Q. Tell me about your 2025-2026 Season. Does it have any underlying theme?
We don’t have a season, per se. We do one show a year, around Christmas time, usually falling at the end of November, beginning of December. Our theme is British Pantomime, which consists of a fairytale, fable, or story that has a hilarious twist. Audiences are encouraged to interact with the actors when prompted. The 4th wall is continuously broken, and silliness and fun are the name of the game. Our first Panto in 2023 was Little Red Riding Hood, written by John Allen. 2024’s Panto was Cinderella, adapted by Lesley Chapman and Ken Roberts.
We also participate in community endeavours. If the community needs actors for a vignette or for an event, we work with them to provide quality engagements. It’s a lot of fun!
Q. What show will you be staging this fall (September to December)? Tell me a little bit about it.
Our show this year is Wicked Witches of Oz, written by Peter Nuttall with permissions from Lazy Bee Scripts. It will be directed by Judy Cormier and Jessica Fediw. It follows the adventure of two “wicked witch” sisters who have devised a plot to kidnap the Wizard of Oz and make their world greener. Their plans are thwarted at every turn by the many characters they come across in Munchkin Land.
Q.Do you have any thoughts about the London area theatre community and your part in it?
The London and area theatre scene is a thriving one. Although it took a hit during the pandemic, we are all building ourselves back up, year after year. We all work together as a team and really support each other; it’s really great to see.
This is the seventh in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile the Ingersoll Theatre of the Performing Arts (ITOPA).
Q. When was your company founded? By whom and why?
In 1976, a group of people began meeting to explore the possibility of setting up a community theatre. A set of by-laws was drawn up, a name chosen, a logo designed, and ITOPA was incorporated under the Charitable Organizations Act.
Q. Is your company best described as professional or not-for-profit community theatre? Or both?
ITOPA is a volunteer, non-professional community theatre company that provides live entertainment in the form of music, plays, and other events.
Q. What venue(s) do you use to stage your productions?
In the fall of 1980, ITOPA moved to its present location, 88 Thames Street South, Ingersoll, ON.
Q. Does your company have a Mission or Statement of Purpose?
ITOPA is a theatre of and for our community. We are committed to connecting, inspiring, and enriching everyone who we welcome into our safe space. ITOPA believes that theatre is an essential component of life and that every aspect should be available to all. Through contact, involvement, and exposure to the arts, we utilize the power of the theatre environment to foster inclusion, expression, and positivity for our entire community.
Q. Does your company have a Board of Directors and paid staff?
ITOPA is run by a volunteer board of directors who are selected from the membership.
Q. Tell me about your 2025-2026 Season. Does it have any underlying theme?
The only theme for the 2025-2026 season is FUN!
Q. What show(s) will you be staging this fall (September to December)? Tell me a little bit about each.
7-10 Split
By Michael G Wilmot
October 10, 11, 12*, 16, 17, 18*, 19*
Showtime: 7:30pm
*indicates Matinee performance 2:00pm
Since his aspirations to be a pro bowler went off the rails, Earl has tried one get rich quick scheme after another.
This time, things are different when a rich Count from the Internet has offered him money to help save his fortune.
Five classmates come together for their 30th high-school reunion.
Some see it as a welcome trip home, while others see it as an obligation, and a few never even left.
But as the night wears on, the one-time classmates start to reconnect and reminisce.
And the more alcohol that’s consumed, the closer the friends come to confronting their darkest secrets.
The Drowsy Chaperone
Music and Lyrics By Lisa Lambert and Greg Morrison Book by Bob Martin and Don McKellar
May 29, 30, 31* June 4, 5, 6*, 7* Showtime: 7:30pm *indicates Matinee performance 2:00pm
With the house lights down, a man in a chair appears on stage and puts on his favorite record: the cast recording of a 1928 musical.
The recording comes to life, and The Drowsy Chaperone begins as the man in the chair looks on.
Mix in two lovers on the eve of their wedding, a bumbling best man, a desperate theatre producer, a not-so-bright hostess, two gangsters posing as pastry chefs, a misguided Don Juan, and an intoxicated chaperone, and you have the ingredients for an evening of madcap delight.
Winner of five Tony Awards, including Best Book and Best Original Score, The Drowsy Chaperone is a loving send-up of the Golden Age musical, featuring one show-stopping song and dance number after another.
The Beat Magazine 2025 