A retired History and Politics high school teacher (1978-2008). Former Publisher/Managing Editor of The Beat Magazine (2009-2014). Freelance Writer. Proud Grandfather.
Reviewed by Sandi Laird & Tori Laird, Entertain This Thought. Reprinted with the permission of the authors.
(Pictured: Mayson Sonntag as Jesse. Photo by Shutter Studios.)
One thing we love about Port Stanley Festival Theatre is the proximity of the audience to the stage and actors. It’s up close and heartening. As the scene opens at Sugar Road, an amusement park in small town Ontario, you feel invested. Kudos for this set design go to Eric Bunnell.
Hannah and her somewhat nutty friend Caroline are preparing for a big event – the Spurs & Hearts Festival is coming to Sugar Road with headliner Jesse Emberley. The town is excited, Caroline is ecstatic, but Hannah, who knows this festival will provide a much-needed infusion of cash into the struggling Sugar Road, clearly has reservations. It seems Hannah has a secret. As the story moves forward, we learn more about the sadness, disappointment, and fear that keep Hannah tethered to Sugar Road. She receives support from the amusement park handyman Ray and best pal Caroline but keeps her true feelings close to the vest.
The performances of Sarah Machin Gale, a veteran at PSFT, as Caroline, and Scott Maudsley as Ray stand out. Gale’s Caroline is loud and hilarious and gets the best lines. Her physical comedic abilities are amazing. The scene in the sleeping bag is awesome. Maudsley’s Ray is patient and understanding – a friend we all would want. He really comes into his own in the second act as we move towards the unravelling of the secret all the characters want – a longing to be loved for Caroline and Ray, and the rekindling of past love for Hannah and Jesse.
The music – performed by actor Mayson Sonntag – sets the tone for the bittersweet, nostalgic ache felt by MacKinnon as Hannah and Sonntag as Jesse. Their story is revealed largely in flashbacks to when they first crossed paths 12 years prior. A change of shirt, a different hat, and a smiling Hannah establish a stark comparison to their contemporary identities.
Is there a happy ending for this story? PSFT promises “tilt-a-whirls, tiny sugar-covered donuts, a second chance at love, a handsome country music star, loads of laughs, and a twinkling midway.” Get yourself down Sugar Road soon.
Sugar Road continues at the Port Stanley Festival Theatre until July 25. Tickets are available at the box office at 519-782-4353 or visit psft.ca.
Sugar Road Written by Kristen DaSilva Directed by Lee MacDougall Performed by Sarah Machin Gale, Mayson Sonntag, Erin MacKinnon and Scott Maudsley Staged managed by Meghan Specht Set design by Eric Bunnell Lighting design by Paige Thompson Video design by Joe Recchia Costume design by Alex Amini Port Stanley Festival Theatre, 6-302 Bridge Street, Port Stanley, ON July 8 to July 25, 2026
Sunfest ’26 is back in Victoria Park for its 32nd edition, July 9-12, with a powerful and timely lineup of artists who speak to the moment through rhythm, resistance, and radical joy.
Each Sunfest transforms Victoria Park into one of Canada’s largest and free celebrations of global culture.
The Beat Magazine 2025’s roving photographer, Rudy Graf, was at Sunfest ’26 Friday evening and filed these photos of Kizaba and his band. Kizaba is a singer-songwriter and multi-instrumentalist based in Montreal who is the 2024–2025 Radio Canada Revelation and a pioneer of Congolese electro music.
Other photos are of Sunfest ’26 founder Alfredo Caxaj, CTV-London’s Nick Paparella, Sunfest ’26 volunteers, and festival attendees.
The annual Art in the Barn takes place on July 11th & 12th on the Dorchester Fairgrounds. It began in 2015 and was started by Michelle Mundy, a Dorchester resident.
(Art in the Barn founder, Michelle Mundy.)
Folks told her it wouldn’t fly, but she proved them wrong. Now, eleven years later, the event hosts over 200 artisans and vendors. Visitors from all over Ontario and further have made it a roaring success.
There is food, crafts, art, vintage, and something for everyone.
Michelle has an army of wonderful, talented vendors and student volunteers without whom the event would not be possible.
This is the fourth in an ongoing series in which The Beat Magazine 2025 takes readers “Behind The Scenes” to meet the talented creative individuals who make the London area such a vibrant arts and culture community.
In this segment, Richard Young conducts a Q&A Interview with London freelance writer Izzy Siebert.
(Pictured: Izzy Siebert.)
Q. Could you provide me with some basic biographical information – Where were you born? Where did you go to school? Have you always resided in London?
I grew up north of London in the small town of Clinton. There isn’t a theatre scene in Clinton, but it’s close to Blyth and Goderich, so I was lucky enough to get involved in community theatre there, especially thanks to my Grandpa Siebert, who built sets, acted, and was my intro to the stage.
I came to London for university and got my undergrad in English and Psychology at Brescia University College (formerly a Western affiliate), plus a Marketing Diploma at Western Continuing Studies. I really liked London and had begun to take root in the creative community, so I decided to stay. Now, I work for Tourism London and promote the arts, culture, and events that I love about the city.
Q. What attracted you to a career in writing, especially as it relates to arts and culture?
I’ve been writing creatively for as long as I can remember, from short stories as a kid to longer works as a teenager and then poetry as my main creative form for the past several years. Capturing an experience or story and finding the best way to transmit that feeling to others is something that I don’t think will ever stop interesting me. In a way, I’ve always been a writer and an actor, so combining those passions by writing about art seems almost inevitable.
Q. What label best describes you – Part-time Freelance Writer, Full-time Freelance Writer or other?
I am a casual freelance writer, although my day jobs have always included lots of writing. I write creatively and about theatre on the side but wouldn’t be interested in pursuing it full-time since that feels like a recipe for burnout for me. Although I enjoy writing, I don’t always find it easy! It’s more enjoyable to keep it as something I do for fun, rather than something I have to do.
Q. What specific jobs have you held as a writer?
My first writing role was a co-op placement at Clinton’s little local newspaper. As high school co-op placements go, it was an exciting one. I spent my days writing stories about events and businesses in town and even a few features about local theatre productions. It was a thrill to see my writing published.
My first communications job was for the Municipality of Central Huron, where I continued submitting stories to Clinton’s newspaper about community projects. In London, I’ve worked for the Old East Village BIA, St. Joseph’s Health Care, and now Tourism London—all involving writing in various capacities. These days, it’s a lot of social media captions, email newsletters, and website blogs.
Q. Could you tell me about your role in ON Criticism: The 2025/2026 Theatre Critics Lab and Intermission Magazine?
Being part of Intermission Magazine’s ON Criticism 2025/2026 Theatre Critics Lab was such a neat opportunity. Led by Karen Fricker (Editorial Director) and Liam Donovan (Senior Editor), the cohort included emerging and established critics from throughout Ontario. For several months, we met to hear from guest speakers, gain insight into four feature productions, and discuss writing criticism. We had the opportunity to publish a few pieces on Intermission’s website, and these marked my first professional theatre coverage.
My participation encouraged me to become more serious about writing, since before that I sort of just fell into theatre writing. I decided to write a review blog after seeing The Game’s Afoot at the Palace in 2023, and that got me started on reviewing each of their seasons since, but I never had any formal criticism training or mentorship. Theatre writing had been a very solitary practice for me up until ON Criticism, so it was exciting to talk with others about their crafts. I especially appreciated our many discussions about the purpose and ethics of theatre criticism.
Q. I notice you write Reviews for professional and community theatre productions. Is there a difference in how you approach each review?
Reviewing professional productions is still very new to me. Experience, time, and budget give artists more room to play, so it’s important to engage with professional theatre as professional theatre and community theatre as community theatre, considering the capacity they have to create. Which isn’t to say I can’t be surprised by the quality and choices made at both levels!
In professional productions, I find that there can be rich material to dig into, especially on the design side of things, so I enjoy taking a more artistic and analytical perspective in those reviews. I also feel freer in being critical of professional productions since criticism can be valuable feedback as people seek to improve their creative craft.
Q. In a recent Facebook post you revealed that in addition to your writing, you are currently involved with a staged reading of Odesa Company’s Neon Gaslight, this year’s Western Summer Shakespeare’s production of Love’s Labour Lost, and dancing in the ensemble of the Palace Theatre’s production of The Great Gatsby in the fall. Can you tell me about each of these endeavours?
My friend Melissa Parker is reimagining Patrick Hamilton’s 1938 play as Neon Gaslight, putting an 80s twist on the story where the term ‘gaslighting’ originated. I play Liz, the main character’s daughter, in a staged reading on July 25. It’s been exciting as both a writer and a performer to peek into the process of reworking a script. It’s unsettling how much of the domestic horror in the story still feels relevant. Watching the script develop over several months has been a really interesting process, and we’ve been encouraged to add our own notes. I need to dig into the latest draft ASAP!
This is my fourth year being involved with Western Summer Shakespeare and it’s one of my favourite summer traditions in London. I love the whimsy and challenges that come with performing outdoors in a garden on campus. This is the first year I get to play a character with a ton of agency and confidence. Often Shakespeare’s women end up silenced, so it’s very fun to speak my mind as Francesca (originally the Princess of France) in Love’s Labour’s Lost.
For The Great Gatsby at the Palace Theatre, I’m in the ensemble where we’ll be partying and dancing at Gatsby’s house. I’ve never been involved in a show where I haven’t had lines to memorize, so it’s a different kind of homework. I wouldn’t consider myself the most coordinated dancer, but I’m looking to learn and excited to be a part of things.
Q. Obviously, you like to stay busy. What do you do in your spare time for fun?
I love London’s poetry scene. Theatre reviews magically combine my passions for writing and performance, but spoken word perfectly blends those loves too. Acting is about telling someone else’s story, and poetry, for a lot of people, including myself, is about telling your own story, so it’s a fun pairing.
Q. Who is the most famous person you have interviewed and/or written about?
I recently interviewed Sara Farb about her play Love Us Most, which premiered at Here For Now Theatre in Stratford! I had previously seen her act onstage at Stratford, and when the Festival screened Shakespeare plays during the pandemic, which really ignited my love for Shakespeare. It was nerve-wracking but also incredibly neat to speak with Sara about a show she had written.
Q. What is the most memorable performance you have reviewed?
This year so far, I really loved TheImportance of Being Earnest at the Grand Theatre! It was just a phenomenally fun show. I was grinning the entire time, and as we left the theatre, all I could think of was how entirely fun the show was. But I can’t write a review just saying, “this was fun!!!” I have to dig into what exactly I liked about it. So, it was an enjoyable challenge to try to talk about a joyous feeling in a grounded way.
Q. Dog or Cat?
Dog!
Q. Beer, Wine, or Cocktail?
Cocktails, but I’m pretty picky with my drinks.
Q. How do you approach reviewing a show you disliked?
As someone personally involved in theatre, I have an immense amount of love for the people who create it and respect for the passion every artist has for their project. Sometimes this becomes a personal challenge when wanting to bring an authentic perspective to how I write about shows.
It’s something I wrestle with all the time, especially given how many theatres are struggling financially. It’s about finding balance and believing that there is something in every show worth celebrating. Then it’s about finding that thing and how to share it, while acknowledging aspects that might not have worked for you in the production. Sometimes what doesn’t work for me works for others.
Q. Are you a morning person or a nighthawk?
Night owl, which works well as a theatre reviewer. I can come home after the show and brain dump my initial thoughts before heading to bed and settling in to write the next day.
Q. Where do you see yourself ten years from now?
Even more deeply immersed in London’s theatre community! I’ve been publishing across various blogs for the past couple of years, but this summer I just started my own Substack (IzzaReview) so this coming theatre season I can dig even more seriously into review writing. It feels like a big step and one I’m excited about.
Q. How did you feel about answering these questions?
I’ve more often been the interviewer than the interviewee, so definitely a new experience!
Q. Is there anything else you think our readers should know about Izzy Siebert, the writer, and Izzy Siebert, the person?
Honestly, it can be hard to separate the two. I would say Izzy the writer ends up much more confident and eloquent than Izzy the person. I’m better with an editor… but aren’t we all!
Interview conducted by Richard Young, Publisher & Content Manager, The Beat Magazine 2025, July 8, 2026.
Reviewed by Vicki Stokes, Entertain This Thought. Reprinted with the permission of the author.
(Pictured: Randy Hughson and Tracey Ferencz. Photo by Drayton Entertainment.)
Prepare to be thrilled by Misery, now on the South Huron stage at Huron Country Playhouse. Last fall, Misery was staged at St. Jacobs Country Playhouse to positive reviews.
If you are unfamiliar with the book or the movie, Misery is the story of Paul Sheldon, a famous author who crashes his car during a snowstorm and is saved by his greatest fan, Annie Wilkes. While at first it seems Annie, a former nurse, has done everything she can despite the dire circumstances – blocked roads, widespread power outages and no phone service – we quickly discover that Annie isn’t quite so altruistic. Paul is held hostage while Annie forces him to walk back the death of her favourite character, Misery. Meanwhile, the town sheriff dismisses the FBI’s weak conclusions and does his own investigation, zeroing in on Annie and her suspicious behaviour.
Stephen King is the king of the horror genre, but Misery is a psychological thriller that can appeal to more than just horror fans. Paul’s feeling of being chained to the Misery series arose from King’s horror fans rejecting his fantasy novel. Paul’s self-proclaimed “number one fan,” Annie, represents King’s addictions and struggles to overcome them. The mental tango between Annie and Paul is mesmerizing to watch. Misery is riveting yet full of sarcastic wit, an enjoyable experience and not just a horror show.
The play, written by William Goldman, has changes for the sake of the stage, but it remains true to the complex character of Annie and to Paul’s mental reasoning. The decision to omit the intermission keeps up the momentum, and it’s not so lengthy that you lose attention. The average theatre-goer won’t need to go, so to speak.
The acting is exquisite, with Tracey Ferencz and Randy Hughson as the two leads. Roy Lewis plays the sleuthing sheriff and is also fight captain for this play. The emotional and physical pain feels real with these actors at the helm.
The rotating set draws you in as it whisks you from room to room of Annie’s gloomy home. Wintry sounds and lighting to simulate the passage of the days add to the realism.
While Stephen King horror is not everyone’s cup of tea, the tamer stage play has wider appeal. Everyone can appreciate Paul’s attempts to outwit the cunning and deranged Annie. Be aware that there’s strong language and simulated violence, which may be triggering for some. If that doesn’t bother you, Misery is one to see if you can.
Misery continues until July 18th at Huron Country Playhouse, South Huron Stage. Tickets are available by calling the Box Office at 519-238-6000, or Toll-Free at 1-855-372-9866, or by checking www.huroncountryplayhouse.com for availability.
Misery Written by William Goldman Based on the Novel by Stephen King Directed by Skye Brandon Performed by Tracey Ferencz, Randy Hughson, Roy Lewis Produced by Drayton Entertainment South Huron Stage, Huron Country Playhouse, Grand Bend July 2nd to July 18th, 2026.
To Culbert’s eyes, it all started with a confluence of almost simultaneous changes in London’s theatre community.
“In the early 2000s the Drama Workshop at Western closed down, and if you wanted to do theatre, you either looked at established groups like London Community Players or you started doing your own run,” he explains.
“There weren’t a lot of companies that just picked up original writers, so producing your own do-it-yourself theatre became the way things got done.”
“One person inspires another person, so you had people like Jason Rip and Jayson McDonald writing new plays. Those were the two leading the charges.”
“They wrote like crazy. They just had it in them, and that inspired a lot of people. And one thing feeds on another.”
That was part of it, according to Culbert. The other was space for these new plays and productions.
(Pictured: Jeff Culbert.)
“Phil Arnold created the Old Factory Theatre over on Ann Street, and there were a lot of people who had their first plays put on there because it was relatively cheap and simple. When I started and did my first shows, the Forest City Gallery was in the basement of Aeolian Hall.”
“Then the Arts Project had a space, and the McManus at the Grand Theatre became available to rent and were fairly reasonable in their pricing.”
“There had to be space and plays, and there has to be writers and actors, and somehow it started. And once the ball was rolling, it was really rolling.”
Culbert knew that festivals were another linchpin to encourage and sustain the fledgling theatre writers and performers.
“Festivals started popping up. You had The Fringe Festival around 2000, the London One Act Festival and Purple Shorts, which was up at Western where students were writing original plays.”
“And then there was the Playwright’s Cabaret at the Grand, which encouraged people to write 10-minute pieces. All that happened in the space of a few years.”
As Culbert put it, one thing led to another and the energy of the new scene started to inspire others to jump into the fray.
“It was contagious. I remember Jonathan D’Souza coming back to London. He saw what was happening and said, ‘ Wow: theatre seems to be what this town is about right now,’ so even though he was a music guy, he just jumped in and started writing.”
“He did a piece at the Fringe Festival, and nobody knew him in my circles, and he just blew everybody away. They all said, ‘Who the hell is that guy?’ But again, he just saw what was happening and said this is an art form that is taking off in London. And one thing feeds another thing.”
It was an inspiring time in London’s long theatre history, and Culbert was not only a part of that, but he also documented it in a few local publications regularly.
“Theatre Boom Town consists of columns that I wrote in those times: the first one for The Londoner was in 2002, and the last one for the London Yodeller was in 2015.”
“The focus of the book is what was coming out at that time, but also I would do a historic look back to somebody every once in a while like Richard Barry Harrison, who came from London, became the toast of Broadway, and was on the cover of Time Magazine. But mostly I was covering what was happening in live theatre in London.”
It was a thriving scene, but it had a narrative arc. Some performers moved on to different cities and some of the venues went dark.
“Covid, of course, sent everybody scattering, and some never recovered. The Fringe as we knew it is gone, The Playwrights Cabaret at the Grand is gone, the London One Act Festival is gone.”
The July 16 event also celebrates 25 years of the Theatre in London website.
Started by Culbert in the early 2000s, it became more than he could handle with his other role in the burgeoning theatre scene, so he asked around for someone to take it over. Peter Janes put up his hand. An avid theatre fan and supporter, Janes had a solid tech background and saw a lot of potential in the site to support the growing theatre community in London.
“Jeff’s version of the site was entirely static. My idea was to put a database behind it so we’d have a record of the history of these things. But I also wanted to make it possible to do a calendar of upcoming things, so not just the past, but keeping the future stuff happening on it as well,” he explains.
“It’s been in the midst of an overhaul since 2008, but in the last six or seven years, I realized that it’s really outgrowing the platform that I got it on, and I want to put a proper database behind it.”
“None of that stuff should be visible to anybody who’s using the website, but if anything, it’ll get faster. Eventually, when I have to pass this on to somebody else, there will be a better basis for them to kind of continue working on it.”
Janes’ goals for the site overhaul were twofold.
Most importantly, it has to be a place to let people know what’s going on in London theatre. Janes himself uses it for that reason.
“It’s a site that I use to find out what things are going on. Otherwise, I wouldn’t know that Little Theatre Company is doing a production of something at the Wolf Performance Hall and Original Kids are doing something or AlvegoRoot Theatre has something coming up,” he admits.
“The secondary value of it is the continuum. It’s like the six degrees of Kevin Bacon. I don’t have all the stuff in yet, but eventually it will be able to tell you that, for example, Adam Holowitz adapted a play by James Reaney. One of his shows was on at Central, which was directed by this person who was in a show at London Community Players and through London Community Players back to the London Little Theatre, which goes back to Victor Garber or even Hume Cronyn at some point.”
“I want to have the entire casts and crews and everything, but it’s impossible to do all that, because a lot of that information doesn’t exist anymore.”
The site’s celebration at the July 16 event doesn’t mean Janes can rest anytime soon. “I’ve been updating it at least five days a week for 27 years!”
“I now have just shy of 3,000 productions on the website. Most of those are since about 2008. There’s so much research that remains. I even have events going back to the 1800s,” he says.
The annual Thames Centre Pride Festival was held on Sunday, July 5, at Dorchester Community Park.
The rain did not keep anyone away, and the scheduled free activities were everywhere.
There were rock painting, chalk drawing, a bouncy castle, and wonderful caricatures.
Entertainment was provided by Dance in Dorchester with JNS Dance and guitarist-vocalist Greg Lirette.
Presentations were made by Susan Clarke, Middlesex County Warden; Mayor of Adelaide Metcafe; and the Thames Centre Pride Committee Chair; Katy D’Angelo, Chair of Thames Centre Accessibility and Inclusivity Advisory Committee; Thames Centre Deputy Mayor, Michelle Smibert; and journalist Shauna Rae.
“Pride is the promotion of self-affirmation, equality and dignity for every type of sexual orientation. It celebrates equal rights and is a movement against shame and social stigma.”
Reviewed by Vicki Stokes, Entertain This Thought. (Reprinted with the permission of the author.)
(Pictured: Amir Haidar, Nick Boegel, and Benjamin Doncom. Photo by Drayton Entertainment.)
The Full Monty, at its heart, is as relevant today as it was when it was first written for the 1997 film. Desperate times call for desperate measures. When work is scarce, money is tight, and you might not get to see your kid unless you get your act together, you need to be a little creative.
Now on the Main Stage at Huron Country Playhouse under the direction of Alex Mustakas, The Full Monty was staged last year in St. Jacobs and at King’s Wharf Theatre, Penetanguishene. Though one of the stars of the show is a youngster, this one’s not for the kids!
Women, for better or worse, have always had the option of taking their clothes off for money, so why not men? And if you “ain’t got it” and have to compete with the Chippendales, what does desperation call for? The Full Monty! This was not an expression I’d heard of before the movie came out, but it’s not a big thing for people to figure out.
(Pictured: Cast of The Full Monty. Photo by Drayton Entertainment.)
This play is set in Buffalo for a North American audience, though the movie was set in the UK. Two blue-collar unemployed friends, Jerry and Dave, notice how much their wives enjoy the Chippendales show. Jerry needs to make support payments for his son and convinces Dave and other dispirited men to develop a striptease routine to raise some quick cash. Dave, who struggles with overeating, is reluctant, but with the help of his loving wife, summons up the courage. Jerry’s son Nathan offers his support when Jerry struggles to fund the show and wants to back out.
The music provides a faithful soundtrack to the story, with songs such as “Scrap,” “It’s a Woman’s World,” and “The Goods.” With Christine Watson’s fun choreography, you almost feel like you are at a Chippendales performance at times. Despite the heavy themes, this is a brilliant comedy. Suicide is addressed yet made humorous with the song “Big Ass Rock” and the presence of the carbon monoxide-filled Volkswagen Beetle on the stage.
(Photo by Drayton Entertainment.)
The lead male actors expose themselves not just physically but emotionally on the stage night after night, with homophobia, fat-shaming, and self-esteem issues that fortunately get resolved, for the most part. Amir Haidar, Benjamin Domcom, Mark Cassius and the other strippers all do a great job of letting their vulnerabilities hang out.
Young actor Declan Pothier, from the 2024 production of Priscilla Queen of the Desert, impressively plays Nathan. Nicola Dawn Brook has fun with her role as Jeannette, the hilarious accompanist. The ensemble does a great job of firing up the audience.
I smiled through The Full Monty so much my cheeks hurt. Even the funeral scene had some humour. Despite the depressing themes, this is a fun one, a must-see! Do they take it all off? Go and see for yourself!
The Full Monty continues until July 25th at Huron Country Playhouse, Mainstage. Tickets are available by calling the Box Office at 519-238-6000, or Toll-Free at 1-855-372-9866, or by checking www.huroncountryplayhouse.com for availability.
The Full Monty Book by Terrence McNally Music and Lyrics by David Yazbek Directed by Alex Mustakas Choreographed by Christine Watson Musical Director – Van Wilmott Performed by Amir Haidar, Benjamin Doncom, Mark Harapiak, Nick Boegel, et al. Produced by Drayton Entertainment Mainstage, Huron Country Playhouse, Grand Bend July 2nd to July 25th, 2026.
This is the third in an ongoing series in which The Beat Magazine 2025 takes readers “Behind The Scenes” to meet the talented creative individuals who make the London area such a vibrant arts and culture community.
In this segment, Beth Stewart profiles visual artist Anna Wilson.
(Pictured: Anna Wilson and “Found” at 100 Kellogg. Image courtesy of the artist.)
Anna Wilson is known for her intricately detailed fineliner drawings. She describes her subject as newly imagined places, inspired by real animals, architecture, furniture, and objects.
Wilson constantly takes photographs of places and things that she finds beautiful or interesting to use for reference in her drawings. She then plays with her references until they suit her vision. She explains, “I may change the pattern of a chair’s upholstery, add in flowers bursting from walls, or perspectives that have been manipulated in impossible ways.”
The sizes of her pieces run the gamut – some as small as 8 by 8 inches, others as large as 40 by 30 inches.
Wilson has always been passionate about art. Over time, her zeal has matured into commitment as she has discovered her medium and honed her style. She credits art teachers Erica Reshef of Artventure Art Studio and Leslie Putnam of Banting Secondary School, as well as her supportive family, with inspiring her to pursue a career as an artist. Wilson subsequently graduated from Western University in 2018, where she studied visual art and psychology.
Art lovers will see a lot of Wilson’s work in the months to come. Her drawing “Found” was chosen as one of the Top 100 pieces in the 2026 Kellogg’s Art Competition.
(Pictured: Anna Wilson “Found”, fineliner on paper, 30 x 36. Image courtesy of the artist.)
Her willow tree drawing, “Graceful,” will be in “Visual Elements 68” opening at Woodstock Art Gallery on July 11th. It’s Wilson’s first time showing in Woodstock.
(Pictured: Anna Wilson, “Graceful”, fineliner on paper, 40 x 30. Image courtesy of the artist.)
Anna is also preparing for a show at Westland Gallery, 247 Wortley Road, from August 25 to September 26. It will showcase her “Every Last Leaf” series, a new collection of highly detailed drawings of willow trees and birds, the result of her burgeoning passion for nature.
To learn more about Anna Wilson, visit www.annawilsonart.ca or check her out on Instagram/Facebook: @anna_wilson_art
The London area is blessed with numerous live music venues that offer all genres of music from classic rock to country, and everything in between. Some venues are large concert halls, while many are smaller nightclubs and bars. Some are strictly 18 and over, while some offer All Ages shows. Some have Cover Charges, while many offer free entertainment.
The Beat Magazine 2025 wants to recognize these fine establishments by publishing short profiles of each in a recurring series called “Profiles of Local Music Venues.”
In this first segment, Rudy Graf of RK photo Graf s, profiles Pete’s Pad Restaurant & Sports Bar.
Pete’s Pad Restaurant & Bar is a small bar on the east side of town with a big sound.
Every Sunday afternoon there is a Blues Jam at Pete’s Pad. The jam band consists of Ray, Steve, Richard, and Laura. What a great combination.
Some of the musicians who have come in and sung a few songs include John Brocksom, Terry Lee, Kristen Renee, Chris Murphy, Robbie Antone, Ollie Marcoux, and Randy Carville, just to name a few.
You never know who is going to drop by on a Sunday afternoon.
In addition to the Sunday Blues Jam, Pete’s Pad holds a Karaoke Night on Wednesdays and an Open Mic on Friday. Local bands often play on Thursdays.
The staff is friendly, and the food is fantastic, so check it out at 609 Clarke Road. London.
Check out their Facebook page for more information and news of upcoming events (11) Facebook
All Musicians’ Photos by Rudy Graf.
Check out samples of Rudy’s work at RK photo Graf s on Facebook
If you know of a local music venue you think The Beat Magazine 2025 should profile, contact Richard Young at richardyoung@thebeatmagazine2025.ca
The Beat Magazine 2025 