Richard Young

A closer look at Closer at the Procunier Hall, February 5 to 15.

January 28, 2026February 7, 2026 by Richard Young

Previewed by J. Bruce Parker

In a recent conversation I had with London playwright, Jason Rip, he stated that he writes plays for “the precious few who prefer their theatre to be hard-hitting social commentary instead of song and dance.”

Actor/director Dave Semple mentioned to me in an interview last year that he likes “stories that are dark and have a good depth of substance to them.”

So, what is theatre to a viewing audience?

Should its goal be to enlighten or enrich? Do you prefer leaving a theatrical performance with a smile and a sense of contentment rather than feeling troubled by what you just saw on stage? What are the limits of theatrical performances? What should be performed and spoken on stage?

Dave Semple is directing Patrick Marber’s Closer, which will be performed on the Procunier Hall stage at the Palace Theatre from February 5 to 15. Marber’s play offers a lens into the rawness of the human psyche as it defines love, trust, and betrayal.

Getting a whiff of the oncoming production, The London Free Press warned the viewing audience that the play, “may feature nude actors and scenes depicting sexuality, spurring the addition of an intimacy coach to the crew.” Is press like this a help or a hindrance?

I recently had the opportunity to view a rehearsal and talk with the cast and crew.

Dave Semple, with over forty years of experience as a drama teacher, actor, and director, explained why he wanted to undertake such a project.

“I don’t think there are always happy endings in lives and relationships, and I wanted to direct a play which was representative of something real, not the usual perfect relationships and happy endings that we usually see in theatre.”

He adds, ‘Despite the characters’ flaws and how they treat each other, what we want you to discover is that there are moments of redemption for all of them. We tried to build that into the story. The play is about the mistakes we make in relationships. Everyone says that they are looking for love, but ‘love’ for everyone is different.”

(Pictured: Sarah Taylor and Dave Semple. Photo Credit: J. Bruce Parker.)

Semple is assisted by Sarah Taylor, a teacher and actress who was brought in as an “Intimacy Director” for the production.

I must admit, this role in a theatre production is new to me, so a quick Google search helped define it. Better yet, I asked Sarah to interpret her role.

“The role of Intimacy Director has been around for some time, but certainly more prominent than it used to be. It is someone who handles sensitive stage moments; things that may need finesse or support. The director sees the big picture, but the Intimacy Director partners with the director to be the bridge between them and the actors,” she says. “We have to look at the actor’s comfort and what the director wants the actor to do in terms of intimacy, understanding the actors’ boundaries and finding a way to honour both. I can be the voice of the actor and still have a relationship with the director to make sure that their vision is maintained.”

I asked Sarah what she wants the audience to walk away with at the play’s end.

“I want the audience to experience vulnerability,” says Sarah. “There is a vulnerability in this play that sees humanity in a 360-degree view. I really believe this is something important for the audience to engage with.”

(Pictured: Set of Closer. Photo Credit: Palace Theatre.)

The production is laid out on a sparse set. Just a black curtain as a backdrop and a few chairs centre stage. With only four actors performing, dialogue has to propel the story deeply and compellingly.

Semple has carefully assembled his cast with the likes of Alex Pinter (Larry), Meghan Brown (Anna), Noah Englmann (Dan), and Scarlett Allen (Alice).

(Pictured: Cast of Closer – Alex Pinter, Noah Englmann, Scarlett Allen, and Meghan Brown. Photo Credit:J. Bruce Parker.)

I asked each actor to define their character:

Alex (Larry) – “My character is generally an honest person, but I think he is driven. Larry wants to have good, constant sex, but he mistakes sex for love.”

Meghan (Anna) – “Anna is someone who thinks she has her life together and thinks she knows what she want but she tends to self-sabotage. She is not comfortable with being comfortable, especially with love, and this is where desire takes over.”

Noah (Dan) – “His incessant need for the truth gets in the way of love. At the end of the play, I don’t think Dan believes in love. In my presentation of Dan, he doesn’t question his belief in love at the end of the play. He keeps seeing the pattern happening over and over, and he is starting to waver in his belief in love.”

Scarlett (Alice) – “I am empathic towards Alice. The story is about people looking for connections, and this is all she wants, and in searching for it, she is always pushing people away. She tries to make herself into something people want, so she totally makes herself up. She likes to create a persona, and that is probably why she becomes a stripper.”

Closer brings together four people whose lives collide, intertwine and subsequently collapse. The mood is edgy, with dialogue that is muscular, tough, and brutal. There is a blurred line between love and lust, and sex is used as currency as well as a form of deception and vengeance.

Larry tells us, “What’s so great about the truth? Try lying for a change. It’s the currency of the world.”

Alice reiterates by saying, “Lying is the most fun a girl can have without taking her clothes off.”

There is humour in this story, but it’s brief and fragmented and never diffuses the ongoing tension between the characters.

Closer holds up a mirror to the audience in portraying the bold, honest and unsavoury aspects of relationships. It is the right fit for Procunier Hall and the right fit for those who appreciate a more visceral form of theatre.

IF YOU GO:

What: Patrick Marber’s Closer, directed by Dave Semple.

Where: Procunier Hall at the Palace Theatre, 710 Dundas St., London, ON.

When: February 5-15, 2026.

Tickets: Adults: $33, Students/Seniors (55+): $30, Preview: $22 (fees included). https://mytickets.palacetheatre.ca/eventperformances.asp?evt=525

Note: Contains explicit sexual content, strong language, and mature themes. THIS SHOW IS RECOMMENDED FOR 18+ ONLY.

(Closer Cast. Photo Credit: Palace Theatre.)

Previewed by J. Bruce Parker

Finding Connection in Primary Trust at the Grand Theatre

January 26, 2026January 26, 2026 by Richard Young

Reviewed by Jo-Anne Bishop

The Grand Theatre’s production of Primary Trust, written by Pulitzer Prize–winning playwright Eboni Booth, is one of those plays that sneaks up on you – and it just might be my favourite play so far this season. Directed by Cherissa Richards, Primary Trust is funny, tender, and deeply touching, exploring themes of loneliness, loss, and hope without feeling heavy-handed. What begins as a modest, intimate story – complete with Kenneth directly addressing the audience – slowly evolves into something much larger and more emotionally resonant.

(Pictured: Durae McFarlane as Kenneth. Photo: Dahlia Katz.)

Durae McFarlane portrays Kenneth with such honesty and openness that he immediately had me leaning in. His story takes you on a full emotional journey, moving effortlessly between humour, vulnerability, and moments of genuine sadness. I found myself completely absorbed, hanging on his every word, and by the end of the show, wishing for nothing more than to give him a hug. Kenneth’s experience feels deeply personal, yet widely relatable, which is where this play finds much of its power.

(Pictured: Peter N. Bailey, Durae McFarlane, Ryan Hollyman, and Khadijah Roberts-Abdullah. Photo: Dahlia Katz.)

The supporting cast adds warmth, texture, and balance throughout the production. Peter N. Bailey brings calm reassurance as Kenneth’s best friend, Bert, while Ryan Hollyman offers humour and charm as Clay/Sam/Bartender, transitioning seamlessly between each personality. Khadijah Roberts-Abdullah is engaging and natural as Corinna, providing moments of humour, compassion and emotional grounding. Lawrence Libor, as the musician, weaves well-timed music into the storytelling organically enhancing emotional shifts without drawing attention away from the narrative. The performances feel believable and connected, carrying the audience through laughter, reflection, and quiet heartbreak. Around me, the crowd responded thoughtfully – laughing often, sitting at times in contemplative silence, and clearly moved by Kenneth’s journey.

(Pictured: Primary Trust Set Design by Julie Fox. Photo: Dahlia Katz.)

Julie Fox’s set design supports the story beautifully, creating a space that reflects Kenneth’s inner world while allowing the play to move smoothly between moments of memory, reality, and imagination. Under Cherissa Richards’ direction and the assistant direction of Vanessa Spence, the production maintains a gentle but steady rhythm that allows the emotional moments to land naturally, without being rushed or overstated.

Listen to Director Cherissa Richards talk about Primary Trust: https://youtu.be/lUON_-f6JbY?si=fYahgazhxQVEuQKq

Primary Trust explores themes of grief, loneliness, friendship, and the courage it takes to reach out for connection, particularly when doing so might feel risky or unfamiliar to us. By the final moments, Kenneth’s journey feels personal and earned, and the audience leaves the theatre reflective, moved, and reminded of how important even the smallest acts of human connection can be. This is a powerful story movingly brought to life and is one not to be missed at the Grand Theatre this season.

IF YOU GO:

What: Primary Trust by Eboni Booth, directed by Cherissa Richards

Where: Spriet Stage at the Grand Theatre, London, Ontario

When: January 20^th – February 7^th, 2026.

Tickets: Single tickets range from $25 to $97 in-person at the Box Office, by phone at (519) 672-8800, and online at https://www.grandtheatre.com/event/primary-trust

Reviewed by Jo-Anne Bishop.

Pulitzer Prize winning Primary Trust takes the stage at the Grand Theatre, January 20 to February 7.

January 19, 2026January 19, 2026 by Richard Young

Prepared with files from the Grand Theatre

Ebobi Booth’s Pulitzer Prize-winning play, Primary Trust, comes to the Grand Theatre’s Spriet Stage in an all-new London-made co-production with Crow’s Theatre and directed by Cherissa Richards, January 20 to February 7.

Considered one of the most exciting scripts to grip modern theatre, Primary Trust is one of those stories that grabs you and whisks you into the styled yet realistic, gritty yet beautiful world of a Tiki Hut regular, Kenneth. “We are taken back to a recent time, but a time before smartphones, in North America, where connection wasn’t merely a click away and interpersonal connection took some work,” says Rachel Peake, Artistic Director of the Grand Theatre. “We lean into how Eboni Booth explores loneliness and the complicated need for connection.”

(Pictured: Rachel Peake, Artistic Director of the Grand Theatre.)

“This is my favourite play that I read for the season, and now I am so excited to get to share it with London audiences,” says Peake. “Full of magic realism, humour, and heart, Primary Trust lets you walk in the shoes of someone else in a way that unlocks the world a little differently.”

For the past several months, Booth’s script has been in the hands of theatre artists recruited from across Canada, including director Cherissa Richards and designers Julie Fox (set), Rachel Forbes (costume), Imogen Wilson (lighting), and Thomas Ryder Payne (sound). Together, they are building “a world that feels like ours, that looks like reality,” explains Peake, “but in fact, is not bound by the laws of physics or time and lives inside an active idea.”

(Pictured: Cherissa Richards, Director of Primary Trust. Photo: Kristen Sawatsky.)

One ‘happy hour’ at a time, the character of Kenneth will unfold on the stage, seemingly set with a life-size diorama. “The characters will step out into a frozen photograph and bring it to life. Surreal, fragmented buildings, slices of evocative settings, signalling to the audience that we are only being let in on part of the story – the rest is in your imagination,” says designer Fox. “There is a tumbleweed feel of boarded-up storefronts and empty spaces that resonates as we continue to come back from the pandemic in our own cities. In this kind of desolate, urban landscape – so typical across North America – we still manage to find beauty and connection, and the unexpectedness makes it that much more special.”

(Pictured: Durae McFarlane as Kenneth in Primary Trust. Photo: Mai Tilson.)

‘Extraordinary, ordinary’ Kenneth is played by Durae McFarlane, who is making his Grand Theatre debut after a series of theatre and TV roles. Musician and actor Lawrence Libor will perform keys on stage, adding a live soundtrack to the show. Libor is known to Grand audiences, having previously been in last season’s smash-hit musical Waitress, as well as the three-times-extended run of Cabaret, which set a record as the longest-running show on the Grand’s studio stage. Peter N. Bailey (Stratford, Canadian Stage) also makes a much-anticipated return to the Grand, after performing in August Wilson’s Fences (2018/19). The cast also includes Ryan Hollyman (Soulpepper, National Arts Centre, Mirvish) and Khadijah Roberts-Abdullah (Stratford Festival), who are both making their Grand Theatre debuts.

Creative Team

Cherissa Richards – Director

Julie Fox – Set Designer

Rachel Forbes – Costume Designer

Imogen Wilson – Lighting Designer

Thomas Ryder Payne – Sound Designer

Vanessa Spence – Assistant Director

Kai-Yueh Chen – Stage Manager

Emma Jo Conlin – Assistant Stage Manager

Finnley O’Brien – Apprentice Stage Manager

Cast

Peter N. Bailey – Bert

Ryan Hollyman – Clay / Sam / Le Pousselet Bartender

Lawrence Libor – Musician

Durae McFarlane – Kenneth

Khadijah Roberts-Abdullah – Corrina

(Pictured: Primary Trust Company. Photo: Farrell Tremblay.)

To learn more about Primary Trust at the Grand Theatre, please visit www.grandtheatre.com/event/primary-trust. Follow the production and peek behind the scenes by following @thegrandlondon and #GrandTrust on Instagram, Facebook, LinkedIn, Threads, Bluesky, YouTube, & TikTok.

IF YOU GO:

What: The Grand Theatre presents Ebobi Booth’s Pulitzer Prize-winning play, Primary Trust.

When: January 20 to February 7, 2026.

Where: Grand Theatre’s Spriet Stage, 471 Richmond Street, London, ON

Tickets: Tickets can be purchased online at grandtheatre.com, by phoning the Box Office at 519.672.8800, or by visiting the Box Office in person at 471 Richmond Street (weekdays from 9:00 a.m. to 5:00 p.m., and Saturdays from 11:00 a.m. to 3:00 p.m.).

Jason Rip – London’s Man for all Seasons

January 16, 2026January 16, 2026 by Richard Young

by J. Bruce Parker

Jason Rip is very much aware that his name will also be his epitaph. Mention this to him, and his eyes narrow slightly, accompanied by a nefarious smile. This is understandable as the poet, author, actor, director, comedian, and cartoonist has incorporated a sense of the macabre into much of his work.

With all these titles before his name, I ask, “Who is Jason Rip”?

He diffuses it down to “I’m a storyteller.”

I met up with Jason at one of his favorite haunts, the Landon Library in South London. He was deep into Charles Dickens’ heavy-handed tome, Bleak House, and also researching the Boer War for an upcoming book.

Jason’s stories, many evolving into plays, exactly 100 of them with 74 being produced, also tell the story of Jason Rip in some way or another. Two of his plays were written about London luminaries, Marc Emery and Roy MacDonald.

With the finality of his theatrical work ending at 100, he adds, “I stopped writing plays after my 100^th as I felt no one needs to write more than 100 plays”. His notion of practicality certainly hasn’t diminished his restless creative spirit.

Jason Rip was born in Guelph, migrated to Indiana due to his father’s work as a biochemist, and ended up in London when he was six.

He was formally educated at the University of Western Ontario and, as a teacher, taught in Tillsonburg as well as at South Secondary School in London.

At six foot six, Jason Rip is an imposing figure.

“A lot of people have told me that I am intimidating when they first meet me. I can’t help being six foot six.”

His love of theatre inspired him to seek out roles, but in his own words, “If you are the dimensions that I am, there are limits on roles that you will get.”

In a 2018 documentary, directed by Matthew Downs and produced by Faith Clark, appropriately titled A Tombstone Epitaph, Jason is described as “a big man with strong opinions.”

In the film, Jason tells us, “I didn’t really choose theatre, it chose me, but I know I am passionate about it to the exclusion of almost everything else; relationships, jobs, money, or whether I eat or not. I do what I want. I don’t think I am influenced by whether it is going to sell or if anybody is going to want to see it. I am doomed to a low budget, but I do what I want. In terms of a guy who writes in this town, I am the last man standing”.

He slyly adds, “I have never written anything that shouldn’t be burned in a fire.”

As an aspiring actor, Jason began writing plays to create parts for himself. “The playwriting came as I wasn’t satisfied with the parts I was getting.”

Reflecting on his own life, he took to writing plays about the downcast, the vulnerable, the destitute, and marginalized; those who are swept aside or misunderstood by society.

This could be defined in a work he co-created with Rachel Ganz and performed at Manor Park Theatre in 2024. Man Up is a definitive and somewhat uncomfortable look at the issue of male suicide. All five performances were sold out. He expressed on his Facebook page that the play was for “the precious few who prefer their theatre to be hard-hitting social commentary instead of song and dance, and for all who have lost loved ones to the ‘unspeakable’ but everyday tragedy.” Jason cast seven local actors to perform the eighteen scenes/vignettes.

The play demonstrated the role of masculinity in our society; the perceived image of what a man is about and the myths of machismo. To make it timely, consider the highest point of office in the U.S. by an individual who has proven himself as an example of the worst kind of toxic masculinity.

His previous theatrical works explored the lives of artist Andy Warhol, poets Arthur Rimbaud and Edgar Allen Poe, and jazz musician Chet Baker; all highly creative but troubled souls.

Jason tells me, “I started out my life feeling like an outcast, and in some ways, I still feel like one, with what separates me from others is quite extreme, but it is also a source of strength. I write about the poor and destitute because I can’t stand the problems of the rich. I work with people who don’t have anything, and that is where my sympathy lies.”

And Jason would know, as he recently retired from a ten-year career working the night shift at Unity, a homeless shelter which he proudly states has no religious affiliation.

He defines himself as ‘nocturnal’ and, despite working the night shift, which he admits “makes me a little crazy”, he continues to write.

“I can knock off a short story in one fevered session or a page in a day,” adding, “I write obliquely about everyday stuff, always turning a bit of a twist to the story. I like my little niche.”

Thirty years of writing have evolved into Jason’s most recent works. My Gehenna, published in 2024, was quickly followed up by The Goblin and Other Tales, released in 2025. Both volumes delve into the world of horror. He introduces the reader to the dark side of humanity; to those misfits who live beyond the fringes of scruples and sanity. The troubled and invective characters he creates transport the reader along a journey of both humor and horror. There are those defined with a “fondness for acts of indecency,” and Mr. Rip boils it all down to “people being nasty to each other.”

My Gehenna and The Goblin and Other Tales can be purchased through Amazon.

A copy of his first book was given to a homeless man who dubbed Jason Rip as “the Dostoevsky of Goof Town”, a title which he relishes.

The stuff of Jason Rip comes from both the likes of Edgar Allen Poe and William Shakespeare, whose entire theatrical work Jason has read. And there is American author Norman Mailer, whom Jason decrees is America’s Tolstoy.

Musically, in his writing, there is an inspiration from both the likes of musicians Tom Waits and Warren Zevon, who documented his terminal diagnosis of cancer over three albums. It is this dark and unexploited channel of human life that seems to propel his desire to continue writing.

(Pictured: Anne Moniz, Jason Rip, and Daniel Oniszecko.)

His life’s work, which he decrees, “One of the happiest things of my life is that I feel that I have written everything that I need to write,” has also recognized by our community. Jason was awarded the 2018 Chris Doty Lifetime Achievement award, as well as being recognized as a “Distinguished Londoner”. He is grateful for both accolades.

You can often find Jason Rip at the Landon Library in Wortley Village, possibly inspired by the solace and solitude that a library offers.

Leaving the theatre behind, trust that something dark, sinister, but highly compelling will come out of London’s premier storyteller.

This April 15 to 19, AlvegoRoot Theatre is producing a brand new version of Jason Rip’s darkly hilarious play Luce. Mark the date in your Calendar now.

by J. Bruce Parker

Daina Janitis previews Lara St. John: The Ancient Flame

January 14, 2026 by Richard Young

by Daina Janitis

“Music doesn’t lie. If there is something to be changed in this world, then it can only happen through music.” – Jimi Hendrix

The concert I want to tell you about won’t involve rock, open rebellion, or active protest. It involves Lara St. John, a brilliant violinist, a Londoner, a personality who fills a concert hall, and a champion of honesty whose very presence is a gift to London this Saturday evening at Metropolitan United Church.

Sometimes we just NEED great music.

“Your brain responds to music like it’s a survival tool. When music plays, almost the entire brain ignites. The motor cortex drives your body to the beat. The hippocampus ties melodies to memories. The amygdala unleashes waves of feeling. And in the orbitofrontal cortex—the brain’s reward and decision hub—the same circuitry that flares in OCD lights up with music’s cycles of tension and release.” (Attributed to Harvard Medicine: The Magazine of the Harvard Medical School.)

Listen to Lara and Matt Herskowitz in this video from her Shiksa album. It’s not on Saturday night’s program- but her passion for truth and music will be.

Meanwhile, what has the London kid who picked up a violin and joined her older brother Scott in playing done with all of that talent?

As for most musicians’ bios, you’ll need an atlas and incredible patience to follow the list:

She debuted with an orchestra at age 4 – and with Lisbon’s Gulbenkian when she was 10.
AT 12, she toured Spain, Greece, Portugal, and Hungary
She’s studied at Curtis, the Moscow Tchaikovsky Conservatory, the Guildhall, Mannes College, and the New England Conservatory
She has been a soloist with the major orchestras of every continent.
She created her own label – Ancalagon – in 1999
She received the Order of Canada in 2021 – for “service to society and innovations that ‘ignite our imaginations’.”

It was Sting who said, “The truth is like a sword. You have to hold it with an open hand.”

And Lara St. John’s devotion to truth has been as inspiring as her music. In 2019, she told a Philadelphia newspaper that she had been abused and raped as a student at Curtis Institute of Music in 1985. That distinguished school had covered up the crime when she reported it. She is currently finishing a documentary film about the abuse of young music students. Read about the documentary here: https://theviolinchannel.com/lara-st-john-to-release-documentary-about-sexual-abuse-in-classical-music-industry/

Her hope for the documentary, Dear Lara, is not a selfish one: “They need to admit to wrongdoing and take every possible precaution to never let these things happen again. Predator Whack-A-Mole (my term for allowing depraved men to quietly resign, enabling them to simply take their behavior elsewhere) must stop. It’s unconscionable, and it’s everywhere,” Lara appealed.

Saturday’s Program:

Lara’s chosen concerto to perform with London Symphonia is Avner Dorman’s Concerto No.2, which premiered in 2018 when it won the Azrieli Prize. The composer tells an intriguing tale about the piece. The 92^nd Street Y (and Gil Shaham) approached him to write a piece for their Jewish Melodies program. He admits his research surprised him in finding common modes and melodies in Jewish music from various parts of the world. One of these, he said, is the Nigun – a melody that can be sung in Yiddish and understood by an Arabic speaker: “The Nigun has no beginning and no end and is eternal.”

Lara discusses Avner Dorman’s Violin Concerto No. 2, “Nigunim,” with Andrew Chung, Artistic Producer, London Symphonia, in this Behind The Music video clip: https://youtu.be/t6FuSbI_5fw

On Saturday night, London Symphonia will also perform Mendelssohn’s Midsummer Night’s Dream Suite and Aaron Copland’s Appalachian Spring.

It’s January – the month of miserable weather, broken resolutions, and depressing realizations. This year, the news from our neighboring country shatters our trust and brings even more dismay into our lives. And January 27th is the annual International Day of Commemoration in memory of the victims of the Holocaust. Each year, Canadians and individuals all over the world take this opportunity to remember the victims of the Holocaust and to reflect on the dangers of anti-Semitism.

Sometimes, just being in the presence of truth-tellers and creators of incredible beauty can remind us of our power to change the world. Lara St. John and London Symphonia will be at Metropolitan United on Saturday night to keep us from forgetting.

IF YOU GO:

What: London Symphonia presents Lara St. John: The Ancient Flame.

When: Saturday, January 17, at 7:30pm.

Where: Metropolitan United Church, 468 Wellington Street, London, ON.

Tickets: https://www.londonsymphonia.ca/event/lara-st-john-ancient-flame

To learn more about Lara St. John, visit https://www.larastjohn.com/

Follow Lara on Facebook https://www.facebook.com/AncalagonRecords and Instagram https://www.instagram.com/stjohnlara/

To learn more about London Symphonia, visit https://www.londonsymphonia.ca/

Previewed by Daina Janitis

Q&A With Julie Pietrangelo, Artistic/Musical Director of The Voices of Broadway Show Choir

January 12, 2026January 17, 2026 by Richard Young

by Richard Young

The Voices of Broadway Show Choir has been entertaining London area audiences since 2013. The Beat Magazine conducted the following Q&A Session with Artistic/Musical Director Julie Pietrangelo in advance of the choir’s Show Stoppers concert on January 17 at the Joanne and Peter Kenny Theatre at King’s College. The Interview has been edited for clarity.

(Pictured: The Voices of Broadway Show Choir Artistic/Musical Director Julie Pietrangelo.)

Q. When was the choir founded? By whom, and why? How did the name The Voices of Broadway Show Choir come about?

We were founded in 2013. I wanted to start a show choir and talked to several people whom I led as singers before, and they were with me. So, we got together and figured out how to make it work. We brainstormed names, put them on a board, and voted. By process of elimination, we decided upon the name The Voices of Broadway Show Choir.

Q. What sets your group apart from the other London area choirs?

I think the fact that we’re a show choir. I don’t think there’s any other show choir in London, per se. We don’t just stand on risers and sing holding music. Our shows include acting and dancing. It’s just bigger.

Q. Who are the facilitators/administrators of the choir? Backgrounds? Does the choir have a Board of Directors?

We do not have a board of directors. We have what we call the lead team of four people who are elected by the membership. They look after all the administration and running of the choir and so on. I’m heavily involved and sit on the lead team as well.

Q. Does the choir have a Mission or Statement of Purpose?

We are a non-professional show choir with high standards and high entertainment value. Our mission is to present a well-balanced program of traditional choral singing, along with choreography, staging, costumes, special effects, and props.

Q. How many members does the choir have at this time? Can you give me some details about the range of experience, backgrounds, and ages of choir members?

Right now, we have twenty-four members, but we have had as many as forty. We take people from all walks of life. We have people who have music degrees and have taken voice lessons. We also have people who have never sung in a choir before. Choir members must be eighteen years of age. We have had members in their eighties.

Q. How does one become a member of The Voices of Broadway Show Choir?

We have an audition process. Candidates are asked to bring a prepared song and do a vocal audition. I test the range and their sight-reading ability and decide from that. They also go through an interview process. We do a dance assessment, although candidates aren’t rejected if they have zero dance experience or limited abilities.

Q. Could you give me an idea of the choir’s repertoire?

Our repertoire is all drawn from Broadway musicals.

Q. Does the choir perform in one venue or move around?

We do two shows a year. In January, we perform at the Joanna and Peter Kenny Theatre at Western’s King’s College. And in the spring, in either May or June, depending on available dates, we hold our year-end show at Wolf Performance Hall.

Q. Can you give our readers an idea of what to expect if they attend your January 17th Show Stoppers concert?

Show Stoppers presents many of Broadway’s most famous songs. Audience members will know a lot of the music and the shows that they come from. The concert is highly entertaining, and it just has that whole element of familiarity.

Q. Is there anything else you think readers should know about The Voices of Broadway Show Choir?

We’re always looking for new members. In fact, we have auditions on January 21st. People can register for those at any time now. And, of course, we’re always available for hire. We have a public website where people can find out more information about the choir and look at some of our past performances. We’re always looking for sponsors, too. If you are interested in becoming a sponsor, we offer several benefits. Information about how to become a sponsor can be found on our website.

For more information about The Voices of Broadway Show Choir, visit https://thevoicesofbroadway.com/

Follow the choir on Facebook https://www.facebook.com/voicesofbroadway and on Instagram https://www.instagram.com/voicesofbroadway/

IF YOU GO:

What: The Voices of Broadway Show Choir presents Show Stoppers.

When: Saturday, January 17, at 2:00 and 7:30 pm.

Where: Joanne and Peter Kenny Theatre, King’s University College, 266 Epworth Avenue, London, ON

Tickets: https://thevoicesofbroadway.com/showstoppers

Interview conducted by Richard Young

Uncommon Things Ring True

January 8, 2026 by Richard Young

Reviewed by Beth Stewart

Uncommon Ground at Westland Gallery, January 6 to 31, 2026, brings together work by two disparate artists: Sheila Davis and Kevin Bice. While the works of both are firmly rooted in the environment, they diverge drastically from there. Together, they are a feast for the eyes and mind.

The main level is filled with Davis’s vibrant landscapes; it is an environment of colour, light, and form. The upper-level embraces Bice’s muted still life and landscapes; it is an environment of studied memory. Both celebrate the richness of life.

Davis’s work is awash in brush strokes and saturated colour. Being surrounded by her work is akin to forest bathing, the Japanese practice of immersing oneself in the canopy of a forest to promote well-being. Viewing her work is restorative – especially in the midst of a London winter.

(Pictured: Sheila Davis, “Wallflower II”, oil on panel, 40 by 40 inches. Courtesy of Westland Gallery.)

In “Wallflower II, a 40-by-40-inch oil on panel, turquoise and lime-green foliage compete with dashes of pink and orange against a band of cream. It is a lively dance of colour and form that beckons a viewer.

(Pictured: Sheila Davis, “Poetic License”, oil on panel, 48 by 48 inches. Courtesy of Westland Gallery.)

“Poetic License”, a 48 by 48-inch oil on panel, presents a dizzying array of colour and line that echoes an act of spinning around to observe one’s surroundings. In contrast, the vertical thrust of “Weaving Light”, a 42-by-36-inch oil on panel, elevates the viewer skyward.

(Pictured: Sheila Davis, “Weaving Light”, oil on panel, 42 by 36 inches. Courtesy of Westland Gallery.)

Bice’s work draws from places, people, and objects.

(Pictured: Kevin Bice, “Below the Bridge”, oil on canvas board, 18 by 21 inches – plein air work to celebrate the 150th year of the Blackfriars Bridge. Image courtesy of the artist.)

Some, like “Below the Bridge”, an 18-by-21-inch oil on canvas board, are plein air pieces, with recognizable locations; some, like “Remembering the Lake”, a 40-by-64-inch oil on canvas, seem to be inspired by old family photographs.

(Pictured: Kevin Bice, “Remembering the Lake”, oil on canvas, 40 by 64 inches.Courtesy of Westland Gallery.)

Others, such as “McClary Enamelware”, a 25 by 23-inch charcoal on rag paper, spring from time spent in the vaults of Museum London.

(Pictured: Kevin Bice, “McClary Enamelware”, charcoal on rag paper, 25 by 23 inches. Courtesy of Westland Gallery.)

Several of Bice’s paintings are accompanied by story cards. “I find that people are interested in the narrative which leads to the creation of a piece,” he explains.

For some of his works, like the plein air pieces, the narrative is simple: he was attracted by light hitting something or by a juxtaposition of textures that he wanted to spend more time with.

His motivation for studio works is often more complex. He says, “I might start a work because some image or composition or story is stuck in my head.” In these cases, he is never sure what direction the work will take.

In both instances, he views art as a means of exploration.

Of late, he has rediscovered plein air painting, and this is evident in Uncommon Ground. Bice explains, “It’s easy to get complacent and head for the comfort of the studio. Being around other outdoor artists is a great stimulant.”

Uncommon Ground: New works by Sheila Davis and Kevin Bice continues to January 31, 2026. There is an Artist Talk with Kevin Bice on January 10 from 1 to 3 pm and an Artist Demo with Sheila Davis on January 17, also from 1 to 3 pm.

For more information about this exhibition and Westland Gallery, visit https://westlandgallery.ca/

Follow Westland Gallery on Facebook https://www.facebook.com/WestlandGallery and on Instagram https://www.instagram.com/westlandgallery/

Reviewed by Beth Stewart

Magisterra Soloists: Ten Years of Excellence Enriching London’s Cultural Mosaic

January 8, 2026January 10, 2026 by Richard Young

Previewed by Daina Janitis

Magisterra Soloists are honoured to begin 2026 with their annual Holocaust remembrance concert, dedicated to commemorating the victims of the Holocaust and honouring the survivors on Sunday, January 11, at Museum London.

—

Nine years ago, I picked up the phone. When the call comes from a former student (and former member of the London Youth Symphony), I’m curious to see where innate talent and hard work have taken a person like this. It was a request: “Daina, my Western professor is starting up something unique. She’s brilliant, and the idea is great. Can you help?”

An irresistible request. Through months of meetings with Annette-Barbara Vogel and some of the most brilliant young people in London, Magisterra Soloists International acquired the documentation to become a non-profit charitable organization, with the mission of playing a significant role in invigorating and enriching the local artistic experience.

And what has happened in the last ten years?

Magisterra at the Museum: An annual series of accessible, educational chamber music experiences that strengthen community ties in London.
Sensory Concerts: Inclusive shows for those with sensory sensitivities, led by emerging Magisterra Fellows to promote disability awareness in the arts.
Magisterra in Schools: Outreach reaching thousands of youth, especially in underprivileged and rural areas, with live classical music exposure.
Fellows Mentorship: Trains nearly two dozen young artists in performance and operations for professional careers.
Young Performer’s Award: Annual auditions for local string players, offering stipends and solo spots at events like the Christmas Baroque concert.

What makes a Magisterra chamber concert unique? I’d have to credit that to Annette-Barbara Vogel’s amazing vision and circle of friends in the varied professions of music. Each program is assembled from a trove of world literature, and the performers are assembled for intense days of rehearsal before the concert. The result is a freshness, energy, and connectedness that is breathtaking.

(Pictured: Artistic Director, Annette-Barbara Vogel)

This year’s program for the annual Holocaust Remembrance Concert brings together some chamber musicians you will long remember.

Joining Magisterra’s Artistic Director Annette-Barbar Vogel will be:

Brett Kingsbury: Dr. Kingsbury is a Canadian classical pianist and educator known for his work as a soloist, chamber musician, and professor. He serves as pianist for the Madawaska Chamber Ensemble and holds the position of assistant professor at Western University’s Don Wright Faculty of Music, teaching studio piano, Performance Research, and Piano Literature

Vera Sherwood: Vera is a Russian-Canadian violinist and educator active in the classical music scene, particularly in Ontario. She began her violin studies at the Perm Music School in Russia, continued at Moscow Gnessin High College, and completed her education at the M. Glinka Nizhny Novgorod Conservatory. Her work includes recitals and concerts in Canada, reflecting her transition from Russian training to a prominent role in North American classical music circles.

Jutta Puchhammer: Let me try to condense her bio! Jutta Puchhammer-Sédillot is a Viennese-born violist renowned for her exceptional performances and dedication to the viola repertoire, now residing in Canada. She has served as a full professor of viola and chamber music at the Université de Montréal since 2002, with prior teaching at institutions like Juilliard, Curtis Institute, and international festivals including Orford Music and Sarasota. Puchhammer-Sédillot has also led masterclasses worldwide and held leadership roles such as president of the Canadian Viola Society (2006-2014) and the International Viola Society since 2020.She earned the International Viola Society’s Silver Alto Clef Award (2019), the highest honor from IVS, where she has served as president since 2020, plus the Maurice Riley Prize (2006) and Canadian Life Achievement Award (2022).

Miriam Stewart-Kroeker: The versatile Canadian cellist from Hamilton, Ontario, is known for her work with regional orchestras and chamber ensembles. A graduate of Wilfrid Laurier University (Honours BMus in Cello Performance and Chamber Music Diploma) and McGill University (MMus with Matt Haimovitz), she studied under Paul Pulford and the Penderecki String Quartet. Founding cellist of the Andromeda Piano Trio and Kestrel String Quartet, she performs regularly in prominent Southern Ontario series, including Kitchener-Waterloo Chamber Music Society, Guelph Connections, and Toronto Chamber Players. Her Banff Centre residencies, chamber awards, and innovative events like “Yoga with Cello in the Park” highlight her engaging, community-focused artistry that resonates locally.

THE PROGRAM:

Blues for piano by Simon Laks

Simon Laks (1901–1983), known for surviving Auschwitz as conductor of the prisoners’ orchestra, composed this likely in the interwar period amid his Parisian output of chamber works and songs. The “Blues” evokes a moody, syncopated idiom fitting his blend of Polish lyricism and French elegance.

Sinfonia Concertante op.68 by Walter Braunfels

The piece spotlights virtuosic interplay among the soloists against a string backdrop, evoking a “curmudgeon grotesquery” alongside hearty peasant vigor and high emotional torque. Its edginess and folk-lyric passages reflect Braunfels’ influences from Berlioz, Mahler, and Schoenberg, while rooted in his conservative tonal world.

Quintet No. 1 by Ernest Bloch

The opening Agitato surges with a gruff motto theme amid whirling rhythms and anxious microtonal shadings, cycling Brahmsian motifs into thorny, powerful exchanges. A haunting Andante mistico offers lyrical respite with long-breathed lines, flowing into the Allegro energico finale’s rippling currents and consoling C-major close. Extended techniques like harmonics, sul ponticello, and col legno amplify its raw, visceral string writing.

Every time I attend a Magisterra concert myself, I thank the fates for that phone call nine years ago.

What Magisterra has developed in our relatively small “City of Music” is a testament to the incredible powers of music. I was going to quote Martin Luther about those powers, but Billy Joel fits the bill about Magisterra: “I think music in itself is healing. It’s an explosive expression of humanity. It’s something we are all touched by.”

IF YOU GO:

What: Magisterra Soloists present Silenced, Survived, Holocaust Remembered.

When: Sunday, January 11, 2026, at 3:00 pm.

Where: Museum London – 421 Ridout St. N

Tickets: Purchase your tickets at the door or click the following link to buy them in advance: https://tr.ee/KN2HMuPE7C

For more information about Magisterra Soloists, visit https://www.magisterra.com/index.php

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

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

Previewed by Daina Janitis

Weekend Roundup of Selected Arts & Culture Events in the London Area, January 8-11.

January 7, 2026January 8, 2026 by Richard Young

Compiled by Richard Young

LIVE THEATRE

Original Kids Theatre Company presents Monty Python’s Spamalot, January 8-11, at the Spriet Family Theatre, 130 King St., London, ON, Covent Garden Market (2nd fl).

It’s just a flesh wound! Monty Python’s Spamalot, lovingly ripped off from the classic film comedy Monty Python and the Holy Grail, retells the legend of King Arthur and his Knights of the Round Table. Bursting with unforgettable songs, absurd humor, and zany characters, this musical is a rollicking celebration of all things Monty Python.

This production is recommended for ages 14 and up due to mature content.

Tickets: https://ci.ovationtix.com/36987/production/1252206

LIVE MUSIC

Jim Chapman & Friends returns tonight, January 7, at the Unity Centre. Tonight’s featured performers are Pete Denomme, Frank Ridsdale, and Ron Morin, from 7:30 to 9:00 p.m.

The Wednesday Open Jam resumes at the Eastside Bar and Grill tonight. David, Jude, and Dale officially welcome Randy Hicks to the band. We’re looking forward to the 2026 season with lots of impressive talent and lots of amazing people. Spread the word!
The show starts at 8pm. Line Up and Sign Up at 7:30.

Peter Brennan’s legendary Jeans ’n Classics presents Soulful, Thursday, January 8, at the Grand Theatre. Tickets https://www.grandtheatre.com/event/jeans-n-classics-2526

Forked River Brewing Company presents Leanne Mayer, Sunday, January 11, 2-5pm. https://www.facebook.com/ForkedRiverBrewing

Peppermoon Restaurant presents Brenda Earle Stokes & Al Weiss, Thursday, January 8, 6-9pm. https://www.facebook.com/profile.php?id=61572998996007

Magisterra Soloists are honoured to begin 2026 with our annual Holocaust remembrance concert, dedicated to commemorating the victims of the Holocaust and honouring the survivors, Sunday, January 11, 3:00pm, at Museum London – 421 Ridout St. N. https://www.facebook.com/MagisterraSoloists

The Morrisey House presents Ryan Naismith, Saturday, January 10, 7-10pm. https://www.facebook.com/morrisseyhouse

Join KJ and The Motowns on January 10 from 3-6 pm for live Motown and soul, great vibes, and familiar faces at the Richmond Tavern. This is a pay-what-you-can cash event.

Mudmen live in St.Thomas, at the Princess Avenue Playhouse! Home of the Elgin Theatre Guild. This Saturday, Jan 10, 2026, at 730pm. Enjoy an evening of Celtic music & stories from Canada’s Celtic Rock Warriors. Tickets $30.00 general seating all-ages tixs available at the Fan of The sport 519 631-5063, online at https://ticketscene.ca/o/mudmen & the door (subject to availability).

The Hot Tub Hippies return to the Wortley Roadhouse this weekend, January 9 & 10. Shows start at 9pm. https://www.facebook.com/wortleyroadhouse

Loveless, Saturday, January 10, at the Palasad Socialbowl. https://www.facebook.com/SocialbowlLDN

https://www.facebook.com/profile.php?id=100063672725321

https://www.facebook.com/rascals.house.2025

ART EXHIBITIONS

Uncommon Ground featuring the art of Kevin Bice and Sheila Davis, January 6 to 31, at Westland Gallery. Artist Talk with Kevin Bice on Saturday, January 10, 1-3pm. https://www.facebook.com/WestlandGallery

Notes From The Mindfield, Andrew Lewis, continues at the TAP Centre for Creativity until January 10. Read Beth Stewart’s Review here: https://thebeatmagazine2025.ca/2025/12/02/andrew-lewis-finding-balance-notes-from-the-mindfield-preview/

Smashing Fashion! The 60’s Illustration of Bonnie Parkinson continues at the TAP Centre for Creativity until January 10. Read Beth Stewart’s Review here: https://thebeatmagazine2025.ca/2026/01/02/drawing-on-the-past-smashing-fashion-the-60s-illustration-of-bonnie-parkinson/

Drawing on the Past: Smashing Fashion! The 60s Illustration of Bonnie Parkinson.

January 2, 2026 by Richard Young

Reviewed by Beth Stewart

London artist Bonnie Parkinson began her career as a commercial artist in the 1960s before turning to fine art in the 1980s and ultimately making her mark in both worlds. Smashing Fashion! The 60s Illustration of Bonnie Parkinson, which runs to January. 10, at TAP Centre for Creativity, is all about her commercial beginnings but with a contemporary twist.

Visitors are treated to 29 pieces, including seven of Parkinson’s original full-page ads from her time working at the London Free Press (LFP) and at Eaton’s, as well as twenty-two 60s-influenced pieces produced late in 2025.

(London Free Press, Special Fashion Section, Eaton’s ad 1969 detail. Courtesy of Bonnie Parkinson and Andrew Lewis.)

To fully appreciate the show, it is helpful to have a sense of the artist’s history.

Parkinson’s early career is a young artist’s dream. She was hired while still in her final year of the Special Art Programme at Beal to work part-time in the art department of the LFP. Upon graduation in 1960, she transitioned to the LFP’s full-time fashion artist.

Ladies’ fashion was in its heyday. Parkinson recalls, “At that time, London had many independent women’s fashion stores; my job was to do all these different stores, but each with a distinctive style.”

In 1964, she left the LFP to work for the T. Eaton Company (Wellington Square, London, Ontario). Between 1967 and 1968, she worked with Canadian fashion designer Marilyn Brooks at The Unicorn (Clarence St., London, Ontario) while continuing to freelance for Eaton’s in the evenings. From 1973 to 1974, Parkinson worked full-time at the Total Marketing Advertising Agency, London, Ontario. Then, in 1979, she was hired by Fanshawe College to teach illustration as well as life-drawing to fashion design students.

(Eaton’s ad 1968, fashion duo in fuchsia detail. Courtesy of Parkinson and Lewis.)

Parkinson describes her early illustrations as stylized and heavily influenced by the 60s phenomenon. It was an exciting time, and she met it with gusto. She drew directly on paper with a fine line marker, no pencil sketch first, and just put down what she saw. The emphasis was on the designed page, bold colour, and elegant lines.

In 1982, at the age of 40, Parkinson left commercial art entirely to paint full-time. Since then, Parkinson has been a constant in the arts community, exhibiting both locally and elsewhere.

(Eaton’s ad 1963, fashion trio in yellow detail. Courtesy of Parkinson and Lewis.)

What prompted Parkinson to put this Smashing Fashion! exhibition together? After 40-plus years as a painter, why did she circle back to fashion art at this point in time? Parkinson credits artist Andrew Lewis.

Lewis approached her in October 2025 with the idea for this show. He thought it was important to show the advertising fashion work that had been done right here in London, Ontario, as art. Parkinson agreed.

She quickly discovered that to do new illustrations of 60s fashions, some sixty years later, took some serious resetting. On top of this, it took a while for her to get back to pen and ink.

She also did an online refresher of the wild and crazy 60s Fashions.

(Bonnie Parkinson’s new illustration of swinging London England’s fashion icon Jean Shrimpton.)

Smashing Fashion! occupies the front two rooms of TAP that comprise Lab 203. It is an intimate area that is well used by Parkinson. The art is simply hung with minuscule magnets for maximum impact.

The full-page ads from the LFP are nostalgic nods to a once vibrant industry. Parkinson’s new illustrations effectively invoke the fashion sense that was part of the 60s’ cultural revolution, but in a less stylized manner and with more attention to detail in the fabrics. As a whole, the 2025 pieces present a veritable rogues’ gallery of the 60s with Andy Warhol, Cher, Jean Shrimpton and Twiggy amongst leggy young things sporting an array of bold patterns and designs.

(One of Parkinson’s new illustrations of 60s clothes.)

Smashing Fashion! The 60s Illustration of Bonnie Parkinson runs to January 10. A Meet the Artist reception is planned for Saturday, January 3, from 1 to 3 pm. It’s a hip way to start the New Year.

For more information about this exhibition and others at TAP Centre for Creativity, visit https://www.tapcreativity.org/

Follow Bonnie Parkinson on Instagram https://www.instagram.com/bonnieparkinson_artist/?hl=en

Reviewed by Beth Stewart