A retired History and Politics high school teacher (1978-2008). Former Publisher/Managing Editor of The Beat Magazine (2009-2014). Freelance Writer. Proud Grandfather.
(Cast & Crew of Mamma Mia! Photo Credit: Ross Davidson.)
In the 1970’s, the pop music charts were dominated by the Swedish super-group ABBA. Their music was heard and enjoyed worldwide. ABBA defined pop: light fare, catchy melodies, simple messages. Admittedly, not my cup of musical tea; I was firmly in the Led Zeppelin camp!
But times and attitudes change. In the hands of two of the original ABBA members, Bjorn Ulvaeus and Benny Andersson, and playwright Catherine Johnson, the familiar music has a wonderful and effective narrative context, and the results are amazing! This show has become, like its chart-topping godparents, an international phenomenon.
(Mamma Mia! Set by David Long. Photo Credit: Ross Davidson.)
The London Community Players have chosen Mamma Mia! to close out their 2025-26 season, and they’ve picked a solid winner. For the first time post-COVID, the entire run is sold out. If you want a ticket, you will have to contact the box office to check for cancellations.
In the capable hands of director Toni Wilson, musical director Jeff Holbrough, and choreographer Laura Wood, the London Community Players’ version of Mamma Mia is also quite phenomenal! They have captured the energy of the plot and breathed wonderful life into the simple story. Toni, Jeff, and Laura have woven together an outstanding tapestry of theatre, which keeps the audience engaged from start to finish.
(Pictured: Director Toni Wilson and Choreographer Laura Wood.)
In terms of design, these elements have a wonderful unity. Costumes, led by Becky Lenko, lighting by Frank Almeida, and set design by David Long, create a seamless environment of a Greek island in the middle of Old East Village! Kudos to the design team!
The cast list of this project reads like a Dream Team of London community theatre. Melissa Metler, as ‘Donna’, takes the stage from her first moment and never relinquishes it. Her rendition of “The Winner Takes It All”, a duet with ‘Sam’ (James Noonan), is a prime example of a pop song taking on a new and effective context within the plot structure.
Photos by Ross Davidson
(Pictured: L to R, as “Rosie”, Angela Southern, as “Donna”, Melissa Metler, and, as “Tanya”, Bronwyn Powell. Photo Credit: Ross Davidson.)
The power trio of Metler, with Bronwyn Powell as ‘Tanya’, and Angela Southern as ‘Rosie’, is delightful. The chemistry and history between these lifelong friends is evident and helps tie the story together.
“The Fathers”, James Noonan as ‘Sam’, David Bogaert as ‘Harry’, and Sam Shoebottom as ‘Bill’, add just the right touch of comedy and nostalgia to the narrative.
“The Young Couple”, Jordyn Taylor as ‘Sophie’, and A.J. MacDonald as ‘Sky’, do wonderful work anchoring the storyline. Sophie and Sky have a believable chemistry. Jordyn Taylor’s exceptional singing voice is on full display.
Photos by Ross Davidson
(Pictured: “Sky”, A.J. MacDonald, as “Sophie”, Jordyn Taylor. Photo Credit: Ross Davdson.)
In this show, the “Ensemble” is a key component of the production’s overall look, sound, and feel. The choir effects, the complex choreography, and the character interactions make for a wonderfully believable backdrop to the main plot. Kudos again to Toni, Laura, and Jeff!
Photos by Ross Davidson
(Pictured: Mamma Mia! Ensemble. Photo Credit: Ross Davidson.)
Do whatever you can to get a ticket for this show. It will require a little legwork, but it will be well worth the effort!
IF YOU GO:
What: London Community Players present Mamma Mia!
When: May 28 to June 7, 2026.
Where: Main Stage, The Palace Theatre, 710 Dundas St., London, ON.
Tickets: SOLD OUT!
Reviewed by Brian Speagle
Brian Speagle is the artistic director of Scooter Productions, founded in 2016. He recently co-directed a successful production of John Murrell’s ‘Memoir’ at Manor Park Memorial Hall.
(Pictured: Michelle Thrush, creator and performer, Inner Elder.)
To be sure, there is lots of great local theatre playing in the London area this weekend. Come From Away closes out its extended run at the Grand Theatre on Sunday, while London Community Players’ sold-out run of Mamma Mia! continues at the Palace Theatre, and the Elgin Theatre Guild’s final show of 2026/27, The Foursome by Norm Foster, has three performances on Friday, Saturday and Sunday.
Not to be overlooked, however, is Inner Elder, a real-life autobiographical one-person show, performed by Canadian actress and Cree Indigenous activist, Gemini Award-winning Michelle Thrush, on stage now at the Port Stanley Festival Theatre for three remaining performances, Friday at 7:30 pm and Saturday at 2:00 pm and 7:30 pm.
Premiering in 2018, Inner Elder is a structured monologue during which author Michelle Thrush recounts her personal life and experiences, combining pathos, hardships, and some good-natured laughs along the way.
I saw Inner Elder’s opening night on Thursday and can attest to the show’s poignancy and the tour de force performance of its author.
Running a tightly packed 60 minutes in length, Inner Elder takes the audience through Thrush’s life as a young child and teenager, “raising” two alcoholic parents and struggling to find her identity as a First Nations person in a predominantly white society. Looking for role models on television shows like Little House on the Prairie and Bewitched, she is disappointed to find no one who looks like her. Her public schooling offers her no respite, where Thrush experiences racism firsthand.
The pivotal point in Thrush’s life comes in her early 20s, when she decides to pursue acting as the best way to find her identity and assert herself as a “brown girl” in a white world. As she states during the play, she has never looked back.
Set within a simple set of impressionistic trees, Thrush transforms herself from a young girl into an elderly grandmother through the use of very basic props and costume changes. Indeed, it is her inner monologue that propels the story more than anything else.
The play brings tears of sorrow and laughter to the audience’s eyes as we share Thrush’s ups and downs. We share her inner jokes and asides, all the while knowing she is laying bare her soul onstage.
If you’re looking for something a little different, I highly recommend the short drive to catch Inner Elder during its short run at the Port Stanley Festival Theatre
IF YOU GO:
What: PSFT presents Inner Elder.
When: May 27-30, 2026.
Where: Port Stanley Festival Theatre, 302 Bridge St., Port Stanley, ON.
Tickets: At psft.ca or call the box office at 519-782-4353.
(Pictured: Michelle Thrush. Photo Credit: Ben Laird.)
The Port Stanley Festival Theatre 2026 Summer Season kicks off on Wednesday, May 27, with Inner Elder, written and performed by award-winning Cree artist Michelle Thrush.
Inner Elder is an intimate story that will open your heart and put a smile on your face.
Award-winning Cree artist Michelle Thrush weaves real-life memories with laughter and grace. A one-woman show that takes the audience on a poignant journey full of unexpected twists and turns.
A young Indigenous girl growing up in Alberta navigates a world shaped by hardship, humour, and the guiding presence of her grandmothers. When life feels darkest, her superhero Kookum—armed with magic moccasins—appears to light the way.
After each performance, audiences are invited to meet Michelle – a rare one-of-a-kind experience only at PSFT.
Michelle Thrush is well known for her roles in TV and film. She is a multi-award-winning actress, and she is a recipient of the Lieutenant Governor’s Distinguished Artist of Alberta Award. Joining her are Dianne Goodman, Company Manager and Neil Fleming, Producer/Technical Director.
“Thrush’s ability to make the audience laugh with silly antics, while keeping the show’s message of resilience and self-empowerment at the forefront, is a testament to her ability as an actor. Through it all, Thrush unabashedly allows spectators to witness her vulnerability; in fact, she wears it like a badge of honour. And why not? The adversity that shaped Thrush’s life forced her to forge ahead and become the impressive artist that stands before us.” – NAC Indigenous- Courtney Castelino, BroadwayWorld.com
IF YOU GO:
What: PSFT presents Inner Elder.
When: May 27-30, 2026.
Where: Port Stanley Festival Theatre, 302 Bridge St., Port Stanley, ON.
Tickets: At psft.ca or call the box office at 519-782-4353.
What follows is a Q&A Interview with Toni Wilson, Director of Mamma Mia playing at the Palace Theatre from May 28 to June 7 . The Interview was conducted by The Beat Magazine’s Publisher & Content Manager, Richard Young.
Q. Tell me about Mamma Mia! – backstory, author, performance history, etc.
Mamma Mia is a story of love, family, and friendship built around the musical hits of ABBA. It takes us to a beautiful Greek island where we can escape the complicated world in which we live – we all need a little glitter and joy once in a while.
Mamma Mia is based on the songs of ABBA, a Swedish pop/dance group active from 1971 to 1982 and one of the most popular international pop groups of all time.
Mamma Mia is a jukebox musical written by British playwright Catherine Johnson, based on songs recorded by Swedish group ABBA and composed by members Benny Andersson and Björn Ulvaeus.
In 1997, Judy Craymer commissioned Catherine Johnson to write the book for the musical. In 1998, Phyllida Lloyd became the director of the show, with choreography by Anthony Van Laast.
Mamma Mia premiered at the Prince Edward Theatre in the London West End on April 6, 1999 then staged at the Royal Alexandra Theatre in Toronto on May 23, 2000, followed by a Broadway production on October 18, 2001
(Photo: Ross Davidson.)
Q. What prompted LPL to select Mamma Mia! for its Spring production?
LCP was looking for a big-name show to complete their 2025/2026 season, and both Jeff Holbrough, Music Director, and I have been waiting for the opportunity to bring Mamma Mia to community theatre. It has great music, engaging characters and lots of dancing, and we knew it would be a whole lot of fun.
(Pictured: Keyboards Annette Gilbert, Music Director Jeff Holbrough, and Director Toni Wilson.)
Q. Could you provide a brief plot synopsis?
Sophie is preparing to marry her fiancé, Sky, on a beautiful Greek island where her mother, Donna, runs a small hotel. Wanting her father to walk her down the aisle but unsure who he is, Sophie secretly reads her mother’s diary from the summer she was conceived 20 years ago and invites her possible dads to her wedding. The men, Sam, Harry and Bill, arrive, unaware of the real reason they were invited to the wedding. At the same time, Donna’s former 1970’s rock bandmates, Tanya and Rosie, arrive to support their friend Donna and her daughter Sophie. Donna is thrown into a state of panic when she discovers that her old flames have arrived for the wedding, and Sophie begins to question her marriage to Sky. In the end, all is resolved, and the play ends with a wonderful Greek island wedding.
Q. Mamma Mia! Is an obvious crowd favourite and it has been staged several times by different troupes in the London area in recent years. What sets this production apart from the others?
Mamma Mia has been a crowd favourite for many years.
The cast of 35 is comprised of two generations of people from the ages of 20 to 75. They offer so many different perspectives on an age-old story of love and marriage. After spending so much time together, we have become our own family and are loving every minute of it.
This production incorporates a large ensemble that provides a backdrop to the story with their wonderful vocals, their creative movement throughout the story and their ongoing interest in the lives of the main characters. The cast will have a hard time saying goodbye on closing night.
(Photo: Ross Davidson.)
Q. I understand the show is officially SOLD OUT before it begins. How do you account for this?
Mamma Mia sold out well before the run of the show, and this is why.
People want to be entertained, people want to hear good music that they recognize, people want to be part of a big cast that has fun, people want to suspend their disbelief and dream of a world like the one we create in Mamma Mia – full of smiles, glitter, dance and music. People want to dream…….so ABBA, thank you for the music.
(Pictured: Director Toni Wilson and Choreographer Laura Wood.)
Q. Can you comment on the Cast – Leads and Ensemble?
I am the luckiest director – over 100 people from our London Community and beyond auditioned for this show. They all wanted to be part of the magic of Mamma Mia.
All of my leads are very strong and perfect for the parts they play. They came to rehearsal with a very professional attitude, knowing their lines and music early in the process and have set a precedent for all of the cast members. They are also kind and generous in their work with each other and with the ensemble, and appreciate the crew that makes them look so very good.
I love them all very much.
Q. How would you describe the sets, props and costumes of the play?
David Long is my set designer, and he is a gift to the Palace Theatre. He is creative, hard-working and has brought my vision of Mamma Mia to life with a beautiful set. You will feel as if you are on a Greek Island and part of the story.
Both my costumes and properties teams have collaborated and worked together with our artistic team to elevate the vision of Mamma Mia – a bright, colourful summertime feel. Sending heartfelt thanks your way.
Lighting and sound are also an integral part of the success of a big musical production. I have listened to their suggestions and trust their expertise to bring Mamma Mia to life. The technical pieces of the show add so much depth to the performances.
(Photo: Ross Davidson.)
Q. What can audiences expect from Mamma Mia?
Mamma Mia is going to grab you from the moment the curtain opens until the end when you join in with the singing and dancing during the encore. Be ready to be entertained and leave the theatre feeling like a dancing queen.
Q. Is there anything else you think readers should know about the show?
Mamma Mia has been a wonderful experience from beginning to end. Having my vision come to life depends upon the collaboration of both the cast and crew so that everyone respects the contributions we all make in the creation of a musical theatre production. The people I have brought together for this project, both cast and crew, have been outstanding in developing positive relationships with one another. Their collective effort to do their very best for the good of the show amazes me, and I am grateful.
I think we have created a once-in-a-lifetime experience for both the cast and crew of Mamma Mia and for our sold-out audiences. We are living the dream together.
(Photo: Ross Davidson.)
ARTISTIC TEAM: MAMMA MIA!
Director: Toni Wilson
Producers: Cathy Weaver and Mike Jewison
Music Director: Jeff Holbrough
Choreographer: Laura Wood
Stage Manager: Anita Goodfellow
CAST: MAMMA MIA!
Melissa Metler: Donna Sheridan
Sophie Sheridan: Jordyn Taylor
Rosie Mulligan: Angela Southern
Tanya Cresham-Leigh: Bronwyn Powell
Sam Carmichael: Jim Noonan
Harry Bright: David Bogaert
Bill Austen: Sam Shoebottom
Sky: A. J. MacDonald
Ali: Kate Deman
Lisa: Emma Vanderkuyl
Pepper: Ethan Couchman
Eddie: Tate Stadnisky
Father Alexandrios: Jim Brock
ENSEMBLE: MAMMA MIA!
Michelle Brock
Lisa Shelton
Sue Bruyns
Karen MacDonald
Janice Van Dasler
Megan Dow
Janet Bueckert
Hayley Kell
Lauren Brooks
Megan Gilliland
Isabel Dalimore
Kaity Adam
Jesse Grant
Rob Carver
Basil Gracious
Frank Delle Donne
Liam Sweezey
Gabriel Sizeland
Iain Guild
IF YOU GO:
What: London Community Players present Mamma Mia!
When: May 28 to June 7, 2026.
Where: Main Stage, The Palace Theatre, 710 Dundas St., London, ON.
Tickets: SOLD OUT
Interview conducted by Richard Young, Publisher and Content Manager, The Beat Magazine 2025.
(Pictured: Members of the Guys and Dolls company. Photo: David Hou.)
Full Disclosure: I’ve always been a sucker for full-scale Broadway musicals. And, before the “Drama Police” show up in my Facebook Comments, I appreciate drama and “serious issues plays” just as much as the next guy. But there’s something about musicals that attracts me to them every time.
From the opening chords of its first production number to the final bows of its outstanding Cast, the Tony Award-winning production of Guys and Dolls, now playing in previews at the Stratford Festival, is a spectacle that theatre-goers do not want to miss, if for no other reason than to allow them to escape the harrowing front-page news of 2026.
Let’s start with the stellar veteran Cast.
I would gladly pay to hear Stratford veteran actor Dan Chameroy read a phone book. His portrayal of Sky Masterson, a notoriously lucky gambler willing to bet on just about anything, is brilliant. Add to that Olivia Sinclair-Brisbane, the focus of his unrequited love, as the pious and beautiful Sergeant Sarah Brown of the Save-a-Soul Mission, and you have a winning combination.
The play’s other love story between small-time gambler Nathan Detroit, played masterfully by Mark Urhe, who runs a floating craps game in need of a location, and his long-suffering fiancée of fourteen years, Miss Adelaide, played by Jennifer Ryder-Shaw, is equally appealing.
(Pictured: Olivia Sinclair-Brisbane and Jennifer Ryder-Shaw. Photo: Dan Hou.)
The supporting cast of stereotypical small-time grifters adds an extra dimension to the story and further encourages the audience to suspend their disbelief. Characters with names like Nicely-Nicely Johnson (Steve Ross), Benny Southstreet (Gabriel Antonacci), Rusty Charlie (Devon Michael-Brown), Harry the Horse (Henry Firmston) and Big Julie (Juan Chioran) come and go on the stage with great aplomb.
(Pictured: Members of the company. Photo: David Hou.)
The ensemble actors shine in the show’s outstanding production numbers, choreographed by Stratford veteran, director Donna Feore. Stunning dance moves, accentuated by impossible gymnastic feats, leave the audience gasping for air.
The play’s costumes and sets are a joy to behold, as is expected of Stratford Festival productions. The men are dressed in garish vintage 1940s pinstripe suits, while the women look like they walked off the screen of a classic Hollywood film noir.
Sets range from a dingy New York City streetscape, a Havana nightclub, a lively cabaret, a mission, and a NYC sewer! Set changes are done quickly and seamlessly.
(Pictured: Members of the company. Photo: David Hou.)
And the music!
Under the baton of Music Director, Franklin Brasz, the cast and pit orchestra perform songs that have become part of the Great American Songbook, including If I Were a Bell, A Bushel and A Peck, Guys and Dolls, and, of course, Luck Be A Lady.
At the preview performance I attended on Saturday, May 23, audience members could hardly wait to jump to their feet to give the cast a well-deserved standing ovation amidst shouts of Bravo.
(Pictured: Devon Michael Brown with members of the company. Photo: Ann Baggley.)
To be sure, if you are a fan of musical theatre (and even if you aren’t), you don’t want to miss this outstanding production.
As a rule, the Stratford Festival presents two major musical productions each season. Last season’s box office smash, Something Rotten, returns to the Festival stage for a command performance. Featuring many of the cast members of Guys and Dolls, it’s definitely a show you want to see if you missed it last year.
Reviewed by Richard Young, Publisher & Content Manager of The Beat Magazine 2025.
(Betamaxx Members, Left to Right: Jaq Inglis, drums, Sookie Mei, bass, backing vocals, Mark Ordas, guitar, backing vocals, Kathy Quayle, vocals, Simon Goodwin, keyboard, vocals.)
About six years ago, a friend of Simon Goodwin gave him a nudge with the idea of starting a Velvet Underground cover band.
Fresh out of the London theatre scene, Goodwin shrugged and started putting together what became Venus in Furs. It was fun, but after a few jam sessions, they put the band on hold. Soon after, an invitation to play at a friend’s summer party brought them back together.
A funny thing happened at the party. The crowd loved them. And the band was wowed by the response.
“I was surprised,” Goodwin laughs. “We just played some private parties, but we were just goofing around.”
It was all just goofing around until Goodwin and others in the band realized they had something.
Bassist Sookie Mei recalls that at some point, “We were just like, jamming in someone’s basement and then decided to try and make it go as a band. And we ended up expanding the repertoire to be more 70s and 80s stuff.”
Goodwin adds that “It’s a lot of work to go through from pulling together some songs for a party to being able to do a full night’s material in a bar.”
(Photo Credit: Paul Latorre.)
But work they did, going from a year as a four-piece to a five-piece before adding trained theatre performer Kathy Quayle as their frontwoman. As a singer, Quayle is incandescent, her limbs flying in time to the music with every moment rehearsed and every moment real. She is the visual lynchpin that, to borrow a quip from The Big Lebowski, ties the band together.
Before Quayle grabbed the lead microphone, Goodwin admits, “It was kind of difficult for me to be the only singer to carry out the whole thing.”
“So, having Kathy come and take a bit of a share of the vocals? It’s awesome, she’s awesome. And everyone loves her.”
Mei doubles down on what Quayle brought to the band. “It’s great to have a front woman who’s not behind an instrument, you know, who’s engaged more with the audience. And she’s dynamic, and great to look at, you know?”
So now they had a band, but given that their repertoire had drifted from its Velvets roots, they had to come up with a different name. They had started with Venus in Furs as their nom de plume, but the focus had shifted, and they needed to find another name to hang on their shingle.
Mei recalls they came up with a ton of band names, and all of them were taken already.
“We were trying to think of something that conveyed the 80s, with a nostalgic feel, but also cool. So, we decided on Betamaxx with the extra X.”
“That was one of the ones we thought wasn’t taken, but then it turned out there’s actually a DJ out of Poland and a band in Southern California that had the same name!”
Mei laughs and adds, “So we’re just not original, which is fitting for a cover band!”
Betamaxx’s focus on 80’s music wasn’t accidental. Not entirely.
Goodwin admits, “I kind of pushed it that way.”
“Well, because we were doing, like, late 70s, early 80s songs, I kind of said, well, let’s, let’s do a new wave thing because there’s no one else really doing it. I looked around, and there was only one other band covering that niche.”
“Besides, it was the music of our youth for the most part. And the band very happily went along with it.”
So, with a set list of three, the newly dubbed Betamaxx set out to do some gigging around town.
“I think the first was the Richmond Hotel about three or four years ago,” recalls Goodwin, “and we’ve just kind of grown since then.”
Goodwin understates things a tad. Betamaxx shows at the Richmond are wonderfully intimate, with a roiling crowd of dancers pushing the edge of the dance floor until even those at the crowded tables are bouncing along with the relentless beat.
“Yeah, I am surprised,” admits Goodwin. “It’s lovely, you know. We just kind of, you know, found a niche as I suggested, and uh, you know, there’s a lot of people that are in our kind of age range.”
Betamaxx is a generational rallying call, a gathering of the tribes, people who have their lives back after some years of establishing a career or family.
The band explores big hits by The Cure, the B-52s, and obscure one-hit wonders by Alphaville (Forever Young) and Peter Schilling (Major Tom), former 80s earworms that hit the nostalgia note before they hit the cerebellum. You all know these songs, whether as an obsessive fan or just having been an 80s kid.
Mei agrees, adding, “I believe people love the music of their youth, and the 80s were a huge decade for music. People of all ages seem to enjoy 80s music.”
“We’ve got people our age and older who love it. We’ve even got young 20-somethings who are into Betamaxx, and it’s the 80s music that is the key. The second thing is, we’ve got a really great band.”
According to Goodwin, it’s not just a coincidence that they’ve grown as a band. It’s also an attention to detail that he’s pushed on the band.
“We work really hard to sound like the recordings, the original recordings, because I think people really respond to that quality. I think that helps.”
Mei notes that their success has been recognized in a somewhat tangible fashion, given that Betamaxx snapped up the Best Cover Band honours at last year’s Forest City London Music Awards.
“Yeah,” she says sheepishly, “we’ve definitely risen up to London greatness!”
Mei muses, “You know, it’s wonderful to look out into the audience and see people from all different walks of life. You know, we’ve got young people, we’ve got various people identifying with different genders, and you know, working class, white collar workers, or whatever.”
As for what’s next, Goodwin concedes that with the band all having day jobs, it’s really more about the fun than the money.
“People have asked us if we’d like to go to Windsor or wherever, but we’re not really interested,” he says flatly.
“We just kind of take gigs of convenience or anything we feel like we want to play.”
This summer, those gigs include Pride London’s mainstage, Ribfest and an upcoming slot at Old South’s Wortley Roadhouse.
“We’re also doing a Hamilton Road block party and something for the Forest City Music London awards as well,” Goodwin explains. “So, we’ve got a lot of little kind of showcase shows like that over the summer. And that’s right up our alley. That’s exactly the kind of stuff we want to do.”
Upcoming Betamaxx Shows:
July 4: Wortley Roadhouse, 9pm-1am
July 18: Hamilton Rd Block Party, 2-3pm
July 19: Pride Festival, Victoria Park, (Date and time TBD)
Bob Klanac is a London-based music journalist who has penned hundreds of reviews and interviews. He was a juror for the Polaris Music Prize, a member of the Slaight Family Polaris Heritage Prize Jury and a Juno Awards juror. Bob has also penned two books, Promo Man about London’s late music legend Nick Panaseiko and Shooting Stars, Telling Tales, about photographer to the stars photo-journalist John Rowlands.
On Wednesday, May 21, 2026, the 24th annual Forest City London Music Awards (FCLMA) announced this year’s inductees into the non-profit organization’s Hall of Fame and Lifetime Achievement categories.
(Pictured: Fred Smith, Ted Leonard, and Don Jones. Photo Credit: Jack Sutton/CBC.)
This year’s honourees are blues guitarist Ted Leonard, who was inducted into the Hall of Fame, long-time CHRW-FM Hardcore Country host Fred Smith, and the Jones Family, London entertainment pioneers and entrepreneurs, who received Lifetime Achievement Awards.
FCLMA Hall of Fame recognition is granted to individuals who have a long-standing connection to London and area, and who have demonstrated an outstanding career in music and have made a significant impact on the local, national, and/or international community. To be considered, the nominees must have started in the music industry at least 20 years ago.
The Lifetime Achievement Award is presented to an individual (or individuals) who has been an outstanding contributor to the London and area music community over many years and who has inspired others to contribute to the London area’s music community in an impactful manner.
The Jones Family received a Lifetime Achievement Award for their long-time contributions to the London Music scene, which began with the building of Wonderland (Summer) Gardens, London’s famed entertainment venue, in 1935, and continues today with the Jones Entertainment Group, which continues to build on that legacy through touring productions, festivals, and large-scale live experiences.
To be sure, it is an honour well-deserved and long overdue.
Coming on the heels of the Lifetime Achievement Award is the unveiling of commemorative Interpretive Signage recognizing and celebrating Wonderland Gardens’ contribution to London’s music scene on Sunday, June 21, at 1:30 pm, at Springbank Gardens, before the first Springbank Gardens Summer concert at 2:00 pm.
The Interpretive Signage unveiling is a joint project of the London Public Library’s Historic Sites Committee (of which the author is a member) and the City of London Culture Office.
In the following article, brothers Chuck Jr. and Don Jones share their memories of operating Wonderland Gardens during its heyday in the 1950s and 1960s. (Source: Interview with brothers Chuck and Don Jones, December 11, 2023.)
Younger brother Don Jones was tasked with booking the entertainment at age 14. He remembers booking an up-and-coming artist named Alice Cooper for $500 in 1967.
“I took care of booking Bob Seger one time, who came with his band, equipment and all, in a cube van and slept in the parking lot,” recalls Don.
Don had a talent for this and continued booking the entertainment there until the mid-1970s, getting to know and becoming friends with musicians from across the country and the U.S. He has kept many of them as long-time friends to this day.
Prominent local musical groups, including Johnny Downs, Ted Pudney, Lionel Thornton, and Neil McKay, performed at Wonderland Gardens in the venue’s early years. Later, local acts included the Hawthorne Good Times Band, led by John Hotson, which participated in twenty-five consecutive New Year’s Eve celebrations. Other local acts included The Bluesmen Revue, A Small Experience, The New Set, and many others.
(Pictured: The Bluesmen Revue.)
As musical preferences shifted over time, Wonderland stood as one of the few local vestiges of the big band era. By 1956, the once-gravel driveway leading to the attraction from Springbank Drive had transformed into Wonderland Side Road. The venue continued to host headline acts such as Roy Orbison, Chuck Berry, and Sly and the Family Stone. The Jones brothers remember when Wonderland hosted a two-day Pop Festival featuring Frank Zappa and the Mothers of Invention in August 1969.
(Pictured: Frank Zappa performs at Wonderland Gardens, August 1969.)
Chuck can finally put to rest the rumour that Zappa engaged in water skiing on the polluted Thames River.
“This did happen, I was the one driving the boat!” he jokes.
In 1982, Don met CBC children’s icon Mr. Dressup (Ernie Coombs), and together they embarked on a twenty-year journey of touring success. Don and Ernie developed a steadfast friendship that continued long after their touring stopped. Following Ernie’s retirement, these two best friends could still be found on the golf course each year, raising funds for Peter Gzowski’s Literacy Foundation.
(Pictured: Ernie “Mr. Dressup” Coombs.)
From 1999 onwards, Don’s primary focus was on the late Stuart McLean, CBC Radio host and best-selling author. Together, they covered Canada coast to coast and the northern United States, playing over 50 live shows each year with The Vinyl Cafe.
(Pictured: Stuart McLean.)
The talent kept pouring in, and Wonderland Gardens, in its heyday, was the venue where bands wanted to play.
“I would often reach out to entertainers who were playing in Detroit and catch them on their way to Toronto,” recalls Don.
Sadly, Charles Sr passed away in 1971. In the mid-1970s, Don left to continue with his music promotion business and started Don Jones Entertainment, which remains a powerhouse in the industry to this day.
By 1974, Chuck realized that to keep up with the times, the facility needed to get into the food business. He decided to open up the facility with its 1000-person capacity for company conferences, proms, parties, and fundraising events. He carefully vetted the companies that wanted to rent out the space to ensure that they were solid, upstanding businesses.
Initially, local catering companies would provide the food for these events until Chuck realized that he wanted to expand and offer the food directly.
(Pictured: Riverview Restaurant.)
“I also realized that to remain competitive, we needed to license the facility,” says Chuck. “In 1984, we opened the fully licensed Riverview Restaurant with a one-hundred-person capacity inside and one-hundred-person capacity outside. The restaurant was renowned for its great food, great service, and stunning backdrop looking over the Thames River.”
Wonderland Gardens and the Riverview Restaurant were closed in January 2004 after the City of London failed to negotiate a reasonable new lease for the property. The last evening was a New Year’s Eve celebration with the local band, Hawthorne, playing to a sold-out crowd.
Unfortunately, Wonderland Gardens burned down in 2005, and the empty hall remained empty until June 8, 2008, when the City of London opened Springbank Gardens, featuring a renovated bandshell and the Guy Lombardo Pavilion, an arched pine and cedar building resembling the original ballroom. Today, the venue hosts summer music events and private functions.
(Pictured: The Guy Lombardo Pavilion, Sprigbank Gardens.)
Today, the two Jones brothers are mostly retired and enjoy family time. Chuck and his wife, Bea, are avid birders and house sixteen colonies of the endangered Purple Martin birds. Don and his wife Linda enjoy spending time with their four kids and eleven grandchildren. Don enjoys cooking and is known to make delicious soups and roasts that he generously drops off to family and neighbours.
Don’s sons, Brad and Greg, are successfully running the Jones Entertainment Group, offering a one-stop service to the entertainment business. Locally, they have successfully filled Harris Park with 50,000 fans each year for the past nineteen years for the local charity fundraiser, Rock The Park.
Don and Chuck Jones have vivid memories of Wonderland Gardens and the bands that performed there.
One such memory includes the time that the popular British band The Crazy World of Arthur Brown was booked to play one evening at Wonderland Gardens in 1969. The day before Brown was scheduled to perform, Don received a phone call from the band’s manager informing him that the whole band had quit, and the eccentric and outlandish band leader was on his own. Don flew him in from New York and chartered a plane from Toronto to London to get him to the venue on time.
(Pictured: The Crazy World of Arthur Brown.)
“He was without his band, his stage gear, and his signature flaming head costume. I quickly improvised. The opening band knew all the songs and agreed to step in for Arthur,” Don recalls. “I found a lampshade, stuffed it full of cotton balls, soaked it in lighter fluid, and duct-taped it to his head. As he stepped onstage, the cotton balls were lit, and Arthur’s outlandish entrance was restored. Unfortunately, the flaming head didn’t have protection for his head, and it was quickly doused after singeing his hair. There was a burn on the stage floor after that concert!”
By Richard Young, Publisher & Content Manager, The Beat Magazine 2025
Richard Young is a retired History teacher who taught with the Thames Valley District School Board for thirty years. Richard published The Beat Magazine, an independent print arts magazine, from 2009 to 2013. In 2025, he revived the magazine as an online publication. He is currently a member of the London Public Library Historic Sites Committee.
His band, The Comic Opera, played at Wonderland Gardens numerous times in the late 1960s and early 1970s. He has many fond memories of the venue.
Chor Amica is partnering with London Pro Musica at First-St. Andrew’s Church for its largest ever production — the London premiere (and second-only orchestral performance) of Canadian composer Stephanie Martin’s Water: An environmental oratorio on Saturday, May 23, at 7:00 pm.
(Pictured: Paul Ciufo.)
Written in collaboration with playwright and librettist Paul Ciufo and Anishinaabe scholar Vicki Monague, Water tells the story of a fictional Northern Ontario town and its pivotal decisions to protect its local freshwater resources for future generations.
(Pictured: Vicki Monague)
Performed by four exceptional vocal soloists — Katy Clark, soprano, Hillary Tufford, mezzo-soprano, Chris Fischer, tenor, and Paul Grambo, baritone — full orchestra, and the combined forces of three local adult choirs and a children’s choir under the baton of Chor Amica’s music director, Patrick Murray, this is a community musical collaboration not to be missed.
Synopsis:
Canadian composer Stephanie Martin’s new oratorio receives its London premiere with the combined forces of London Pro Musica, First-St. Andrew’s Senior Choir, Chor Amica, St. Mary School Children’s Choir, orchestra, and professional soloists.
It is the story of the importance of this precious resource (water) and a community’s efforts to protect it. In this modern-day oratorio, the Mayor of a small Canadian town must choose between an ambitious developer whose questionable plans for a clothing factory will endanger a pristine water source, and her environmentalist son who pleads for her to take a stand and protect Water. The Mayor is troubled by dreams in which WATER appears as a woman and is finally brought to her senses by the spectre of her future grandchild.
The composer Stephanie Martin’s wish is, “I hope ‘WATER: An Environmental Oratorio’ will bring people together to start a conversation about this very precious resource that sustains life on our planet but that we take for granted.”
This work disrupts stagnant modes of thinking and complacency around the importance of water by considering this Anishinaabe teaching: it is our sacred duty to protect water, as human existence depends on it. The music in this oratorio utilizes several styles to embrace all listeners. Some styles include opera, folk, jazz, classical choral, and orchestral music.
Soloists:
(Pictured: Katy Clark.)
Renowned for her versatility and captivating stage presence, Canadian soprano Katy Clark has appeared across North America as a soloist, chorister, teacher, lecturer, and director. She has appeared as a soloist with many groups, including the Amici Chamber Ensemble, the K-W and Windsor Symphonies, and Michigan Opera Theatre. She is a member of the Elora Singers and of Opus 8, and has sung with the Tafelmusik Chamber Choir and the Canadian Opera Company Chorus. An active teacher, lecturer, and clinician, Katy holds a DMA from the University of Toronto. She operates an active teaching studio in London, Ontario.
Canadian mezzo soprano Hillary Tufford is a versatile and engaging performer, a Graduate of Western University (M.Mus. Voice Performance) and Alumna of the Yulanda M. Faris Young Artist Program at Vancouver Opera. In 2024, Hillary debuted as Carmen with Toronto City Opera. She has performed as a soloist in Messiah with the Elmer Iseler Singers and Hamilton Philharmonic, and in Beethoven’s Ninth Symphony with Kingston. This summer, Hillary will perform with Festival d’opéra de Saint-Eustache in Quebec.
(Pictured: Chris Fischer.)
Tenor Chris Fischer has appeared as a soloist in more than two dozen major works for choir and orchestra. Operatic credits include the title role in Bernstein’s Candide, Nanki-Poo in Gilbert & Sullivan’s The Mikado, and Kaspar in Menotti’s Amahl and the Night Visitors. Chris has sung with the Grammy and JUNO-nominated Elora Singers since 2012. They are also the collaborative pianist for the Rainbow Chorus of Waterloo-Wellington, and the Minister of Music at London’s First-St. Andrew’s United Church.
(Pictured: Paul Grambo.)
Baritone Paul Grambo is an active member of the local music and theatre community, having performed works at the London Fringe Festival and with local theatre companies, jazz and classical musicians, London Symphonia, and as a chorister and soloist with the Grammy and JUNO-nominated Elora Singers. Additionally, Paul is the artistic director of London Pro Musica Choir, conductor of the Canadian Celtic Choir, and assistant director of St. James Westminster Church choir. As a teacher, clinician and conductor, Paul maintains a vibrant private studio, regularly holding workshops in and around Southwestern Ontario. Paul holds a Masters of Music degree in Performance and Literature from Western University.
Tickets: $40 general admission | $10 students/children with ID
American singer-songwriter and musician Judy Collins brings her “Sweet Judy Blue Eyes” Farewell Tour to The Aeolian on Monday, May 25.
With a career spanning nearly seven decades, the Academy Award-nominated documentary director and Grammy Award-winning recording artist is known for her eclectic taste in the material she records, which has included folk music, country, show tunes, pop music, rock and roll, and standards.
Collins has inspired audiences for more than five decades with her luminous voice, deeply personal songwriting, and lifelong commitment to social activism. Emerging during the folk revival of the 1960s, she became a defining voice of a generation confronting social and environmental injustice. Today, her legacy spans more than 55 albums and continues to influence new audiences.
Collins is celebrated for her imaginative interpretations of traditional and contemporary folk songs as well as her own poetic compositions. Her recording of “Both Sides Now” by Joni Mitchell from the 1967 album Wildflowers was inducted into the Grammy Hall of Fame, while her rendition of “Send in the Clowns” from A Little Night Music by Stephen Sondheim won Song of the Year at the 1975 Grammy Awards. Over the years, she has earned multiple top-ten hits and gold- and platinum-selling albums, and her influence has been celebrated by artists including Rufus Wainwright, Dolly Parton, Joan Baez, and Leonard Cohen.
Originally a classical piano prodigy performing works such as the “Concerto for Two Pianos”, Collins shifted toward folk music after discovering the songs of Woody Guthrie and Pete Seeger. Her 1961 debut album, A Maid of Constant Sorrow, launched a long partnership with Elektra Records and helped establish her as a key tastemaker in the Greenwich Village folk scene, where she championed emerging songwriters including Cohen, Mitchell, and Randy Newman.
Still prolific, Collins continues to record and tour internationally. Recent projects include the collaborative albums Silver Skies Blue with Ari Hest and Winter Stories with Jonas Fjeld and Chatham County Line. An author, filmmaker, and activist for organizations such as UNICEF, she also speaks widely on mental health and recovery.
A true Renaissance artist, Judy Collins continues to create music of hope and healing while mentoring new talent and inspiring audiences around the world.
Judy Collins has inspired audiences with sublime vocals, boldly vulnerable songwriting, personal life triumphs, and a firm commitment to social activism. In the 1960s, she evoked both the idealism and steely determination of a generation united against social and environmental injustices.
Five decades later, her luminescent presence shines brightly as new generations bask in the glow of her iconic 55-album body of work, and heed inspiration from her spiritual discipline to thrive in the music industry for half a century.
(Pictured: London author and playwright Paul Cavanagh.)
The Kept Brother is a theatrical play written by the London, Ontario-based author and playwright Paul Cavanagh. It was developed as part of the Cascade Playwrights’ Lab Showcase at the city’s Grand Theatre, where excerpts from the work were read on the Auburn Stage.
Theatre Aezir invites you to join the cast and playwright of The Kept Brother for its first full reading on Saturday, May 23, at First Baptist Church.
The Plot Thickens
Ever feel like your family is a little… intense? Come meet Deacon. He lives in his sister Carly’s basement, keeps to himself, and has one tiny, awkward quirk: he knows exactly when the people around him are going to kick the bucket.
Life in the suburbs is quiet until Great-Aunt Véronique drops by with some heavy baggage and a shared secret. When Deacon’s “sixth sense” starts ringing alarm bells for his sister Carly, the family hits a breaking point. Is Deacon gifted, or is he just losing it? It’s a story of sibling loyalty, hidden histories, and a final twist that might just change how you see “family intuition” forever.
The Cast:
Deacon – Jackson Balint (recently Richard Dreyfuss in The Shark Is Broken)
Carly – Jessica Perreira (The Phoenix Lottery, Marion Bridge)
Corbin – Ryan Memarzadeh (Dating Games)
Ever – Locksley Thorne (Debut with Theatre Aezir)
Veronique – Elizabeth Durand (Artistic Director)
911 Dispatcher – Don Millar (Member of the Board of Directors)
IF YOU GO:
What: First Full Reading of Paul Cavanagh’s The Kept Brother.
When: Saturday, May 23rd @ 2:30 PM
Where: First Baptist Church, 568 Richmond St., London, ON. Please use the Clarence Street entrance.
Cost: Absolutely Free
How to Snag a Spot: RSVP via email to: tickets@theatreaezir.com(Include your name and the number of seats you’d like to reserve.) Space is limited, so don’t leave your attendance to fate.
