Here is the poster for Thursday night’s Magisterra Concert. So, you already know lots about it- but I’ll tell you more!!!
First, though, I’m going to come clean about what may keep people from flocking to some exquisite chamber music- and in THIS city, that is one opportunity among a flood of riches.
It’s PARKING, isn’t it???
Almost sixty years ago, when we came to London, I was vaguely amused by the horrified mentions of PARKING in the city- the warnings about downtown dying if those malls were built in the suburbs offering free space for cars. And now- I’ve also become the kind of Aged Karen who would hurl epithets at City Council from the gallery, bewailing what I must pay to park my Mazda close to the classical music event I want to attend.
I’m going to offer a few suggestions for the similarly enraged:
Point your car to Fullarton St. between Talbot and Ridout. Use the street- it’s after 6:00 p.m. and barely a block from Museum London
Make an evening of it. Yaya’s Café has replaced the Rhino- and offers an intriguing Thursday night African meal until 7:00 p.m.
Ask someone under 40 in your home about Uber. I watched the young’uns in my extended family use it all over Boston, Detroit, Toronto … and their summoning and paying for the service did not seem to impoverish them.
So, what else do you need to know?
Piano trios? Three pianos on that small auditorium stage?
Au contraire, mon frere… as famous poet George Carlin used to say.
A piano trio is a small chamber group of three musicians – piano, violin, and cello – playing together as equal musical partners. In a piano trio, each instrument has its own voice: the piano provides richness and colour, the violin often sings the melody, and the cello adds depth and warmth. Composers have admitted they love writing for piano trio because this intimate setting lets listeners hear every musical “voice” clearly, like three characters in a vivid, wordless conversation.
And the ones chosen for Thursday night are masterpieces:
Beethoven’s Piano Trio in E‑flat major is an early piece from his “new kid in town” years in Vienna. It’s bright and energetic, with clear tunes that bounce quickly between piano, violin, and cello, plus a gentle, slow movement and a witty, fast finish.
Brahms’s Piano Trio in B major is big, warm, and emotional. It opens with a long, singing melody, then moves through music that can feel stormy one moment and comforting the next, always with rich, lush harmonies.
Turina’s Piano Trio No. 2 is a short, colourful work with a strong Spanish flavour. In just three movements, it shifts between dreamy, atmospheric writing and lively, dance‑like rhythms that give the trio a vivid, distinctive character.
(Pictured: Magisterra Solists violinist and music director, Annette-Barbara Vogel.)
You know that violinist and music director, Annette-Barbara Vogel, is brilliant- but her guest musicians are certainly no slouches!
Anya Alexeyev, born in Moscow into a family of concert pianists, trained at the prestigious Gnessin School and Moscow Tchaikovsky Conservatory before earning a scholarship to the Royal College of Music in London, where she won major prizes. She has appeared as a soloist with leading orchestras, including the Royal Philharmonic, BBC Philharmonic, Moscow State Symphony, St. Petersburg Philharmonic, and Quebec Symphony.
(Pictured: pianist Anya Alexeyev.)
She is a genuine musical explorer who has recorded widely for international labels, yet she is equally passionate about unearthing hidden gems of the piano repertoire. In Magisterra’s trio, she brings the depth of a truly global career together with a restless musical curiosity.
Three things about Belgian cellist Tom Landschoot are especially intriguing for concertgoers: he has an international solo career, is a sought‑after teacher, and he has a deep chamber‑music pedigree.
Landschoot has appeared as a soloist with orchestras across Europe, North and South America, and Asia, including the National Orchestra of Belgium, the Frankfurt Chamber Orchestra, and symphonies from Taiwan to Ecuador, with performances broadcast on radio and television worldwide.
He has held a leading professorship at Arizona State University, is on faculty at elite summer institutions such as Meadowmount, and will join the Cleveland Institute of Music as Professor of Cello in 2026
And … be still my heart … Tom Landschoot has been involved in interdisciplinary public service projects through his music, such as raising funds and awareness for the need of building an orphanage and hospital in Tamil Nadu, India. As part of this humanitarian project, Landschoot was featured in a documentary film of a cellist performing across India, integrating photography, culinary, journalism and original music compositions.
(Pictured: cellist Tom Landschoot.)
And on this day, when wars are beginning yet again, when there is so much to mistrust and fear in our world, let’s be grateful for the wonderful people who bring us music in this chaos
IF YOU GO:
What: Magisterra Soloists present Masterworks featuring the Magisterra Piano Trio.
When: Thursday, March 5, at 7:00pm.
Where: Museum London, 421 Ridout St. North, London, ON.
London Community Players’ production of Harris Cashes Out! plays on the Procunier Hall stage at the Palace Theatre from March 5 – 15. Director Julianna Goertzen talks about the production in this Q&A interview with Richard Young.
Q. What is the basic premise of Harris Cashes Out? Could you provide a brief plot synopsis?
Harris Wellborn is an old, washed-up Broadway musical writer who didn’t make much money in theatre. After his wife passed away, he fell into despair, and his sister, Maggie, moved him against his will to Baltimore to be closer to her. She arranged for an eccentric dog walker, Kim, to check on him and his health, but Kim and her boyfriend, Jason, had other plans to take advantage of Harris and his musical writing past. It’s a comedy about relationships and the things that happen when very different people are in proximity to one another.
(Pictured: Harris Cashes Out! Director, Julianna Goertzen. Photo: Ross Davidson.)
Q. The description on the Palace Theatre website indicates that the play has a Broadway theme. Does it include any musical numbers?
The only musical numbers it includes are the little ‘soft-shoe humming’ songs that Harris (played by Tim Bourgard) makes up on stage every performance. You may also recognize famous musical numbers played during the intermission and changes in scenes.
(Pictured: Tim Bourgard as Harris Wellborn. Photo by Ross Davidson.)
Q. Why did you choose the Procunier Hall stage as opposed to the larger Palace Theatre stage?
With a play like Harris Cashes Out!, I believe it would be more appropriate for a smaller venue like Procunier Hall to hold. With only four actors and a simple rundown apartment set, you’re right up close to the action and can hear the quiet, sensitive scenes that you might not catch with a big stage.
Q. Can you tell me about the playwright Londos D’Arrigo? I understand he’s Canadian and from around these parts. What other noteworthy plays has he written?
Londos was born, raised, and currently resides in Toronto. We have the privilege of having him coming to see our production of Harris Cashes Out! and we are very excited. Londos says that Harris Cashes Out! is a favourite of his. Other comedic plays he has written include Spreading it Around, which the London Community Players produced in 2009 at the Palace Theatre. He has also written a play called Vicki’s Back!, which sounds very similar to Harris Cashes Out!, written with a female lead in ‘show biz’.
(Pictured: Playwright Londos D’Arrigo.)
Q. Can you tell me something about yourself in terms of your involvement in community theatre, things such as other plays you have directed, produced or starred in?
I have always been involved in theatre from a young age. Most of my theatrical career was with Aylmer Community Theatre (ACT). In 2007, I started out as a makeup artist and dresser for those quick changes backstage. My acting debut on ACT’s stage was a comedy called Not Now Darling by Ray Cooney and John Chapman, where I played Sue Lawson. I was required to act drunk and walk around in my underwear on stage. Since then, I have been a part of many productions, whether as a stagehand or stage manager. My specific role was not of primary importance; what mattered most was that the cast and crew enjoyed a positive experience while producing the show. I have only directed two one-act shows with ACT in the past, so this is also my first full-length show.
In regard to my London community theatre experience, this is my directorial debut. A year ago, I was on the Palace Theatre stage as Dorothy Foxton in Murdered to Death, a comedy by Peter Gordon; before that, I was Dorothy in Stepping Out by Richard Harris in 2009.
(Pictured: Vivien King-Sherwood as Maggie Bellows. Photo by Ross Davidson.)
Q. What challenges have you encountered bringing this play to the Procunier Hall stage?
I have experienced very few challenges with bringing Harris Cashes Out! to Procunier, although the set and lighting crew may disagree since a set like this hasn’t been built in Procunier Hall for as long as anyone can remember. The biggest challenge about the play is the part of Harris. Harris’ lines amount to 50% of the dialogue. Tim Bourgard, who plays Harris, has been working very hard to recall every word, blocking, prop, and costume piece. The other actors have been very helpful and encouraging to Tim as we make our way through rehearsals.
(Pictured: Sam Didi as Jason Sernach. Photo by Ross Davidson)
Q. Is there anything else you think our readers should know about LCP’s production of Harris Cashes Out!?
This family-friendly show is full of laughs for all ages. Come out and enjoy live theatre up close and personal in Procunier Hall at the Palace Theatre. You won’t regret it.
(Pictured: Kim Sutton as Jasmine Gunkel. Photo by Ross Davidson.)
CAST & CREW: HARRIS CASHES OUT!
Director
Julianna Goertzen
Stage Manager
Alex Goertzen
Producer
Andrew Kaszowski
Assistant Stage Manager
Andrea Stevens
Light Design
Andrew Kaszowski
Sound Design
Alex Goertzen
Costumes
Julianna Goertzen & MJ Walzak
Props
Colin Arthur
Intimacy Coordinator
James Noonan
Set Build Lead
David Long
Harris Wellborn
Tim Bourgard
Maggie Bellows
Vivien King-Sherwood
Kim Sutton
Jasmine Gunkel
Jason Sernach
Sam Didi
IF YOU GO:
What: London Community Players present Harris Cashes Out!
When:Thursday, March 5 – 7:30 pm Friday, March 6 – 7:30 pm Saturday, March 7 – 7:30 pm Sunday, March 8 – 2:00 pm Thursday, March 12 – 7:30 pm Friday, March 13 – 7:30 pm Saturday, March 14 – 2:00 pm Sunday, March 15 – 2:00 pm
If you have a story idea or would like to become a Volunteer Writer for The Beat Magazine, you can reach Richard at richardyoung@thebeatmagazine2025.ca
In a 2023 profile I prepared of well-known London area singer-songwriter and Forest City London Music Awards recipient, Laura Gagnon, she told me, “I’m a road warrior at heart.” Since that story was published, the Port Stanley resident has kept up her busy schedule of live performances in and around London, throughout Canada, and abroad.
I caught up with Laura as she was in the throes of organizing and preparing for The International Women’s Day – Women In Music Showcase, being held at London’s Palasad Social Bowl on Sunday, March 8th.
What follows is an updated Q&A Interview with Laura about her career and the March 8th event. (The Interview has been edited for length and clarity.)
Q. Tell me a little bit about your upbringing. Was yours a musical home?
Very much a musical home! My parents are both professional musicians, and once a week, they’d have band rehearsals at our home in the garage when I was very young. The garage was connected to our kitchen, so you can imagine me singing all the tunes in the kitchen at the top of my lungs while they’re practising. Ha-ha!
Q. Do you remember the moment when you made the decision that music was going to be a big part of your life?
In our previous interview, I talked about Grade 10, but the more I reflect on my life and career, I realize it was much earlier than that. Recently, I discovered old VHS tapes of me singing and playing piano, and I could see how much I loved it. I was shy but determined! My first TV appearance was on “Rogers TV” for the Salvation Army. You can actually watch these on my Instagram account. The glimmer in my eyes really says it all.
Q. Has the piano always been your primary instrument? Do you play any other instruments?
I definitely started with piano, and then singing came not too long afterwards. It gave me the foundation for pitch and how notes worked together. The sound was beautiful to me. I then tried to learn the sax and trumpet, but that didn’t stick. Ha-ha. Then I picked up the drums. I can jam pretty well with musicians but not well enough to play a big show. I’ve recently picked up the flute, so we’ll see how that goes!
Q. What have your musical influences been over the years?
Going way back to when I was eight years old, it started with the Wizard of Oz and “Somewhere Over The Rainbow.” I was enchanted by Judy Garland. It grew into a love for Disney songs. My favourites were Snow White, The Little Mermaid and Beauty and the Beast. Then along came Alicia Keys, who introduced me to soul and a female artist who could play and sing piano. The sassiness of Britney Spears and Christina Aguilera followed, and then the range and sensitive tone of Mariah Carey really started to shape my musical world.
Q. Tell me about the various groups and musicians you have played with since you started playing professionally.
I’ve had the privilege of playing with some pretty exceptional musicians, but also some really amazing groups like the Extreme Tour, based on guiding the lost out of the dark with music. I’ve written with Guess Who Guitarist, Dale Russell (may he rest in peace). An incredible producer, songwriter and human. Gary Martin of the Touring Funk Brothers is another exceptional musician who taught me how to better connect with an audience through just one single note. These three stick out to me because they’ve had an incredible impact on my career.
Q. What types of gigs have you played over the years?
Oh wow! I’ve played festivals like CMW, VENUEXVENUE, World Fest, Ribfest and conferences. I sang the Canadian and American national anthems in France for a tree planting ceremony for the 100th Anniversary of Vimy Ridge. At MMA events, London, ON City Council, Ottawa, ON City Council, baseball games, hockey games, soccer games. Performed in Nashville at Rocket Town for an industry showcase and many songwriter showcases around Canada.
Q. Tell me a little bit about any recordings you have made in your career.
It all started with writing a song for Remembrance Day, “In Our Hearts”. I wrote it based on many veteran ceremonies I’ve sung at. I wanted to give something back to the community that had supported me for so long. Two days before their ceremony, I asked if I could perform “In Our Hearts,” and they said yes, absolutely.
Now, at this point in time, the song hadn’t been recorded yet, and I wanted to see if it was worth diving into, and it was. There was an overwhelming need and feeling to get this song professionally done. I recorded the song at Prevail Media Group, and they brought it to life! Fast forward a year, and I get a message in my Facebook inbox from a woman asking if I have sheet music for the song. I didn’t at that moment, but I quickly wrote a lead sheet for her and sent it off.
I asked her if she could send me clips of her singing group practising and performing it. I also wanted to come see the performance and hear them in person. I asked where they were based, and she said Australia!! Darn, that’s a bit far! Ha-ha!. But I was so honoured that they picked my song to sing for their Remembrance Day ceremony. They found it on YouTube! Thank you, Moss Vale High!
Q. Other than the March 8th International Women’s Day – Women In Music Showcase, what projects are you currently pursuing?
Right now, I’m working on a couple of singles, one to be released in about five weeks called “Blue Eyes”. It’s a soft, stripped-down, cuddle vibes kinda song. The song feels like a warm hug, chicken soup for the soul and the feeling of getting tucked into bed as a kid. I remember that feeling well. I’m really excited for this one and honoured to be working with a really amazing producer, Randy Mead, out of London. After that single, I’ll be releasing another single, then an album.
Q. Is there anything else you think our readers should know about Laura Gagnon, the musician and Laura Gagnon the individual?
Since we last chatted, a lot has changed, and it’s been an amazing adventure and gift. 2025 was a big year for me. I was signed to an indie label, Big Records World (Canadian label), signed to a Management/Booking label, Grace Musicians Management Group (NYC Label), and toured the United States performing and helping the homeless with a group called The Extreme Tour, as I mentioned earlier. I’d like to expand on “The Extreme Tour” because it was the pivotal point of my career. It took me out of business mode and reminded me that I’m an artist and I have a bigger mission than just playing show to show, hoping to increase my followers.
I forgot to connect with my audience and be warm for them, be gentle with myself. I forgot that silliness is okay and actually inspires humans to be themselves. That tour reminded me why I started this career in the first place. I think it’s our job as musicians to help, heal and be kind to those who aren’t kind to themselves. To give them permission to be themselves. When lost, you help them find their way. The amazing part about that is that, in turn, sometimes in helping them, they help you. Selflessness is the key to success. Being YOU and no one else and just showing up. TRUST. I will be going back on tour with this amazing team, but also be touring a string of shows in New York City soon.
—
The Doll House Showcase Presents International Women’s Day –Women IN MusicShowcase
Q. The Facebook post for the event suggests that it has been 10 years since you have done one of these showcases. Why is that? What has motivated you to revive the showcase in 2026?
I organized and ran The Doll House, a showcase for female musicians from 2016 to 2018, which allowed me to play with many amazing female musicians like Sarah Smith, Nikki James, Carly Thomas, and many others. It was all about empowering female musicians and working as a team to accomplish our goals and being there for one another when things got tough.
The past couple of years, I’ve been asked if I’m going to be bringing this showcase back to the city by multiple musicians and showcase goers from the previous years. I thought, as it has been ten years, this would be the perfect time to bring it back.
Q. Do you have any other partners in organizing and staging this event?
I have been doing all the organizing and staging. I’ve done all the marketing, posters, video and picture promo, radio interviews, TV interviews, including setting up the flow of the artists and booking the venue.
Q. Are similar events taking place in other communities?
Yes! It’s quite amazing! Ottawa has two of them, “Girls To The Front” and “Vox Femme”, and Burlington has “Harmonia”. I know of many others, but those are the ones that stick out in my mind. I’ve performed at two of them.
Most of the proceeds are going towards My Sisters Place – a vital London, Ontario charity operated by CMHA Thames Valley that provides a safe, welcoming centre and essential services for women experiencing trauma, mental health challenges, addiction, and homelessness – and the participating musicians. In true Doll House Tradition, there will be a tip jar for all musicians to share. “It’s A Doll House Tradition To Tip The Musician!”
My Sisters Place has the same mission as the Doll House, which is to protect and create awareness of the dangers of one’s surroundings. It advocates for women to speak out and be heard. To work together and heal through music and community. When we first started this event, that was the main purpose, so women in the music scene weren’t alone and could call on each other. It was created as a safe space, like My Sisters Place.
Q. Tell me about the artists who will be performing on March 8th. What genres of music will be represented?
The artists are women who have been busting their butts in the music scene worldwide. They aren’t just local heroes but international inspirations. They come from all walks of life. Some have been with the Showcase from the beginning, and some I have met in the past year. They come from Quebec, Guelph, Port Dover, London, Kincardine, Port Stanley and Toronto. Each musician is pushing boundaries every day to create that safe space for the young musicians coming up. Easy to talk to, open to tell you anything and help you where it’s needed. Sometimes an in confidence ear.
The lineup includes myself, Anne Moniz, Cinzia and the Eclipse, D’eve Archer, Gillian Davies, Angelina MacKinnon, Felicia McMinn, Rachel Dara, Andrea Matchett, and Kate Channer. Musical genres presented will include Pop, Folk, R&B, and Rock. (Editor’s Note: Photos of the participating musicians appear below.)
Q. Where can readers get more information about the individual artists?
Each artist has an Instagram account and a website. They’re all on social media, so they’re easy to find. I urge you to follow them, comment on their pages and tell them what inspired you when you saw them perform.
Q. Do you plan on making this an annual event again?
That’s a great question. I haven’t decided yet. But I think this is a great idea.
Q. Is there anything else you think our readers should know about the March 8th event?
This isn’t just a showcase. These events have always been about networking and connection, storytelling, and just making sure we all get a little bit of love. There will be merch for sale, so please bring cash. That goes directly to the artists. We have an amazing host named TIA G, who is a champion of women owning their energy, advocating for being yourself, and is a bright light in our sometimes very dark community. We are so excited to have her!
IF YOU GO:
What: The Doll House Showcase Presents: International Women’s Day – Women in Music.
When: Sunday, March 8th at 6:00pm.
Where: Palasad Socialbowl, 777 Adelaide Street N., London, ON.
Tickets: $10 cover charge at the Door. An All Ages Event.
Q&A Interview with Laura Gagnon conducted by Richard Young, Publisher & Content Manager of The Beat Magazine 2025.
If you have a story idea or would like to become a Volunteer Writer for The Beat Magazine 2025, you can reach Richard at richardyoung@thebeatmagazine2025.ca
“In an orchestra, the whole is greater than the sum of its parts. Together, we can create something truly extraordinary.” – Yo-Yo Ma
And with the London Community Orchestra, you get COOKIES!!!
No, not the kind you have to accept, reject, or manage, the kind you can share with musicians and audience members at Dundas Street Centre United Church after each concert. Because, as all great musical experiences are, it’s a community event, one in which we are participants, even if we sit on the church benches and applaud our hearts out while some of London’s good people enrich our lives with exquisite music.
WE ALL share in the opportunity to quicken our minds and deepen our emotions.
Yes, this organization has been around for fifty-two years, encouraging talented non-professionals to endow their busy lives with the discipline and rewards of symphonic music. And in those fifty-two years, most of the faces have changed, but the quality of performance has evolved to make every season better than the last.
Len Ingrao has conducted LCO since 1998 and has built this city’s large symphonic ensemble to take on artistic challenges and share them graciously with Londoners- for a very reasonable ticket price.
(Pictured: London Community Orchestra Conductor, Len Ingrao,)
I’ll bet you know many of them.
Carolyn Martinelli, who has taught generations of young people at Catholic Central High School, has been a lovely concertmaster since 2005.
(Pictured: Carolyn Martinelli, London Community Orchestra, Concertmaster.)
Steve, who adds fire to the local community orchestra while completing his epidemiology degrees.
Ana, who is a dedicated therapist but still plays her violin in LCO.
Mary, the oboist and member of the FIRST London Youth Symphony over 60 years ago, who still often sets that tuning A for the community orchestra.
Some local music teachers and profs, continuing to aspire and learn with material they love.
And one of those teachers will be the soloist for the March 1st program – Brian Donohue.
(Pictured: Brian Donohue, London Community Orchestra Soloist.)
Brian is the kind of teacher who does the profession proud:
He’s been a member of LCO for twelve years, while teaching at Sir Frederick Banting High School, conducting bands, starting a French horn choir, and teaching the board’s first Music and Math combo course.
He’s always ready to help other musical ensembles with coaching and standing in when he’s needed- and devotes time to raising his three kids with his wife, Christine.
To keep his musical skills growing, he has long-standing involvement in London community ensembles, including playing French horn with the London Community Orchestra and Encore: The Concert Band.
He has taught private horn through Western University’s New Horizons Band program, which focuses on adult and lifelong learners returning to music—he really believes that music is for everyone.
No, no gold medal in hockey – but he has won the Dawson Memorial Award in Music Education, Western Music Award in his final undergraduate year. Chamber of Commerce Award for excellence in Western’s Wind Ensemble, Kiwanis Music Award (festival recognition).
And he is performing music that he LOVES, from the “easy listening” Camille Saint-Saens.
(Pictured: Caricature of Camille Saint-Saens.)
Andromaque: Overture and Prelude to Act IV is a film score before there were films! S-S wrote it in 1902 for Sarah Benrhardt to bring the Trojan War story to life, politics, grief, unwanted suitors – daily stuff in Troy, 17th-century France, and in our current relationship with the US.
And the Morceau de Concert is going to be a showstopper. S-S originally wrote it for a horn that is no more … the “cor omnitonique,” with four pistons that promised to play easily in any key. The gadget did not survive, but the virtuoso showpiece it gives to a great horn player – with lots of dazzling acrobatics – will hold your attention on Sunday.
Speaking of virtuosi, the full orchestra will be giving us Franz Liszt and his Tasso: Lament and Triumph. Liszt was pioneering the symphonic poem by 1849 – telling a story in a single, continuous movement (so no more worries about when to clap!).
(Pictured: Caricature of Franz Liszt.)
The poem is apparently based on the tortured life of Torquato Tasso in the 16th century as he goes through instability in Ferrara, wanders – in a boat, I presume – on the lagoons of Venice, and finally receives recognition in Rome after his death. All of this tumult is conveyed by the constant transforming of a gondolier’s song that Liszt once heard in Venice.
And after the concert? COOKIES and the chance to tell the musicians what generous, inspiring Londoners they are!
IF YOU GO:
What: London Community Orchestra presents Romantic Echoes.
When: Sunday, March 1, at 3:00pm.
Where: Dundas Street Centre United Church, 482 Dundas Street, London, ON.
(Cast and Crew of Urinetown: The Musical. Photo Credit: Ross Davidson)
Community theatre can sometimes surprise you. Occasionally, it can even rival (or surpass!) professional productions in artistry, ambition, and execution. That was unquestionably the case with this remarkable staging of Urinetown: The Musical at the Palace Theatre.
Directed by Sydney Brockway, produced by Ceris Thomas, and featuring an orchestra under the leadership of Steven Morley, this production demonstrated a level of talent that felt genuinely world-class, and all the more impressive given its community theatre setting.
For those unfamiliar with the show, Urinetown is far more than its intentionally provocative title suggests. The musical is a sharp political satire that explores themes of corporate greed, environmental crisis, class inequality, and the consequences of unchecked capitalism. Set in a dystopian future where water scarcity has led to the privatization of public amenities — including toilets — the story examines power, resistance, and the moral ambiguities of revolution. At the same time, it quite cleverly parodies the conventions of musical theatre itself by breaking the fourth wall and inviting audiences to question not only the characters’ motives, but their own assumptions about justice and heroism.
(Pictured: Jesslyn Hodgson as Hope Cladwell, Sean Brennan as Caldwell B. Cladwell, and Ensemble members. Photo Credit: Ross Davidson.)
Balancing humour with social commentary is no easy task, yet this production navigated both with intelligence and confidence. Notably, the company also extended these themes beyond the stage through direct outreach to unhoused members of the surrounding community. An effort that meaningfully deepened the production’s social resonance.
(Pictured: Laura Williams as Penelope Pennywise, Henry Truong as Bobby Strong, and Allison Gold as Ma Strong. Photo Credit: Ross Davidson.)
The performances were uniformly exceptional. Kate Sepi delivered a commanding and charismatic Officer Lockstock, serving as both narrator and participant with clarity, presence, and authority. Henry Truong, as Bobby Strong, brought both emotional sincerity and vocal strength to the role, grounding the story’s central conflict with authenticity. Jesslyn Hodgson as Hope Cladwell possessed a vocal quality that elevated every musical moment she touched. Sean Brennan delivered a captivating and hilarious Caldwell B. Cladwell, creating a villain whose presence was magnetic and layered. His performance (for me) stood comfortably alongside work seen on much larger and better-funded stages. Rae Ryder as Little Sally offered memorable nuance and charm, embodying the show’s self-aware humour with skill.
(Pictured: Rae Ryder as Little Sally and Kate Sepi as Officer Lockstock. Photo Credit: Ross Davidson.)
A particularly extraordinary moment behind the scenes became one of the evening’s most impressive achievements: Penelope Pennywise, normally played by Laura Williams, was unexpectedly performed on opening night by director Sydney Brockway herself due to illness. Had there not been a notice in the lobby advising of the opening night change, audiences would never have known. It was a nearly seamless, truly confident, and fully realized performance, and a testament to Brockway’s professionalism and depth of preparation. However, it is my understanding that, as commendable as Sydney’s performance was, Laura’s performance is one not to be missed, which is why I will be making a return trip to see Penelope Pennywise in her other form, once Laura is cleared to return.
(Pictured: Sydney Brockway, Urinetown Director/Choreographer.Photo Credit: Ross Davidson.)
Equally impressive was the ensemble. There was not a weak link in the company, and truly, there are no small roles in this production. Each cast member is to be commended for delivering an exceptional performance, owning every line and every beat. The choreography was executed with precision, energy, and commitment, and the cast functioned as a cohesive storytelling unit throughout. At various points in the evening, nearly every ensemble member captured attention, which is a hallmark of strong direction and engaged performers.
(Pictured: Urinetown Ensemble Members. Photo Credit: Ross Davidson.)
The design elements further strengthened the production. Costumes by the team of Tannis Daoust, Chloe Scripnick, and Chatham Vy were thoughtfully conceived, particularly in their use of colour to distinguish social groups: the impoverished citizens versus the corporate faction. The costume choices enhanced the visual storytelling clearly and effectively. Combined with the set, props, lighting, and musical direction, the overall aesthetic achieved a level of polish that elevated the entire production.
(Pictured: Foreground Jesslyn Hodgson as Hope Cladwell and Henry Truong as Bobby Strong. Photo Credit: Ross Davidson.)
What elevates this production even further is the company’s commitment to connecting the show’s themes with the lived realities of the surrounding community. Members of the cast shared that during the rehearsal process, they felt a responsibility to recognize and engage with unhoused individuals living in the neighbourhood around the theatre. They responded not only with awareness but with action, providing food and basic necessities during the rehearsals and the run of the production. This effort was also acknowledged in a cast note included in the program, which read:
“Urinetown the Musical is about access, power, and what happens when basic human needs are controlled by systems rather than compassion. Producing this show in a neighbourhood where these questions are not abstract, but lived, reminds us that theatre doesn’t exist in a vacuum. We acknowledge the people in our community who are navigating housing insecurity, poverty, and barriers to care, and we affirm their dignity and humanity. We invite audiences to laugh, think, and leave asking bigger questions about how communities choose to care for one another.”
(Photo Credit: Ross Davidson.)
This initiative demonstrated a meaningful alignment between art and empathy, reinforcing the social relevance of the production beyond the stage itself. And this, for me, is the longstanding purpose of the arts. To merge art and real life, and to showcase the stories that make us human.
If there were any critique to be offered, it would be that the orchestra occasionally overpowered the vocals in certain moments. However, this was a relatively minor issue within an otherwise outstanding musical presentation.
Ultimately, this production of Urinetown exemplifies what community theatre can accomplish when passion, talent, and leadership align. It was bold, intelligent, and thoroughly entertaining. It is a production that not only delighted audience members but also invited them to reflect on timely social questions. Productions of this calibre are something any arts community should be proud to claim. This show deserves full audiences for the rest of its run. Please, plan to see this production and tell your friends.
As always, please support the arts. Keep storytelling alive.
IF YOU GO:
What: Urinetown: The Musical with Music and Lyrics by Mark Hollman, Book and Lyrics by Greg Kotis
When: February 19th to March 1st, 2026
Where: The David Long Stage at the Palace Theatre, 710 Dundas Street, London, Ontario.
In the January 2012 issue of The Beat Magazine, Susan Scott previewed London’s two awards shows celebrating local independent theatre – the Brickenden Awards, founded in 2002-2005, and The Beat DISH Awards, founded in 2010 by Donald D’Haene – both of which were taking place that month.
In comparing the two, Susan wrote:
“It has been said that the Brickendens are akin to the Oscars, and the DISH Awards are like the Golden Globes. While both have the same aim – to recognize and celebrate excellence – they differ in tone and temperament. The orderly Brickendens exude decorum, while the DISH Awards is more sass and sizzle. This makes both have-to-attend events.”
Jayson McDonald served as the Bricks M.C. at the Wolf Performance Hall, while Jeff Leeson and Lars Classington hosted the DISH Awards at the Hilton Hotel.
“With two awards shows and a vibrant theatre scene, London is likely the biggest winner of all. When I started, if you were cast in a play, that was a miracle because there were so few of them,” says Donald D’Haene. “Since then, we have gone from very few companies to numerous, creative production companies. Now that’s something to cheer about.“
Unfortunately, neither the Brickenden Awards nor the Beat DISH Awards exists today.
Producer Ceris Thomas explains the meaning of the title Urinetown in this exchange with Beat Magazine Publisher Richard Young. Urinetown: The Musical plays at the Palace Theatre from February 19 to March 1.
(Pictured: Ceris Thomas. Photo Credit: Ross Davidson.)
“Urinetown: The Musicalis notoriously hard to describe, which is probably why so many explanations feel incomplete or confusing. Honestly, if it had a different title, people might find it easier to just shrug and say, “Sure—let’s go see this thing.”
At its core, Urinetown is a dystopian satire that imagines a world so devastated by water shortages that bathrooms no longer exist in private homes. To manage the crisis, business and government join forces and arrive at a “solution”: the public must pay to pee. It’s an intentionally oversimplified take on a massive environmental issue, designed to get the audience quickly and clearly into the world of the show.
As with many well-meaning systems in a capitalist society, the opportunity to profit from an unavoidable human need quickly curdles into greed and manipulation. That’s where we meet the people of Urinetown—some desperate to survive, others perfectly comfortable in their assumed wealth and eager to raise the fees even higher.
The absurdity, poignancy, and laugh-out-loud comedy come from how the story is told. One of the creators’ most delightful choices is the musical’s constant tribute to classic Broadway shows. One song clearly channels Fiddler on the Roof; the next explodes with unmistakable West Side Story energy. The first time I heard it, I actually laughed out loud in my car.
If you’ve ever seen a musical—any musical—you’ll catch the references and giggle along. And if you’re someone who doesn’t usually like musicals? This show lovingly invites you to laugh at all the ones your mom dragged you to see.”
IF YOU GO:
What: London Community Players present Urinetown: The Musical
When: February 19 to March 1, 2026
Where: David Long Stage, Palace Theatre, 710 Dundas St., London, ON
London Community Players’ production of Urinetown: The Musical opens this week at the Palace Theatre. What follows is a Q&A Interview with the play’s producer, Ceris Thomas, conducted by Richard Young.
(Pictured: Laura Williams as Penelope Pennywise, Henry Truong as Bobby Strong, Jesslyn Hodgson as Hope Cladwell, and Allison Gold as Josephine “Ma” Strong. Photo Credit: Ross Davidson.)
Q. The description of Urinetown: The Musical found on the Palace Theatre website reads: “In a dystopia ruled by drought and corporate greed, public toilets are the law— and rebellion smells suspiciously like revolution. Equal parts absurd, poignant, and laugh-out-loud funny, Urinetown skewers capitalism, power, and musical theatre itself.” Could you break that down for our readers?
Urinetown: The Musicalis notoriously hard to describe, which is probably why so many explanations feel incomplete or confusing. Honestly, if it had a different title, people might find it easier to just shrug and say, “Sure—let’s go see this thing.”
At its core, Urinetown is a dystopian satire that imagines a world so devastated by water shortages that bathrooms no longer exist in private homes. To manage the crisis, business and government join forces and arrive at a “solution”: the public must pay to pee. It’s an intentionally oversimplified take on a massive environmental issue, designed to get the audience quickly and clearly into the world of the show.
As with many well-meaning systems in a capitalist society, the opportunity to profit from an unavoidable human need quickly curdles into greed and manipulation. That’s where we meet the people of Urinetown—some desperate to survive, others perfectly comfortable in their assumed wealth and eager to raise the fees even higher.
(Pictured: Kate Sepi as Officer Lockstock and Luke Bainbridge as Officer Barrel. Photo Credit: Ross Davidson.)
The absurdity, poignancy, and laugh-out-loud comedy come from how the story is told. One of the creators’ most delightful choices is the musical’s constant tribute to classic Broadway shows. One song clearly channels Fiddler on the Roof; the next explodes with unmistakable West Side Story energy. The first time I heard it, I actually laughed out loud in my car.
If you’ve ever seen a musical—any musical—you’ll catch the references and giggle along. And if you’re someone who doesn’t usually like musicals? This show lovingly invites you to laugh at all the ones your mom dragged you to see.
(Pictured: Ceris Thomas, Producer of Urinetown: The Musical.)
Q. It also reads: “No one is safe. Not even the audience. Bring your sense of humour — and your spare change,” implying audience members will be expected to participate in some way. Will they?
The fourth wall is very much broken in this production. Officer Lockstock serves as the show’s narrator, frequently conversing with Little Sally, a member of the “poor” who isn’t afraid to challenge Lockstock’s interpretation of events. Beyond that, the audience needs only to bring a sense of humour and a willingness to laugh out loud at the shenanigans of the players.
(Pictured: Ryan Starkweather as Senator Fipp, Jesslyn Hodgson as Hope Cladwell, and Sean Brennan as Caldwell B. Cladwell. Photo Credit: Ross Davidson.)
Q. Can you provide a brief Synopsis of the play?
Our parody poster series—riffing on Les Misérables, West Side Story, The Producers, Wicked, and more—wasn’t just a marketing gimmick. It was a visual clue to the DNA of Urinetown itself. The show gleefully borrows familiar musical theatre tropes and iconic structures, reshaping them to tell its own absurd and pointed story.
At its heart, Urinetown gives us all the classics: a villain who controls the money, the police, and the government; a hero who controls nothing but works hard and dreams of a better future; and a beautiful daughter of the villain who becomes the catalyst for change when our hero falls instantly in love. His life is upended, his resolve hardens, and he sets out to fix a broken world—for love, for justice, and for the people he cares about.
What follows are the choices made by the citizens of Urinetown, and the consequences that come with them. It’s familiar, it’s twisted, it’s self-aware—and all of it is driven by music that is relentlessly fun.
(Pictured: Urinetown Les Misérables parody poster.)
Q. Do any of the play’s satirical situations and themes have local relevance?
Yes—and the relevance is immediate and unavoidable. The neighbourhood surrounding our theatre is routinely ignored by municipal leadership. The parking lot outside our doors has no public bathroom, and as a result, it becomes the only option for people who have nowhere else to go. That reality mirrors Urinetown so closely that it feels less like satire and more like lived experience.
In Urinetown, the poor are criminalized for existing. They are punished for meeting basic human needs, while those in power remain insulated from the consequences of their decisions. That dynamic is playing out here as well. When audiences say they are “afraid” to come to this area, that fear reflects the same distance and neglect that allow these conditions to persist.
We believe that is exactly why it is important to come. Showing up matters. Being present in this neighbourhood matters. Urinetown asks us to look at who we ignore, who we punish, and who we choose to care about—and invites audiences to step into a space that deserves attention, investment, and humanity.
Coming to this neighbourhood—choosing to be present, to witness, to engage—is not something to be afraid of. It’s something that matters. Urinetown asks us who we ignore, who we punish, and who we decide is worth showing up for. In this case, the question doesn’t end when the curtain comes down.
Q. Will the audience recognize any of the play’s musical numbers?
Even if audiences don’t know the specific musical numbers themselves, they will absolutely recognize what those songs are paying homage to. Urinetown is filled with stylistic tributes to iconic musicals—there are clear nods to Fiddler on the Roof and West Side Story, as well as The Fantasticks, among others. The familiarity isn’t about recognizing a tune, but about recognizing the style, which makes the jokes land and the storytelling even richer for theatre-literate audiences—while still being fun and accessible for everyone else.
Q. What challenges have you encountered bringing this play to the Palace Theatre stage?
The journey to bringing Urinetown to the Palace Theatre has been both unexpected and incredibly rewarding. London Community Players originally had a different production planned for this slot, but when royalties became unavailable, we had to pivot quickly. That shift led me to reach out to a talented artist I knew from other shows, and I was thrilled when she agreed to join us on the David Long Stage.
Choosing Urinetown turned out to be an inspired fit. There is a deep pool of artists in London who have been eager for the chance to tackle this show, and the auditions reflected that excitement. We welcomed many new performers into the room, which always brings fresh energy to a production. Rehearsals have been collaborative, joyful, and full of discovery.
As with any show, the real problem-solving began once we moved onto the stage. Urinetown asks us to create several locations within a single city, and the David Long Stage offers limited wing space. Rather than seeing that as a limitation, our team embraced it as a creative opportunity—finding smart, imaginative ways to build a complete world that could live in one place. As a first-time set designer, after taking a course in Stratford last summer, I’ve been supported by an incredible crew. I’m learning that a set is never truly finished; it simply reaches the moment where it’s ready to welcome an audience.
(Pictured: Leah Exley, Christine Varga, Luba Skyba, Nicholas McConnell, Amelia Armstrong, Matt deKort – Urine Good Company Employees. Photo Credit: Ross Davidson.)
Q. Your marketing/social media campaign for Urinetown has been nothing short of brilliant. Could you give a shout-out to those individuals responsible for it?
Thank you! We really appreciate your kind words and that you’ve been following our campaign.
The “Pets of Urinetown” came about naturally because so many of our cast members have pets. Sharing stories and photos of their furry friends was a fun, comfortable way for the cast to connect—and I thought it would be a gentle, playful way to spark interest in the show.
(Pictured: Pets of Urinetown poster.)
The poster campaign, on the other hand, was entirely the brainchild of the brilliant Henry Truong, who also plays Bobby Strong, our hero. Henry came up with the imagery, collaborated with others to bring the visuals to life, and even wrote all the copy. It was a truly inspired creative effort.
Urinetown gives so many ways to engage with the material, from the music to the story to the little touches we’ve created for social media. I think that’s why people who love this show really, really love it—and our team’s creativity has made sharing that love so much fun.
Q. Is there anything else you think our readers should know about LCP’s production of Urinetown?
One thing to know: it’s not here long! Urinetown runs for just eight performances, from Thursday, February 19th through Sunday, March 1st. Both Sunday shows are matinees, and the second Saturday also offers a matinee to give those who might feel less comfortable in the area another chance to attend. That Saturday matinee will also be adjudicated for the WODL festival, with a public adjudication immediately following the performance for anyone who wants to stay and watch.
For peace of mind, LCP provides security at all of our productions, with patrolled entrances and monitored parking. And as a bonus, parking behind the theatre is now free at all times.
Don’t miss it—once it’s gone, it’s gone!
(Laura Williams as Penelope Pennywise and Matt deKort as Old Man Strong. Photo Credit: Ross Davidson.)
CREATIVE TEAM
Producer – Ceris Thomas
Director – Sydney Brockway
Stage Manager – Amanda Marshall
Musical Director – Steven Morley
Lighting Designer – Indrani Mahadeo
Sound Designer – Quinton Esquega
Costume Designer – Tannis Daoust
Costume Assistant – Chaaya Vy
Costume Assistant – Chloe Scripnick
Sound Operator – Doug Deschenes
Lighting Operator – Jenny Katkov
Assistant Stage Manager – Larissa Bartlett
Assistant Stage Manager – Jess Bohan
CAST
Kate Sepi – Officer Lockstock
Luke Bainbridge – Officer Barrel
Rae Ryder – Little Sally
Henry Truong – Bobby Strong
Jesslyn Hodgson – Hope
Laura Williams – Pennywise
Sean Brennan – Cladwell
Ryan Starkweather – Fipp
David Lu – McQueen
Cassandra “Cass” Allen – Mrs. M/Boy Cop #1
Skyler Gallagher – Dr. B/Cop
Jade Rogers – Secretary/Cop
Nicholas McConnell – Hotblades Harry/Boy Cop #3
Antonia Sidiropoulos – Little Becky Two Shoes/Cop
Matt deKort – Old Man Strong/Ensemble
Allison Gold – Josephine “Ma” Strong/Cop
Jennifer Groulx – Tiny Tom/Boy Cop #2
Christine Varga – Soupy Sue/Cop
Dustin Freeman – Robbie the Stockfish/Cop
Luba Skyba – Billy Boy Bill/Cop
Charlotte “Charlie” Camrass – Rebel Poor/Girl Cop #1
Amelia Armstrong – Ensemble
Leah Exley – Ensemble
IF YOU GO:
What: London Community Players present Urinetown: The Musical
When: February 19 to March 1, 2026
Where: David Long Stage, Palace Theatre, 710 Dundas St., London, ON
Prepared with files provided by the Grand Theatre.
The lives and music of French songbird Edith Piaf and Hollywood leading lady Marlene Dietrich are set to dazzle London audiences when Piaf/Dietrich A Legendary Affair takes the stage at the Grand Theatre.
Audiences will experience all the glitz and glamour of mid-century fame in America, all the passion and tragedy of great love affairs, and an epic set list of beloved, powerful hit songs including “La vie en rose”, “Milord”, and “Lili Marlene” in this all-new production of Erin Shield’s adaptation, directed by Grand Theatre Artistic Director Rachel Peake.
(Pictured: Grand Theatre Artistic Director, Rachel Peake.)
“What I love about this story, told originally through the imaginations of German Daniel Große Boymann and Austrian Thomas Kahry, and adapted for our stage by the endlessly talented Canadian Erin Shields, is that it uses music, conflict, and language to transport us,” says Peake. “Prior to reading this play, I had no idea that these two icons even knew one another. They seem so different – Piaf wearing her heart on her sleeve and her pain in public, while Dietrich hid everything behind a mask of glamour. But friendship is funny that way, attraction is funny that way.”
Marlene Dietrich was Hollywood’s femme fatale throughout the 30s and 40s, and the name on everyone’s lips. Edith Piaf, the French chanteuse, had soared to stardom in her home country and would soon intoxicate the rest of the world with her raw, powerful songs of love and longing.
The two women were born fifteen years and 1,000 kilometres apart and found their way to both fame and each other. By the time they met, Marlene had a string of leading roles and was one of the highest-paid talents in show business. A young Edith had been singing on the streets of Paris to support herself and had written the song that would make her famous, “La vie en rose.”
(Pictured: Deborah Hay as Edith Piaf and Terra C. MacLeod as Marlene Dietrich. Photo Credit: Mai Tilson.)
Their first meeting and the lifelong, tumultuous relationship that followed are the story that unfolds on stage. Audiences will be excited to see Londoner and notable Canadian theatre talent Deborah Hay, transformed into Edith Piaf and making a much-anticipated return to the Grand after her stand-out performances in Fall On Your Knees and Mary Poppins in previous seasons. Having dazzled the world from Broadway to the West End as Chicago’s Velma Kelly, Terra C. MacLeod steps into the top hat and tuxedo tails of the smouldering Marlene Dietrich in her Grand Theatre debut.
(Pictured: Karen Burthwright.)
The cast also features Karen Burthwright and Eric Craig, both with Broadway credits to their names. In fact, they have even performed together as members of the original Broadway cast of Tony Award-nominated Paradise Square. In Piaf/Dietrich, these two Canadian stars will play all of the men and women, lovers and hecklers, muses and rivals, who make up the worlds of the two showbiz legends.
(Pictured: Eric Craig.)
CREATIVE TEAM
Rachel Peake – Director
Mary Ancheta – Music Director
Genny Sermonia – Choreographer
Lorenzo Savoini – Set Designer
Ming Wong – Costume Designer
Michelle Ramsay – Lighting Designer
Emily Porter – Sound Designer
Nicole Wilson – Assistant Director
Siobhan Richardson – Intimacy Director
Phyllis Cohen – Dialect Coach
Suzanne McArthur – Stage Manager
Melissa Cameron – Assistant Stage Manager
Gina Woodward – Apprentice Stage Manager
CAST
Karen Burthwright – Supporting Female
Eric Craig – Supporting Male
Deborah Hay – Edith Piaf
Terra C. MacLeod – Marlene Dietrich
Orchestra
Mary Ancheta – Conductor / Keyboard
Erik Larson – Bass
Céline Murray – Violin
Dave Robilliard – Drums.
IF YOU GO:
What: Piaf/DietrichA Legendary Affair.By Daniel Große Boymann and Thomas Kahry. Adapted by Erin Shields from a translation by Sam Madwar.
When: February 17 to March 7, 2026.
Where: Spriet Stage at the Grand Theatre, 471 Richmond St. London, ON.
The Beat Magazine 2025 