Because this ain’t your Granddad’s Christmas Benefit Show!
On Sunday, December 7th, the Palasad Socialbowl will come alive with the 13th Annual 63 Monroe Toys for Tots extravaganza. This benefit concert will feature 13 of London’s premier Punk and Rock n Roll acts.
This isn’t just a show — it’s a movement. Every beat, every note, every cheer will help support 2025’s Toys for Tots Christmas drive. Expect dazzling performances, surprise collaborations, and an afternoon you’ll not soon forget.
Admission is one unwrapped toy or a monetary donation @ the door, so mark this day on your social calendar, grab your friends and family and head out to the Palasad and be part of something bigger than music.
The show starts at 1pm, and the last band winds it all down by 9pm. Not only is there a non-stop afternoon of music, but the venue will also feature a large raffle table, giveaways, and more.
Here is the lineup of the talent that has volunteered their bands for this all-out rockin’ event. It’s a Who’s Who of the local scene, including the hosts, 63 Monroe, Stepsisters, Disgusteen, Tuned Out, Limits of Approach, Dolly Mix, Stunning, Doppelgänger, Snede, Face Lift, Burnt Reynolds, All But Six, Def Bombs, and Turbo Tusk!
Stop by for an hour to cheer your favourite local act or make an afternoon of it and be home in bed by 10pm knowing you helped support a great cause.
Let’s make the 2025 edition of Toys for Tots the best yet!
For more information about the show, contact Steven R Stunning at stunningsrb@gmail.com
When members of the London Writers’ Society first tossed around the idea of creating an anthology, it felt more like a someday dream than a concrete project. But in 2023, with a growing membership, a renewed energy, and a core of volunteers ready to say yes, “someday” shifted into “now.” The result, Out of the Woods: Voices from the Forest City, has since become more than a book. It’s a celebration of London’s writers, its literary identity, and the collaborative spirit that fuels creative communities.
A vision years in the making
The goal for the anthology was simple but ambitious: to create a showcase of the Society’s members that reflected the full breadth of London’s talent. The committee envisioned a collection with creative nonfiction, fiction, and poetry that allowed room for multiple genres and voices, all reviewed through a tiered judging process and curated by a local prominent literary figure.
While the vision stayed largely intact, one thing surprised them – the sheer amount of work involved. From funnelling anonymous submissions to first readers, to coordinating edits, to choosing the final layout, the process became a true community effort. Society members were invited to submit up to five pieces each, and the response was overwhelming. Most submitted at least one piece, with many sending in the maximum. The first-round judges produced a longlist; then came the question of who would choose the finalists.
Because the anthology was rooted in London, the team wanted a local literary presence. Someone suggested novelist Emma Donoghue. They assumed it was a long shot.
It wasn’t.
“She responded immediately with ‘Sure!’” recalls
“We were shocked and thrilled.”
(Pictured: Emma Donoghue. Photo Credit: Woodgate Photography.)
Donoghue selected a beautifully varied set of finalists that included stories of all tones, genres, and moods. Behind the scenes, editor Heather Godden played a crucial role, offering thoughtful feedback even to writers being edited for the first time. She also crafted the order of pieces, creating what the committee describes as a “gentle wave-like vibe, allowing emotions to ebb and flow throughout the book.”
A mix of writers, a mix of worlds
The anthology gathers work from writers at every stage: brand new voices, emerging writers building momentum, and established authors adding another credit to their growing list. Many were published for the first time; others were thrilled to contribute alongside peers they admire.
What stands out most is the depth of diversity, not only of the authors themselves but of the stories they tell. The membership of the London Writers’ Society spans ages, backgrounds, identities, and experiences, and the anthology reflects that richness. Within its pages, readers will find memoir, political reflection, gender-identity-focused nonfiction, supernatural tales, science fiction, romantasy, historical narratives, and poetry, both light and deeply moving. Like London itself, where one turn reveals affluence and another reveals hardship, the anthology refuses categorization.
(Pictured: Martha Morrison, London Writers Society Anthology Chair.)
“There is no ‘one’ London,” Morrison explains. “This city, like its authors, cannot be defined.”
Because the book is titled Out of the Woods, writers were encouraged to interpret the theme literally or figuratively. The result is a tapestry of forested settings, metaphors of struggle and emergence, stories of being “out of the woods” — or very much not.
Most Londoners will recognize that the title also plays with London’s nickname, the Forest City, which brings to mind the idea of voices emerging from woods, fields, and farmland to step into the light.
Beyond the theme, Morrison and the committee see the book as something that fills a much larger gap: recognition of London’s vibrant literary culture. “It is a hotbed of innovation and creativity,” she says. “We’d like to proclaim it ‘the City of the Arts.’”
Several pieces in the anthology stand out for their resonance. A few of the committee’s favourite lines (although Morrison indicates there are many) include:
From Discovery by Laurie Browne: “…My heart lies among the discarded shells and stones and my edges have softened like blue beach glass…”
From Alignment by Laura Wythe: “…They were peering into the windows of the van… dressed in hide or bark with woven stuff sticking out, and masks—or were they faces?… It was difficult to say if they were human, animal or, weirdly, tree?”
From Not Just Lonely by Bruce Lord: “You were those petals, I those thorns / and when you held me for the very last time, I fear I made your fingers bleed.”
From Wear a Denim Shirt for Me by Diane Kirby: “I have lived a life steeped in denim.”
From Dust – An Ode by E. Jeffrey Orchard: “Dust is like laundry / there’s always more.”
If this book had a soundtrack…
Music lovers will appreciate the anthology’s unofficial playlist curated by the committee — a mix of Canadian, local, and Irish artists (a nod to the anthology’s curator):
“Out of the Woods” – Nickel Creek
“Nightingale” – Leonard Cohen
“Everything I Call Home” – The Pairs
“Lonely” – Lost in Japan
“Redwood Tree” – Van Morrison
“Lost Forest Medley” – Paul Mills
“A Case of You” – Joni Mitchell
“Take It on Home” – Genevieve Fisher
“A Forest” – The Cure
“Meet Me in the Woods” – Lord Huron
“In the Woods Somewhere” – Hozier
“Shadows and Tall Trees” – U2
“Go Back to Your Woods” – Robbie Robertson
(And yes, for the Swifties: Taylor Swift’s Out of the Woods also fits!)
A community-powered national spotlight success story
One of the defining features of Out of the Woods is how many hands helped shape it. From grants and sponsorships to support from the wider publishing world, including Terry Fallis writing the foreword and Douglas Gibson providing a blurb, the team felt as if the whole literary community rallied behind them. Local independent bookstores embraced the anthology, as did surprising partners like Tuckey Home Hardware in Wortley Village, which now keeps shelves dedicated to local writers.
Reader response has also been overwhelmingly positive, with people praising its readability, emotional range, and resonance. Live readings have brought packed rooms, tears, laughter, and countless conversations.
Perhaps the biggest surprise came when the anthology was named one of The Globe and Mail’s “35 Hot New Reads” for August and September. Physical copies of the paper were immediately purchased for safekeeping when the committee heard about the recognition from a friend.
“It’s a stamp of approval that reminds many of our members they are indeed writers,” says Morrison.
What’s next?
The idea of a second anthology is already on the table, and the early signs are promising — volunteers are stepping forward, and energy is building.
In the meantime, the London Writers’ Society continues its year-round work: monthly craft workshops, critique groups, author spotlights, Book Fair booths, a developing podcast, and a growing presence across southwestern Ontario. With more than 150 members writing poetry, fiction, creative nonfiction, and scripts, the Society remains a cornerstone of London’s literary landscape.
Where to Buy Out of the Woods: Voices from the Forest City
Readers can find the anthology at independent booksellers across London and surrounding communities (Windsor, Port Stanley, St. Thomas, Strathroy, Sarnia, St Marys, Stratford), at Indigo, and online through Amazon and Barnes & Noble. A full list of retailers is available under the “Anthology Project” tab at: https://www.londonwriterssociety.ca
The Palace Theatre’s presentation of Deathtrapby Ira Levin, directed by James Patterson and produced by Anita Goodfellow, offers an entertaining evening of twists, tension, and clever stage trickery, though not without a few bumps along the way. The play follows Sydney Bruhl, a once-successful playwright desperate for another hit. When a promising script lands in his hands, temptation and ambition collide in ways that blur the lines between collaboration, manipulation, and survival. It’s a clever premise that thrives on surprises, so the less said, the better. (You will find no spoilers here!)
I found myself torn on this production, caught somewhere between enjoying its strengths and feeling like something essential wasn’t quite landing. Much of Deathtrap’s charm comes from its blend of suspense and dark humour, yet the comedic elements, which should give the script its bite, didn’t always come through in the delivery. This left certain moments feeling flatter than intended.
(Pictured: David Lamari as Sydney Bruhl. Photo Credit: Ross Davdson.)
David Lamari gives a commendable performance as Sydney Bruhl. He steps into the role wholeheartedly, bringing a natural ease and believability that anchors the show. Lamari is a talented performer, and his commitment to the character stands out, even when some scenes around him falter. His delivery had great strength and presence, though at times he needed more volume.
(Pictured: Julia Askerov as Helga Ten Drop. Photo Credit: Ross Davidson.)
Julia Askerov, as the eccentric psychic Helga Ten Dorp, brings good energy to the stage and earns some of the play’s lighter moments. However, her dialogue was at times difficult to understand due to her character’s intended thick accent. In contrast to Lamari, her projection was strong, but the clarity wasn’t always there.
In fact, aside from Askerov, the cast as a whole could benefit from stronger vocal projection. There were stretches where dialogue became muddy or simply too quiet, causing important lines to get lost. Combined with occasional holes in the comedic parts of the performances, this affected believability in key moments.
(Pictured: Porter Milgrim and Sydney Bruhl. Photo Credit: Ross Davidson.)
On the technical side, the production shines. The set, designed and constructed by Eric Bernard, David Long, and Heather Meadows, is fantastic. Immersive, clever, and perfectly suited to the play’s tone. Lighting and sound, executed by Rob Coles and Mariann Sawyer, respectively, were executed perfectly, enhancing tension and atmosphere without overpowering the action. The costume designs by Aiden Thomas and Lorna McKenzie were well done and nicely suited to the characters.
Overall, Deathtrapis an enjoyable watch with moments of genuine intrigue and visual excellence. It is a solid production that entertains, even if some elements fall short. Even with some missed comedic beats and moments that could use stronger projection, the production’s solid performances and outstanding technical work make it an engaging ride. It’s a show that reminds you why live theatre is irresistible: You never quite know what’s coming next. And Deathtrapplays that game very, very well.
IF YOU GO:
What: Ira Levin’s Deathtrap
Where: The Palace Theatre Arts Commons, 710 Dundas Street, London, ON.
“In an orchestra, the whole is greater than the sum of its parts. Together, we can create something truly extraordinary.” – Yo-Yo Ma
And looking at this recent photo of the London Youth Symphony on that beautiful stage at The Met below, these words resonate.
(Pictured: London Youth Symphony.)
They bring back sweet memories: Taking my stoic 12-year-old son and his bassoon to an audition with conductor Jerry Summers over 30 years ago. Wondering how he’d get through the chosen piece, some scales on that gigantic piece of pipe, and then a piece of sight-reading. When he was accepted, there were cheers from his nerdy parents and a chocolate cake at Sebastian’s on Richmond.
And then his mom started over 30 years of volunteering for London’s youth orchestra, thankful for what orchestra playing provided for her own kids.
Oh, the Londoners in LYS whose performances continued to enrich our lives ~
String players like Alex, who went on to Montreal’s Symphony.
Andrea, who is now part of the Montreal ensemble she created: collectif9.
Susan, who left London to study at Oberlin and was principal cello in Louisiana before returning to London to teach and inspire.
Becky, who played in a Polish salt mine- and the Krakow Cathedral – but now delights audiences in Kitchener-Waterloo.
But equally inspiring- the LYS musicians who used their talents in other fields ~
Steve, who adds fire to the local community orchestra while completing his epidemiology degree.
Sharon, who started her own Suzuki school to help generations of little ones flourish.
Ana, a dedicated therapist who also plays her violin in LCO.
Mary, the oboist- member of the first LYS over 60 years ago, still sets that tuning A for the community orchestra.
So why am I indulging in personal memories as the first LYS concert of Season 2025-26 begins?
Because I find the power of the music these young people rehearse, the energy that their conductors and mentors provide their efforts, and the willingness of the audience- even non-family members – to offer them applause, one of the most powerful beacons of hope in a world that is showing the distressing speed at which values can be lost.
Only this past weekend, some of you might have seen this demonstration by some gentlemen across the Wortley Road Bridge in London.
This group announces on its website that The Second Sons is a men-only, Canadian white nationalist group. The group operates chapters throughout Canada, using gyms as meet-up spots and to train their fitness via martial arts. The group appears publicly in white masks and sunglasses, similar to the Patriot Front, and has adopted a modified version of the Red Ensign as its logo.
What would they and their “Remigration Now” banner make of the LYS kids (and their supportive families), whom you can hear this Saturday night? What would they learn from the Kims, Lees, Sanatanis, Wongs, and Smiths who create beautiful harmony and stirring rhythms with notes put together by composers around the world?
Overall, the discipline and collaboration required in classical music ensembles nurture well-rounded individuals who are socially aware, emotionally mature, and cognitively equipped, qualities that are invaluable for sustaining democracy and community life. This makes the London Youth Symphony’s first concert not only a musical event but a celebration of these deeper civic and personal benefits.
But as Daniel Barenboim reminded us, “An orchestra is not an orchestra without the musicians, but the musicians are not an orchestra without the audience.”
(Pictured:Argentine-Israeli classical pianist and conductor, Daniel Barenboim.)
Among a gazillion other accomplishments, Daniel Barenboim worked with the late Palestinian scholar to create a youth orchestra of young Israeli and Arab musicians. This ensemble was created to show that music can break down barriers once thought insurmountable. Their commitment is to showing that bridges can be built if we listen to each other’s narratives. You won’t be hearing the West-Eastern Divan Orchestra on Saturday night, but you WILL be part of building bridges and bearing witness to young people merging their right and obligation to create something exquisite for each other and for you.
(Pictured: LYS Conductor, Ben Bolt-Martin.)
And what scores will LYS Conductor Ben Bolt-Martin be bringing to life with his baton- and his dedication to London’s musicians? Some of them will be familiar to you – and I’ll even add some links to previous performances if you’d like to get your expectations ready:
There’s “Nimrod” from Enigma Variations — Elgar
Elgar’s “Enigma Variations” began almost as a private joke at the piano, when he started improvising little musical caricatures of his friends to amuse his wife after a long day of teaching and routine work. Each variation is a musical “portrait gallery,” where you can actually hear personalities, inside jokes, and even remembered conversations, yet the whole piece is wrapped around a secret hidden theme that Elgar claimed, “goes through and over the whole set, but is not played” and that he took to his grave without ever explaining. The “Nimrod” was written about a friend, but its slow, gentle start and rise to glorious sound have made it a favourite selection for funerals!
And what about Capriccio Italienne -Tchaikovsky?
Peter Ilyich’s love life was the pits at that time, but Tchaikovsky’s Capriccio Italienne was composed during that dark and turbulent time in his life, bursting with the vibrant energy of the Roman Carnival he witnessed firsthand. The piece captures the bright colours and lively folk tunes of Italy as Tchaikovsky absorbed local street music and dances, creating a joyful, almost theatrical celebration of a city that stirred something vital in his sensitive soul.
And are you ready for Academic Festival Overture – Brahms?
Will you catch its irony? He offered it as a thank-you for a new degree – an honorary doctorate- and gave the bigwigs a rousing potpourri of boisterous student drinking songs rather than a solemn academic piece. He used four drinking songs and ended with “Gaudeamus igitur,” a centuries-old student anthem meaning “Let us rejoice, therefore, while we are young,” capturing the mischievous, playful spirit of youth amid a formal academic celebration.
I‘m sure we’ve all heard this one, too – Overture to Der Freischütz – von Weber
Are you ready to take the risk of Weber’s overture to “Der Freischütz”? It stands out for how it dramatically sets the scene for the opera’s dark romantic tale of supernatural bargains and moral struggle, weaving together actual themes and motifs from the opera—especially the eerie diminished seventh chord associated with the devil figure Samiel and the lyrical hunting horn calls—into a vivid musical narrative.
Your openness of mind, your willingness to learn, and your celebration of some of London’s most inspiring young artists are gifts that you have the power to give and receive by your presence. An orchestral performance is a collaboration between the conductor, the musicians, and the audience. It is a shared experience where everyone involved becomes a part of something greater than themselves. It is a connection of souls, united by the power of music.
IF YOU GO:
What: London Youth Symphony presents Old Friends and Overtures.
When: Saturday, November 29, 7:30pm.
Where: Metropolitan United Church, 468 Wellington Street, London, ON.
Based on the story “The Greatest Gift” by Philip Van Doren Stern, It’s a Wonderful Life: A Live Radio Play is adapted by Joe Landry. The play is directed by Liam Grunté, with Original Music and Musical Arrangements by Kevin Connors
Joe Landry’s adaptation presents the story in a new and innovative way. This beloved holiday classic comes to life as a live 1940s radio broadcast. An “All Star” cast gathered on Christmas Eve 1948 at WBFR radio station, only to find out that their foley artist was a ‘no show’ and they needed to create their own sound effects using the materials that were set up on the prop table. The 1940s live radio show format offers the audience an opportunity to experience this classic tale as well as see how the magic of sound effects is created.
Brilliantly acted by this versatile ensemble cast, this unique production of It’s a Wonderful Life is sure to captivate audiences as it regales the classic Christmastime story in a new and entertaining presentation.
(Pictured: It’s A Wonderful Life, A Live Radio Show in rehearsal.)
IF YOU GO:
What: Liam Grunté Theatre & FPT London present It’s A Wonderful Life, A Live Radio Show
When: November 26, 27, 28 and 29 at 7:00 p.m. Saturday, November 29 at 2:00 p.m.
Where: Grand Theatre – Auburn Stage – 471 Richmond Street, London, ON
(The Greatest Gift is used by permission of The Greatest Gift Corporation. It’s A Wonderful Life, A Live Radio Show, is presented by special arrangement with Broadway Licensing, LLC, servicing the Dramatists Play Service collection. (www.dramatists.com)
Compiled by Richard Young, Publisher & Content Manager, The Beat Magazine 2025
WE’VE GOT LIVE THEATRE!
London Community Players present: Deathtrap By Ira Levin Directed by James Patterson Produced by Anita Goodfellow
A thriller about thrillers—and the deadly games writers play.
Sidney Bruhl’s Broadway career is failing fast… until a student sends him the perfect script. What follows is a suspenseful, twist-filled rollercoaster of betrayal, manipulation, and murder. Who’s writing the final act—and who won’t live to see it?
Twists. Turns. Typewriters.
The most diabolically clever thriller ever staged.
Theatre Tillsonburg presents Ken Ludwig’s Twas the Night Before Christmas, November 20-23, and November 27-30.
A festive comedy full of mischief, music, and holiday magic! A mouse, an elf, and a spunky young girl team up to help Santa save Christmas in this wildly entertaining holiday adventure. Packed with clever wordplay, wild characters, and heartwarming cheer, it’s the perfect outing for the whole family.
What:Disney’s Frozen:The Broadway Musical, presented by The Grand Theatre Where: Spriet Stage at the Grand Theatre When: November 18th to January 4th, 2026 Tickets:Disney’s Frozen | The Grand Theatre
Kettle Creek Players presents The Wicked Witches of Oz Pantomime this Friday, November 28th and Saturday, November 29th.
Wicked Witches of Oz is a British Panto written by Peter Nuttall with permission from Lazy Bee Scripts. It’s a hilarious take on the story of The Wizard of Oz that is fun for all ages.
Shut The Front Door: Grinch-Prov, Friday, November 28.
Picture a stage where your wildest holiday ideas come to life! From mischievous Grinches to cheerful spirits, every suggestion sparks hilarious moments. Bring your friends and family for a night of belly laughs you won’t forget!
Don’t miss out on the fun—grab your tickets early! Ready to spread some holiday cheer? Drop your quirky suggestions in the comments below! Let’s make Grinchprov unforgettable!
Original Kids Theatre Company presents Rodgers and Hammerstein’s Oklahoma: Youth Edition, Nov. 27-30, Spriet Family Theatre, 130 King St. (Covent Garden Market, 2nd fl), London, ON.
A high-spirited rivalry between local farmers and cowboys provides a colourful background for Curly, a charming cowboy, and Laurey, a feisty farm girl, to play out their love story. Their romantic journey, as bumpy as a surrey ride down a country road, contrasts with the comic exploits of brazen Ado Annie and hapless Will Parker in a musical adventure embracing hope, determination and the promise of a new land.
Liam Grunté Theatre & FPT London present It’s A Wonderful Life, A Live Radio Show, November 26-29, on the Grand Theatre’s Auburn Stage.
This timeless classic about a selfless man, George Bailey, is brought to life as a live radio show.
When life gets in the way, George sacrifices his own ambitions for the good of the community. It’s Christmas Eve, and a cruel nemesis has put the reputation of George and his father’s business in jeopardy. George is in a desperate condition, and an unlikely guardian angel comes to his aid, but will it be enough to make George see that it’s really a wonderful life?
The Aeolian Hall presents Emm Gryner, Friday, November 28, at 7:30pm, 795 Dundas St, London, ON
Emm Gryner is a 3-time Juno Award-nominated Canadian singer and multi-instrumentalist. She has been sought after by David Bowie and Def Leppard to sing and collaborate with them on tour and on recordings, including the new Stripped Version of “Pour Some Sugar On Me” featuring the Royal Philharmonic Orchestra. Emm also helped make the first music video in outer space when Chris Hadfield enlisted her to create a new version of “Space Oddity”, which was partially recorded aboard the International Space Station. Emm’s new album “Business & Pleasure” is a foray into yacht rock and features an all-star list of Nashville musicians who have worked with Michael McDonald, Hall & Oates, Taylor Swift and Toto. Emm is constantly crossing genres and defying the odds of what is possible in the music industry as an independent female recording artist.
Anne Moniz & Friends at the Dawghouse Pub and Eatery, Friday, November 28, at 9:00pm. 699 Wilkins St, London, ON.
London singer-songwriter Anne Moniz (from such bands as Tell It To Sweeney and Thames Rivieras) returns to The Dawghouse Pub & Eatery for the last time in 2025! Accompanying her is multi-instrumentalist Daniel Oniszeczko.
Enjoy a full night of original acoustic-driven music featuring special guests, including indigenous Toronto artist Nyssa Komorowski.
Betamaxx Live 80s Matinee at the Richmond Tavern at 3:00pm. 370 Richmond St, London, ON
Say Anything to your pals while dancing and singing along to your favourite 80s New Wave/Post Punk/New Romantics songs!
Matinee show, 3-6pm. Day drinking on a Saturday – what could be better?
No cover.
The annual Red Scarf benefit concert returns to London Music Hall on Saturday, November 29, hosted by Queen Priyanka and featuring performances from SHEBAD.
Every year, music artists take the Red Scarf stage to ring in World AIDS Day and raise critical funds in support of the Regional HIV/AIDS Connection (RHAC). As a special celebration of RHAC’s 40th anniversary, this year’s show is double the entertainment: Hosted by international popstar and drag performer Priyanka and featuring Indie music group SHEBAD.
FIESTA LATINA THIS 𝐅𝐑𝐈𝐃𝐀𝐘 𝐍𝐎𝐕. 𝟐𝟖𝐓𝐇 INSIDE 𝐏𝐄𝐏𝐏𝐄𝐑𝐌𝐎𝐎𝐍! LATIN ELEMENT DANCE BAND – DJ ORLANDO VALENCIA IN THE HOUSE! 10PM – GREAT FOOD – LATIN MUSIC – FREE PARKING! 1100 COMMISSIONERS RD. E. LONDON ON.
The Strands at the Eastside Bar and Grill, Friday, November 28th, 750 Hamilton Rd., London, ON It’s a full night of Rock hits with a punk rock twist. 9pm Start. Cover $10.
Kevin’s Bacon Train at the Palasad Socialbowl, Friday, November 28, at 8:30pm. 777 Adelaide St. North, London, ON.
Kevin’s Bacon Train is a high-energy bluegrass band that blends down-home picking with a cheeky sense of fun. With driving banjo, tight harmonies, and a sound that’s equal parts front porch jam and festival mainstage, they get audiences clapping, stomping, and grinning ear to ear. Whether you’re a die-hard roots fan or just love a good time, Kevin’s Bacon Train brings the kind of infectious, foot-stompin’ joy that turns every show into a barn-burner.
The Elder Brothers at The Wortley Roadhouse, Sunday, November 30, at 3:00pm. 190 Wortley Rd, London, ON.
The Elder Brothers close out November with a matinee on Sunday, November 30! The show starts at 3pm. No Cover.
Dallas Smith and his Band at Centennial Hall, Saturday, November 29, at 7:00pm. 550 Wellington St. London, ON.
Tickets $ 69.00 + TAX & S/C $1.00 from every ticket will be donated to Salvation Army Toy Mountain
London Youth Symphony presents Old Friends and Overtures, Saturday, November 29, 7:30pm, at Metropolitan United Church.
Program:
“Nimrod”from Enigma Variations — Elgar
Capriccio Italienne -Tchaikovsky
Academic Festival Overture – Brahms
Overture to Der Freischütz – von Weber
Tickets: Adult – $15.00, Students – $5.00. Available at the door or londonyouthsymphony.net
London Pro Musica Choir presents Texture: Beauty for Dark Times, Saturday, November 29, 7:30pm, at St. James Westminster Church, 115 Askin Street, London, ON.
An a cappella concert that celebrates the music and influence of 16th-century Italian composer Giovanni Pierluigi da Palestrina (1525-1594) and Austrian composer Anton Bruckner (1824-1896).
The program features Palestrina’s Missa Papae Marcelli: an intricate, exquisite work written in defiance of a papal edict demanding that all sacred music be simple and stark. Our program will celebrate this work and incorporate works by the German composer Anton Bruckner. Bruckner lived 300 years later, yet his music rings with the old master’s influence and style. With this unadorned, a cappella program, we, like Palestrina, stand in defiant defence of the necessity of beauty in dark times.
Anton Bruckner was a devoutly religious man and composed numerous sacred works. He wrote a Te Deum, five psalm settings (including Psalm 150 in the 1890s), a Festive cantata, a Magnificat, about forty motets (among them eight settings of Tantum ergo, and three settings of both Christus factus est and Ave Maria), and at least seven Masses. There will be five selected a cappella works by Bruckner in this concert.
Celebrating original music and art from the local community as we raise funds to support the ongoing work of Mission Services of London, at Valleyview Mennonite Church on Saturday, November 29, at 6:00pm. 170 Melsandra Ave, London, ON.
->Featuring several short music performances by local musicians ->Art silent auction ->Art silent auction starts at 6pm. Music starts at 7pm. ->$10 entry + donation* online or at the door (https://CreativityandCommunity.eventbrite.ca) ->Refreshments available
Music Lineup Featuring: Adair Meehan Sina Khosravi Sharon Bee Lynn Davis Bertie Derek Martin Rayne Vitorino Dias & David Rayo
Art Silent Auction featuring various local artists.
All donations are to the Valleyview Mennonite Church: Missions Fund. www.valleyviewmc.ca/content/missions-fund. The Valleyview Mennonite Church Missions Fund will make a donation to Mission Services of London equivalent to the proceeds raised at this event. Tax Receipts are available for any donation provided above the $10 admission fee.
Lisa Johnson’s incredible solo exhibition, Full Circle, will be on display until November 29th at Westland Gallery
by Richard Young, Publisher & Content Manager, The Beat Magazine
Silver Spotlight Theatre, London’s group for performers aged 55 and up, presents its fourth musical, Showtune, celebrating Jerry Herman’s work this December.
Like the group’s previous shows – Babes In Arms (2023), Grease (2024), and Into The Woods (2024) – it is expected to sell out.
The Beat Magazine spoke with Showtune’s Director and Silver Spotlight Theatre co-founder, Rick Smith, about the show and the group’s move towards incorporating itself as a not-for-profit organization. The following Q&A Interview has been edited for length and clarity.
(Pictured: Rick Smith, Showtune director and co-founder of Silver Spotlight Theatre.)
Q. Could you review for our readers how, when, why, and by whom Silver Spotlight Theatre came into being?
Just before COVID locked us all safely away at home, Art Fidler, now affectionately called the ‘grandfather’ of Silver Spotlight Theatre, approached me, the then President of Musical Theatre Productions, about an idea of establishing a wing of MTP dedicated to people in an older demographic (55+). We met with Kathy Smith, who directed us to the Ontario Government Grant offerings to launch this untested idea. We were fortunate enough to receive funds from their Seniors Living Grants. Mary-Ellen Willard, one of Art’s former students, offered the services of her company, AdHome Creative, to create a new logo and support the visuals used for our production. From there, we floored it, and away we sped toward the big reveal. Art and I took the lead, directing the first production, Babes In Arms, with Kelly Holbrough producing, Janice Wallace as Musical Director, and Candy Robinson as Stage Manager.
Q. What role does SST play in London’s theatre community?
There are several outlets for London youth to gain theatre experience through Original Kids, London Youth Theatre Education (LYTE), Arts 4 All Kids, and more. For individuals 20-54, the Palace, Musical Theatre Productions, Odessa Company and others offer lots of opportunities to get involved in community theatre. That leaves interested parties in the 55+ age range very few opportunities, especially on stage. Unless a script calls for a grandparent, the ability to learn, grow and get engaged is minimal. Silver Spotlight Theatre offers those in this demographic the opportunities that are otherwise limited. It has provided a creative outlet and a place to learn and experiment in theatre craft. More than that, it has built a solid connection for those who get involved in our productions. In post-retirement life without external interactions, it is easy to sit in front of the TV and wait. Silver Spotlight Theatre has brought those people out of their armchairs and helped them join a really connected community with regular gatherings, parties, brunches and friendships. Through the arts, seniors get to learn, create, move and connect.
Q. Can you tell me a bit about SST’s previous three sold-out productions?
Babes In Arms (2023) was the first production. It was a coming-of-age story where seniors were cast in roles of minors trying to prove themselves by “finding a barn and putting on a show”. It was filled with a lot of American Songbook numbers written by Lorenz Hart (The Lady is a Tramp, Where or When, My Funny Valentine, and more).
That was followed by the ever-popular Grease (2024), where again seniors were performing as teenagers from the ‘50s and singing the memorable tunes from the show, Greased Lightning, There Are Worse Things I Could Do, We Go Together and more.
To mix it up a bit, the third production was Stephen Sondheim’s Into the Woods (2024), where we turned our seniors into fairy tale characters and really tested them by performing it In the Round, which was a new concept for many of the cast.
Finally, our fourth and final production under the MTP umbrella is Showtune, a musical review of the words and lyrics of the great Jerry Herman. Again, a new vehicle for our dedicated, hardworking teams. There is no time to catch their breath in this action-packed song and dance show
Q. Can one talk of a Silver Spotlight Theatre troupe, or are new cast and crew members added to each production?
While there are several returning cast and crew members from each show, we have had many new faces, as well as new as 55+ can be, come out to audition and reach out to get connected. We have people in our audience who meet with us during intermission or at the end of a show, asking how they can get involved. Within each show, this troupe grows and inspires new folks to try something new or re-stimulates the passion for theatre from years gone by. A lot of our members are first-time performers or backstage helpers. Some come back to the stage for the first time since high school, while others have transitioned from the standard community theatre stage to ours, bringing their experience with them to share with others in the group.
Q. Putting bums in seats is always a challenge for community theatre groups. What explains SST’s success?
I think what has made Silver Spotlight Successful is, in part, our affiliation with MTP as a brand endorsement. MTP has a long history within the London community, and with that, it brings a following. But it is also unlike that of the youth programming. Every parent and grandparent wants to see little Suzie or little Tom on the stage. SST brings out the grown children and grandchildren of those included in the production. It is an extension of what we call our family. Once they see what we can do, word of mouth spreads, and it brings in others who want to see what it is all about. There is a sense of curiosity that comes from this kind of niche group.
Q. What can people expect to see/hear if they attend Showtune? Any highlights you would like to cite?
Audiences will be thoroughly entertained with Showtune. Jerry Herman wrote the songs from some of Broadway’s biggest hits like Hello Dolly, Mame, La Cage Aux Folles and more. He was a storyteller with his music, but not as technical as Sondheim or Lloyd-Webber. People can hum along with his tunes. They consist of light-hearted and uplifting lyrics, and even the songs that have a more sombre feel have a positive message and always look on the bright side of life. The cast has grown to love these tunes and sing and dance with all their heart. I challenge audience members not to tap their toes or hum a familiar tune.
Q. Up until now, SST has operated as a branch of London’s Musical Theatre Productions. What precipitated SST’s decision to incorporate as a stand-alone not-for-profit organization?
With each production, those involved in SST productions have learned and grown. We are incredibly grateful to MTP for taking the chance on this untested concept. Without the Board’s approval and encouragement, there wouldn’t be an SST company. That said, the learnings and the growth over the past four seasons made the group realize that having the autonomy to make its own decisions was needed. We felt it was time to ‘grow up’ and take the lead for itself. There are life and work experiences that the SST followers bring with them, whether it is project management, people management, education delivery, or finance finesse. These are the skills included in this troupe that make it easy to make appropriate decisions that we can own as our own.
Q. What are the advantages/benefits of SST becoming a not-for-profit organization?
It was important for the inaugural Board to obtain a charity status. We realized under MTP that status allows for greater opportunities to obtain sponsorship and private donations. Getting a tax slip for their support of our organization makes it far more attractive for donors and sponsors to contribute. It also allows us the opportunity to be eligible for corporate and government grants. Funding is a very important element for starting any new venture, and we rely on those sponsorships and private donations to help get things off the ground. MTP was the benefactor of our previous productions as they flipped the bill to pay for our shows, so we are starting out from ground zero. The ability to offer tax slips as deductions on income taxes gives us a wider range of avenues to achieve the goal of capturing the attention of those willing to support our organization.
Q. Has an interim Board for the new group been appointed?
Yes. This was very important to the small committee working with MTP to establish longer-term visions for SST. In order to incorporate and gain charitable organization status, a Board of Directors needed to be appointed from that small group of core SST members. We elected the key board members to get the ball rolling. It was important to provide some experience to these positions to begin to establish the credibility of the Board. With our combined 60+ years of community theatre experience, I was appointed President along with Toni Wilson as Vice President. A Secretary needs to be very organized with the ability to be concise yet thorough with communications, so Cathy Weaver, a retired head of HR, was unanimously elected to that position. We knew we needed an experienced manager of finance to take on the position of Treasurer. Alex Gow has the appropriate designations and experience to ensure the appropriate accounting and tax filing is complete. And there is no need for a Treasurer without funds, so Susan McKone and Tracey Andrus, two very connected and imaginative women, were appointed to Fundraising and Sponsorship. Dan and Margo Surman hold seats as Members at Large and, although they do not have a designated portfolio, their contributions and support for these different commitments will be invaluable.
Q. What are the next steps for Silver Spotlight Theatre?
SST must establish a foundation, including but not limited to seeking sponsorship and donations, identifying a rehearsal space, and gathering SST supporters to build a strong foundation. We want to engage our members by including them in the process through committee work, brainstorming, leveraging resources and contacts to help get us off the ground. Our first official act will be holding a meeting for anyone interested in the future of SST on January 13, 2026. The time and location will be announced once we have secured a venue. Oh, did I mention we are starting at ground zero?
Q. Is there anything else you think our readers should know about Silver Spotlight Theatre and/or Showtune?
Although Silver Spotlight Theatre has stepped into the light as its own entity and, in a way, is starting anew, our core values and goals remain the same. We are still committed to developing quality performances, granting opportunities to develop performance and designer programming for education and skill development, and the inclusion of age-appropriate members who are interested in being part of our community. This is the first of our building blocks, and we will be looking to our membership to assist with brainstorming ideas to raise funds for our three, five and ten-year strategy plans. This is the first of many steps in achieving and maintaining the community that has become Silver Spotlight Theatre.
Cast:
Angie Jansen
Barb Currado
Carol Taylor-Wilks
Dan Surman
Deborah Mitchell
Holly Kinchlea Brown
Jayne Terry
Jensen Caughlin
Joanna Makinson
Karen MacDonald
Karon Dean
Lesley Andrew
Lisa Jones
Margarita Sanchez-Favro
Maria Marsh
Mitch Zimmerman
Rachelle Peterson
Rick Smith
Rob Hibbs
Steve Hobbs
Susan Dean
Susan McKone
Therese Hibbs
Creative Team:
Director: Rick Smith
Assistant Director: Nick Banks
Musical Director: Jeff Holbrough
Choreographer: Grant Statchuk
Producers: Mike Jewison and Candy Robinson
Stage Manager: Teri May
Assistant Stage Manager: Tracey Andrus
IF YOU GO:
What: Silver Spotlight Theatre presents Showtune, a Celebration of Jerry Herman’s Words & Music.
(Showtune is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com)
(NOTE: The videos embedded in this Interview are courtesy of Brian Ince.)
(Jack Cocker, “Wanakita Cabin Scene (Evening),” oil on linen, 80 by 118 inches. Courtesy of Michael Gibson Gallery.)
Jack Cocker is enjoying his third solo exhibition with Michael Gibson Gallery while still in his mid-20s. That’s almost unheard-of success in the hardscrabble business of fine art.
It is a risky undertaking for an established gallery to take on such a young artist and a move that Michael Gibson admits he wouldn’t normally make, as such an artist’s story is “still being written.”
Cocker first approached Michael Gibson when the former was still in his third year at Western. He was studying under associate professor Sky Glabush.
Gibson visited Cocker at Western and then at the artist’s Mount Elgin Studio. He was impressed by Cocker’s ability to build colour and immediately recognized him as a gifted painter.
All of the works in the show were painted over the last year. All are firmly rooted in what Cocker describes as “familiarity, memory and connection.” They include views from his Mount Elgin studio, ski scenes, and figures representing Cocker or persons close to him.
For this show, the main gallery holds four massive pieces and five smaller ones. One of the large pieces is the oil on linen “Wanakita Cabin Scene (Evening)” which measures 80 by 118 inches. It hangs on the left wall of the gallery and features two of Cocker’s oft-repeated figures, his sister and his girlfriend. The piece is decidedly orange in all its glory and exudes the warm glow of a fading day.
(Jack Cocker, “Night Skiing,” oil on linen, 2025, 93.5 by 70 inches. Courtesy of the gallery.)
A more modestly sized 26-by-21-inch oil and distemper on linen, titled “Girl Near Water, 2024-2025”, with a single figure graces the back wall. On the same wall is “Night Skiing,” oil on linen, measuring 93.5 by 70 inches. It was painted when Cocker was learning to ski and features three beige figures on black snow.
(Jack Cocker, “Girl Near Water 2025”, oil on linen, 78 by 108 inches. Courtesy of the gallery.)
The middle gallery holds one large piece on the right wall, “Girl Near Water 2025”, oil on linen, 78 by 108 inches, with two figures and another 10 smaller pieces scattered throughout.
While Cocker’s works always include a figure and a landscape, they leave a lot to the imagination.
The artist explains, if a figure is too specific, it causes a painting to become “too much about the identity or the quality of the figure”, which, in turn, impedes a viewer’s ability to reflect. Cocker says, “While the paintings always contain elements of personal storytelling … I don’t [want them] to hinge on the autobiographical.”
Thus, the ambiguity of his figures serves to heighten a viewer’s “feeling of immersion in the scenes.” Cocker says that he hopes his paintings “feel like worlds you could walk into.”
(Pictured: Jack Cocker, Website)
Jack Cocker (born 2001) has a BFA from Western University (2023) and is currently in his first year of his MFA at the Emily Carr School of Art and Design in Vancouver.
Jack Cocker “New Paintings” continues to November 29, 2025, at Michael Gibson Gallery, 157 Carling Street, London.
The Grand Theatre’s production of Disney’s Frozen: The Broadway Musical is nothing short of magical. A dazzling, heart-warming spectacle that captivated everyone in the audience, from the youngest fans seeing their heroes come to life to the adults who found themselves swept up in the enchantment.
Cory Sincennes’ set and costume design is a triumph of imagination and stagecraft. Using layered curtains, striking silhouettes, and dynamic lighting, Sincennes creates a constantly shifting world that feels both storybook and cinematic. The special effects, particularly those used to portray Elsa’s powers, were breathtaking, earning genuine gasps and cheers throughout the performance.
(Pictured: Kelly Holiff as Elsa. Photo by Dahlia Katz.)
Chariz Faulmino (Anna) and Kelly Holiff (Elsa) lead the cast with powerhouse performances that honour the beloved characters while adding emotional depth and nuance. Their younger counterparts, Harmony Holder as Young Anna and Kylie Prouty as Young Elsa, shine with remarkable poise and authenticity, laying a strong emotional foundation for the story. (NOTE: Harmony Holder and Kylie Prouty alternate with Oakan Oyafuso and Alba Evora Weiler in the roles of Young Anna and Young Elsa.)
Mark Sinongco is fabulous as Kristoff, bringing warmth, sincerity, and just the right amount of rugged charm to the beloved ice harvester. Izad Etemadi’s brilliant puppetry brings Olaf to life with humour and heart, while Richard Lee Hsi’s physicality makes Sven feel truly larger than life. Lee Siegel is an undeniable crowd-pleaser as Oaken, and his lead in the Act II opener “Hygge” had the entire house roaring with laughter. The number was clearly a fan favourite, kicking off the second act with a joyous, cheeky burst of energy.
(Director Rachel Peake talks about Disney’s Frozen: The Broadway Musical in this video clip.)
Under the inspired direction of Rachel Peake, the production flows with clarity, humour, and heart. Ainsley Hillyard’s choreography infuses each number with vibrant energy, and the ensemble executes every step and vocal line with grace, precision, and infectious enthusiasm.
Adding to the magic was the audience itself: tiny Annas and Elsas sparkling in their costumes, singing along with their favourite songs, their excitement lighting up the theatre. And it wasn’t just the children. Many adults joined in softly singing the iconic melodies, proving that Frozen’s charm spans generations.
(Pictured: Frozen. Photo by Dahlia Katz.)
The Grand Theatre’s Frozen is a spectacular journey that celebrates the power of love, courage, and sisterhood. It’s visually stunning, musically thrilling, and emotionally resonant. A production that truly brings the magic of Arendelle to London.
In the spirit of love and generosity, the Grand Theatre is also collecting monetary donations for the London Food Bank. Audience members are encouraged to bring their loonies, toonies, or any amount they wish to contribute to warm hearts—and bellies—during this season of giving. Donations can be made in cash, by card, or by scanning a QR code in the lobby. Please give generously.
IF YOU GO:
What:Disney’s Frozen:The Broadway Musical, presented by The Grand Theatre Where: Spriet Stage at the Grand Theatre When: November 18th to January 4th, 2026 Tickets:Disney’s Frozen | The Grand Theatre
Watch the Official Trailer for Disney’s Frozen:
Disney’s Frozen: The Broadway Musical reviewed by Jo-Anne Bishop
Compiled by Richard Young, Publisher & Content Manager, The Beat Magazine 2025
YOU WANT LIVE THEATRE? WE’VE GOT LIVE THEATRE!
Disney’s Frozen: The Broadway Musical opens Friday, November 21, at the Grand Theatre and runs through January 4, 2026. Adapted for the stage from Disney’s Grammy Award-winning 2013 animated film, it features music and lyrics by Kristen Anderson-Lopez and Robert Lopez. Frozen includes beloved songs such as “Let It Go”, “Do You Want to Build a Snowman?”, and “Monster.” This London, Ontario, premiere is helmed by Grand Theatre Artistic Director Rachel Peake.
Original Kids Theatre Company presents Macbeth, November 21-November 23.
Set in Scotland and partly based on a true historical account, Macbeth charts the bloody rise to power and tragic downfall of the warrior Macbeth. This version examines the classic story from a more modern perspective and explores themes of witchcraft, fate, and whether we can ever truly control our own destiny.
This production is recommended for ages 12 and up due to mature subject matter and some violence.
Spriet Family Theatre, 130 King St. (Covent Garden Market, 2nd fl), London, Ontario N6A 1C5
Ronnie Burkett’s Wonderful Joe continues at the Grand Theatre (Auburn Stage) until Sunday, November 23.
Single tickets are $48, and Auburn Series Subscriptions offer a 25% discount ($71.44 for both Wonderful Joe and Mrs Krishnan’s Party). Tickets and subscriptions are available at grandtheatre.com, by phone at 519.672.8800, or at the Box Office, 471 Richmond Street.
Theatre Tillsonburg presents Ken Ludwig’s Twas the Night Before Christmas, November 20-23, and November 27-30.
A festive comedy full of mischief, music, and holiday magic! A mouse, an elf, and a spunky young girl team up to help Santa save Christmas in this wildly entertaining holiday adventure. Packed with clever wordplay, wild characters, and heartwarming cheer, it’s the perfect outing for the whole family.
The Aeolian presents Hawksley Workman, Saturday, November 22, 8:00pm.
Hawksley Workman is a JUNO Award-winning and Gold Record-certified singer-songwriter and multi-instrumentalist. Since his ground-breaking self-produced indie debut For Him and The Girls (1999) through to chart-topping singles of 2020, Hawksley has careened between major label international smash hits to Canadiana-soaked indie releases. Boasting a catalogue of 17 solo records, Hawksley’s genre-defying style strings together folk, chart pop and irrepressible cabaret. His show-stopping vocals on songs about weather, love, heartbreak and tales of end-times have garnered him a league of devoted fans. Performing over a thousand shows worldwide, Hawksley has headlined prestigious venues like Massey Hall and The Olympia in Paris. For a uniquely Canadian artist, Hawksley has built loyal fan bases in the UK, France, Norway and Australia, launching many successful tours, demystifying and delighting fans while drawing on an enviable catalogue of mischievous favourites, glammy stompers and heartfelt hymns to small town Canada.
The Karen Schuessler Singers present Go For Baroque.
Saturday, November 22nd, 7:30 pm Wesley-Knox Church, 91 Askin St, London
Exciting and expressive music of the Baroque era for choir and orchestra. We will explore what made the music of this pivotal period so daring and exciting with the works of Bach, Handel, Purcell, and more. With soloists and London Symphonia. Masterpieces abound!
The Beat Magazine 2025 