“I’m certain of something, then it goes again. Like a dream, when you wake up.”
A Dream Play, by August Strindberg, one of the best-known and least produced plays by the celebrated writer of Miss Julie, is being staged by Fanshawe College Acting for Screen and Stage Production graduating students from December 10 to 13 at the College’s Downtown Campus.
In this brilliant translation from acclaimed British playwright Caryl Churchill, we move fluidly through memories, experiences, free associations, absurdities, and improvisations as Agnes, child of the gods, attempts to untangle what makes human life on earth worth living.
Drawing freely from the aesthetics of provocateurs like Marcel Duchamp, David Lynch, and Derek Jarman, this new multimedia production from the Fanshawe Acting Program’s graduating class promises to surprise and delight, while guiding us to consider the ways, wounds, and worlds we dream into being.
IF YOU GO:
What: A Dream Play by August Strindberg. Adapted by Caryl Churchill. Directed by Eris Thomas. A Fanshawe College, Acting for Screen and Stage production.
When: December 10-12 at 7:00 p.m., December 13 at 2:00 p.m. and 7:00 p.m.
Where: The Goode Foundation Theatre in Fanshawe’s Downtown Campus, 137 Dundas Street, London, ON. Entrance from Dundas.
All hail the rise of craft beer brewing! The feared rival to the big guns of Labatt and Molson, which once ruled the Canadian brewing industry for over a century, has dug deep roots throughout the province, with a handful of fine breweries taking up residence in London.
My local is Storm Stayed on Wharncliffe Road, approaching its eighth year in 2026.
Like most craft breweries, Storm Stayed engages its community with a wide variety of events, ranging from a mom and kids time to the music of opera. And do I need I advise you that there is beer available for those of a certain age?
Snaggle, a six-piece jazz fusion band from Toronto, took up residence on November 25; their second engagement at Storm Stayed within the last twelve months.
They have been defined as a “cross between Miles Davis and Rage Against The Machine” with a nod to American jazz fusion band Snarky Puppy.
In the words of band leader, keyboardist Nick Maclean, “expect performances swinging between moments of quiet clarity to cataclysmic bursts of energy, worthy of a crumbling galactic empire.”
Adding to that attack of a ‘galactic empire’ is Jay Yoo on electric guitar, Matt Gruebner on bass, and Adam Mansfield on drums. Fronting the entire musical onslaught are the Ali brothers, Brownman on trumpet and Marcus on tenor saxophone.
So, what is it like for musical siblings to perform and record together? Marcus Ali tells me, “He’s five years older than me, so I was in high school when he was in university. We played tunes around the house, but by the time I got out of high school, we were starting to gig together and eventually began getting calls to play as a ‘horn section.’ We grew up listening to the same music, so we have an instant connection.”
Marcus adds, “We are anomalies in our family. Our parents were math and science teachers. They moved to Canada from Trinidad as my Dad saw the future and wanted to work with computers. We grew up in a house that was full of music. Dad listened to a lot of classical and calypso and loved Baroque music. My mother loved Sarah Vaughn, Nancy Wilson, Joe Williams and Count Basie, so we had all of that music ringing in our ears.”
So, here’s to parents!
(Photo Credit: J. Bruce Parker.)
It was also the ether of the Canadian airwaves permeating the Ali household, specifically station CJRT FM, which offered the music of Moe Koffman and the Boss Brass. The brothers absorbed it all.
Band leader, Nick Maclean, began as a music student at Humber College. In his fourth year, he was required to create a recording project and the essence of ‘Snaggle’ was born in 2012. Over time, the band has evolved and expanded. Nick refers to the current lineup as his “dream team” wound up tight with a “ton of synergy.” And it shows!
Nick tells me, “Inspiration was from my grandfather. He wasn’t a musician, but he introduced me to jazz. He introduced me to Louis Armstrong, Fats Waller, Glenn Miller, Duke Ellington and Count Basie. My high school years were filled by listening to all that. When I got to Humber, I discovered more modern jazz bands which directly affected the sound of Snaggle like Weather Report, Brecker Brothers, electric era Miles Davis, Return to Forever and the Mahavishnu Orchestra. One of my big touch stones is Herbie Hancock.”
(Photo Credit: J. Bruce Parker.)
Now there is a musical pedigree!
Describing them as an ‘up-tempo jazz fusion band’ does not do them justice. Tight? Like a Ludwig drumhead! They do not proceed with caution, but rather digging a groove and working it like a coal mine.
Composer, arranger, producer of Browntasauras Records and trumpet player, Brownman Ali embraces the work of the electric Miles Davis era. He is a protégé of the mighty Randy Brecker, who referred to him as “One of the next great voices in the new generation of jazz improvisers.” Adding to the natural sonics of the saxophone, Brownman often incorporates the Boss ME-50, a pedal unit designed for electric guitars. With the added effects of modulation, reverb, echo and delay, his sound becomes stratospheric.
Guitarist Jay Loo does not get lost in this brass onslaught. He cuts through cleanly, given ample opportunity to stretch out his skill and musical legs on his Fender.
In the rhythm section, Matt Gruebner on five-string bass initiated several songs, bringing his melodic sound to the forefront.
Rounding out the rhythm section, drummer Adam Mansfield holds it all together. No drum solos, just great timekeeping, locking it all in.
On this tour, the music is inspired by the writings of American science fiction author, Issac Asimov. So, without hearing a note, I am a bit lost. Outside of ‘Star Trek’ and its many incarnations, I am not a huge science fiction fan. The only Asimov book that I own is his guide to the works of Shakespeare. Yes, he actually did write that.
Nick Maclean tells me he was introduced to the writings of Issac Asimov by Brownman. Being a science fiction fan, he connected immediately and eventually read all fifteen novels of Asimov’s ‘Foundation Universe.’ The huge anthology tells the future of humanity and the rise and fall of the human galactic empire.
Nick explains, “Things Asimov was writing about in the 1950s, we are starting to deal with now, especially the rise of AI. I find it all an incredible and fruitful source of inspiration for composition. So, all of the compositions that we are playing on this tour and that we will be recording are inspired by places, people, events, and ideas from those 15 novels”.
The song, ‘Twilight of Civilization,’ begins as a plaintive call from Brownman’s trumpet. It quickly grows into an aggressive pedestrian strut, backing down somewhat when brother Marcus brings in the voice of his tenor. It rumbles along, very tough, very urban, but surprisingly, very softly, reminiscent of the theme of loneliness and marginalization of American composer Aaron Copland’s ‘Quiet City.’
‘Lonely Man Robot’ seems to summon the tenderness of Chet Baker’s trumpet with Nick carefully meandering on his Rhodes keyboard in quiet contemplation.
Science fiction, like jazz, can be considered a niche genre. Both have fans which are vast and loyal but tend to scamper into the sanctity of darkness when illuminated. So maybe it makes sense to blend the two. I mulled over this notion while studying and forgetting the sequence order of my beer flight.
Their two sets were made up of entirely original material: no covers.
Snaggle, at this stage in their musical evolution and on this tour, retains the essence of jazz fusion from the 1970s and, with the help of Issac Asimov, propels it into the next century. Their sound is big, bold, engaging, and tough as nails.
Every single city around Canada has people/bands that you can consider “Canadian Rock Royalty”. Sarnia has MaxWebster/Kim Mitchell, Hamilton has Tom Wilson/Junkhouse and Teenage Head, Toronto has RUSH/Rheostatics/Triumph, Vancouver has Bryan Adams/54-40/Bif Naked, and London has Demics, Helix and 63 Monroe! As mentioned in previous reviews, I am a local sound engineer, so I have gotten to work with just about every local musician at some point, and the one artist that has always left me awestruck was Scott Bentley, aka “Steven R Stunning” of ’63 Monroe.
Mr. Bentley was the former manager and/or owner of three great London Venues, Key West, Big Bobs and the Electric Banana (the latter being where I got to see Seattle band “Hole” and meet Courtney Love et al) and he was also the creator of the “What’s the Poop Awards” which at best was a tongue in cheek look at the “best” London had to offer in entertainment. Every time I worked with ’63 Monroe, I was impressed by Steve Stunning’s towering presence, sometimes partially dressed in drag; they were the reigning kings (queens?) of Glam Punk, born of the 70s with one foot always firmly planted there.
(Pictured: Scott Bentley, aka “Steven R Stunning” of ’63 Monroe.)
So now in 2025, I was asked to review the LP by Scott Bentley’s latest project, “Stunning”. At first glance, it’s a supergroup of London area musicians including the aforementioned S.R.S., plus rock solid drummer Brad Lavard (Twin Fin, ’63 Monroe), the low-slingin bassist extraordinaire Oscar Macedo (Rizdales, Rumblebees, Burnt Reynolds) and on guitar duties there’s Tim Thompson (Ugly Stepsisters, ’63 Monroe, Aces Wild) and Paul Sguazzin (Freekshow, Before the Damned), with all joining in on vocals throughout.
On deeper exploration of their debut album “Fukk you Rock n Roll, I love you”, this album is a total love letter to the late 70s groups that revolutionized music at the time. All over this record are little nods to power pop, punk rock, glam rock, and then some straight garage rock, paying tribute indirectly to bands like Iggy and The Stooges (who actually gets a mention in one song), Sex Pistols, Ramones, Cheap Trick, MC5, The Cars and New York Dolls with an added tribute to the King of Rock and Roll himself, Elvis A Presley (“Elvis” on side 3)!
This album is super fun. It’s something I could hear the cast from “That 70’s Show” spinning in the basement after getting colossally stoned and ordering too much pizza! A bunch of kids sitting on the floor, records scattered about and the scrapes and scratches on one cover from where the last hash joint was twisted up, with everybody looking and feeling cool. But this is not the 70s, and the musicians on this album are far from being kids, most of them having raised kids now, though it doesn’t slow down their ability or willingness to ROCK THE F*** OUT!
The musicianship is phenomenal, and Steven R Stunning himself, the band’s namesake, has not lost a bit in his voice over the years. As I mentioned earlier, he towers as a “6’3” mean ole rocknroll (sic) machine” and carries a larger than life presence on the stage. I’ve seen all of these guys somewhere at some time in the past, and I know them to be monster players in whatever units they were in. As Stunning, they bring together all of the best parts of their time in the other bands and add it to what may be akin to a big old rock and roll melting pot.
I like all of these songs; they are mostly fun romps to party to, though some with serious themes of revolution and making change in the world. A standout for me is Loaded and Lonely, which features the voice of Tara (aka Mrs Stunning) dropping the line “Whatever!” which oozes with sarcastic sass! It’s essentially a pop-punk version of Billie Eilish’s now-iconic “DUH!”. Because I know Tara and knew her voice, I accidentally spit out my drink laughing when I first heard it. It’s a fun song overall.
Two cover songs also made their way onto this album in the form of the Ginger Wildheart & Courtney Love collab called “Honour” and UK’s “The Subways” banger “Rock n Roll Queen”.
The other big highlight for me is the excellent album closer and title track “Fukk You Rock n Roll, I love you”. The song is pretty much about kids with a dream to make rock and roll an integral part of their lives, doing whatever is necessary to be around it. It’s a tribute to all of the shows thrown together with several bands to share the wealth of an audience, the little venues that dared to welcome punk rock onto their stages for the first time, the vans that took them from city to city breaking down constantly, the fans that showed up and made it all worthwhile and even a little shot at the classic grumpy sound guy character. That’s all neatly packed into this one little song.
This album is a solid offering at 18 tracks over 2 LPs, one of which is a picture disc of a Pepperoni pizza! Just over an hour of total play time, which is best listened to very loud!
This Rock and Roll adventure gets 5 out of 5 on the pizza slice scale. To quote Steven R. from “Night Eater”: “Live fast, Rock Hard and don’t let those bastards grind you down!”
NOTE: 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.
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.
Miracle on 34th Street, The Play – Dec 4-14, 2025 Adapted by Mountain Community Theatre from the novel by Valentine Davies. Based upon the Twentieth Century Fox motion picture Miracle on 34th Street.
“This is a tale that we want to believe in, that creates a world we seem to desperately desire, free of the blatant commercialism that surrounds us, where love and decency and generosity of spirit are their own rewards. What we want Christmas to be all about, really.” So writes the Santa Cruz Sentinel of this most heartwarming holiday story. By chance, Kris Kringle, an old man in a retirement home, gets a job working as Santa for Macy’s. Kris unleashes waves of goodwill with Macy’s customers and the commercial world of New York City by referring parents to other stores to find exactly the toy their child has asked for. Seen as deluded and dangerous by Macy’s vocational counsellor, who plots to have Kris shanghaied to Bellevue Psychiatric Hospital, Kris ends up in a court competency hearing. Especially at stake is one little girl’s belief in Santa. In a dramatic decision, the court confirms Kris as the true Santa, allowing Susan and countless other children to experience the joy of childhood fantasy.
Princess Ave Playhouse, 40 Princess Ave, St. Thomas, ON.
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
Original Kids Theatre Company presents Between the Lines, Jr.
December 5-7.
Between the Lines is an empowering and enchanting story for anyone who has struggled to find their place in the world. An outsider in a new town and a new school, Delilah seeks comfort in the pages of her favourite book, where she feels heard and understood by the handsome Prince Oliver. But as the lines between fantasy and reality begin to blur in extraordinary ways, Delilah realizes her dreams in the real world are worth fighting for.
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
IF YOU GO:
What: London Symphonia presents The Sounds of Home.
When: Saturday, December 6, 2025, at 7:30pm.
Where: Metropolitan United Church, 468 Wellington Street, London, ON.
This weekend, After Midnight is back at The Wortley Roadhouse with special guests Jessica Blum on vocals and Anthony Borek on Bass, Friday night, McKenna Langdon on vocals and Ry Guy from Journeymen on Bass, Saturday night. Hope to see all our favourite people on the dance floor.
FRIDAY DECEMBER 5TH London Music Hall, SummerCamp Productions, Virgin Radio London, and Fresh Radio present SHAWN DESMAN – Back To Life Tour One of Canada’s most iconic pop and R&B voices, Desman has a legacy of Platinum hits, #1 singles, and unforgettable performances. From winning JUNO, MMVA, and SOCAN Awards to shaping a generation of Canadian music, his impact is undeniable. Now, after a massive 2023 comeback and 2024 smash hits like Maniac and Body, he’s ready to light up the stage once again
Christmas In The Village, Saturday, December 6, Wortley Village, London, ON.
Light up the holidays in Victoria Park, starting tonight at 6 p.m. Enjoy live local music, food trucks, and a complimentary 360° photo booth.
@OfficialFarmBoy will also be onsite, offering free hot cider samples and collecting non-perishable food donations in support of the London Food Bank.
Kids, don’t forget to stop by Santa’s Mailbox to send your holiday wish lists to the North Pole.
Special guest John Davidson, founder of Jesse’s Journey, joins us for the ceremonial flip of the switch at approximately 6:55 p.m., illuminating over 100,000 lights and filling the park with holiday magic!
Yes, I know The Beat Magazine publisher has dubbed me a local scribbler about “classical music” – but the London Symphonia concert on Saturday night doesn’t look as though it fits into that niche until you read about the organizer, the soloists, and the choir and orchestra players who will bring that stage alive with an authentic greeting of the season!
Care to glance at The Sounds of Home program?
Snow (from White Christmas) Music and lyrics by Irving Berlin. A Place Called Home (from A Christmas Carol) Music by Alan Menken. Lyrics by Lynn Ahrens. On the Street Where You Live (from My Fair Lady) Music by Frederick Loewe. Lyrics by Alan Jay Lerner. It All Fades Away (from The Bridges of Madison County) Music and lyrics by Jason Robert Brown. I Love the Way (from Something Rotten). Streets of Dublin (from A Man of No Importance), and many more classic selections from the stage and celebration.
“Classical”- I don’t know- but I DO know that this is ART MUSIC with roots in church choirs, jazz clubs, and musical theatre, carried by the colours of a live orchestra. It challenges, delights- and empathizes – and it’s brought to you by magnificent performers with roots in this community.
(Pictured: Alexandra Kane.)
Do you know Alexandra Kane? She’s a Music graduate of Western University, but also holds degrees in Communication from Fanshawe and in DEI from Cornell (I wonder if that program still exists in Trumpland?). She is a music director, singer, activist, TV producer- and you already may have witnessed her incredible work at the Grand Theatre.
If you’ve lived in this area for a while, you know Olivia Sinclair-Brisbane. Born and raised in London, Olivia began her career at the Grand Theatre in Annie at the age of 12. From Original Kids and Amabile Youth Choir to attending H.B. Beal Secondary School and participating in the Grand Theatre’s High School Project, Olivia went on to Sheridan College for Musical Theatre Performance. From there, four seasons at Stratford in Cabaret, Mamma Mia, and Something Rotten.
(Pictured: Olivia Sinclair-Brisbane and Henry Firmston.)
Henry Firmston grew up in London, where he performed in four seasons of the Grand Theatre’s High School Project (2011-2015) and for two years in Beal Musical Theatre. He’s spent the last seven seasons performing at Stratford, in shows like The Music Man, Rocky Horror, Billy Elliot, Little Shop of Horrors, Chicago, Spamalot, Annie, and Dirty Rotten Scoundrels.
(Pictured: Tiffany Deriveau.)
Tiffany Deriveau All right- not a Londoner but a Windsor-born performer of Afro-Haitian and Indo-Guyanese heritage. She has over twenty-five professional credits across stage, film, and television. She’s appeared in productions with Mirvish, Stratford, Soulpepper, Charlottetown Festival, Drayton Entertainment, and the Grand Theatre – and her screen credits are from Disney, Netflix, NBC, and MTV.
(Pictured: Trevor Patt.)
Trevor Patt is another Londoner who has been in professional theatre now for over fifteen years after his start in London with Original Kids, The Grand Theatre High School Project (‘06,’07), and Beal Music Theatre. He then went on to graduate from George Brown College’s ballet program and Sheridan College’s Music Theatre program. His versatility has amazed audiences from coast to coast and during six seasons in Stratford – Spamalot, The Rocky Horror Show, and the North American premiere of Shakespeare in Love.
And there’s a choir too – the London Gospel Collective!
Who are they? Let’s ask them:
We are a diverse, spiritual community uniting through the power of worship and gospel music.
We arrange and perform gospel songs which inspire others through messages of hope and thanksgiving. We sing to worship and connect spiritually with the City of London, particularly its Black communities. The people in the choir and the songs we sing emphasize hope and unity through faith.
Our city’s symphony, some of the brightest performing stars London has nurtured, and a cultural tapestry that will make you even prouder of being a Londoner, will be on stage at the Metropolitan Church on Saturday night. Be part of it!
IF YOU GO:
What: London Symphonia presents The Sounds of Home.
When: Saturday, December 6, 2025, at 7:30pm.
Where: Metropolitan United Church, 468 Wellington Street, London, ON.
(Pictured: Andrew Lewis, one-third of the “The Three Furies” triptych, acrylic on canvas, 37 by 49 inches, 2025.)
Andrew Lewis’s solo show “Notes from the Mindfield” opens Thursday, December 4, 2025, at TAP Centre for Creativity with a reception from 6:00to 9:00pm.
This collection of new work includes over 250 drawings, paintings, sculptures and wearables and explores the artist’s observations and ideas on the complexity of our current era.
It is, he notes, an era sandwiched between the waning of the pandemic and the rise of artificial intelligence.
The show represents a new direction for the artist. Lewis describes the creative process as more “intuitive.” The result is work that he says “reflects a fragmented world where technology, memory, and human experience are deeply intertwined.” Of note is the dichotomy between abstract and biomorphic forms.
(Pictured: Andrew Lewis, “Ms. + Mr. Squarehouse” (Diptych), acrylic on canvas, 36 by 72 inches, 2025.)
Lewis is a busy creative. His personal work exists in addition to his design/branding business and his teaching at Western University. It is an environment in which he thrives.
The artist says, “At the University, I tell students that artists or designers are like truffle pigs in Italy, finding beautiful morsels that nobody else can see.”
His personal truffle-hunting began two years ago when he came down with COVID on New Year’s Day. It affected his physical and mental health. He says, “My creative process became scrambled.”
Since then, Lewis has witnessed the insidious infiltration of AI into daily life and the resulting deterioration of creative and critical thinking. “I see young, fresh minds not having the ability to provide original ideas or thinking due to how they interact with technology,” he says.
(Pictured: Andrew Lewis, “Ultramarine Series No.3”, acrylic on canvas, 36 by 36 inches, 2025.)
His new work is an escape from the aftermath of COVID and from the pervasiveness of AI.
He began with a series of biomorphic drawings and rediscovered the joy of making images and of unplanned work that just flowed. He describes the resulting work as a fascinating outpouring of the subconscious. That’s what you’ll see at “Notes from the Mindfield”
(Pictured: Andrew Lewis, “Pills, Orgies and Chaos,” acrylic on canvas, 48 by 96 inches, 2025.)
“Notes From the Mindfield” continues to January 10, 2026, at TAP Centre for Creativity, 203 Dundas Street, London, ON.
Associated with this exhibition is an Artist Talk on Saturday, December 6, at 3:00 pm and a workshop on Saturday, December 13, from 1:00 to 4:00 pm.
Andrew Lewis is an internationally recognized Canadian artist and designer. His artwork has been commissioned by clients such as the British Columbia Arts Council, Canada Post, the Royal Canadian Mint, Perrier, Scotiabank, the Stratford Festival, Starbucks Coffee, Converse, and VISA.
For more information about Andrew Lewis and his work, visit: andrewlewisart.ca.
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.
The Beat Magazine 2025 