Leave Your Halloween Worries In The Hands of Orlac – A Gothic Experience!

by Richard Young

by Daina Janitis

Admit it. Halloween is not your favourite holiday. But what worries you most about it?

  • That the neighbours in your suburb have decorated their housefronts with draperies, gravestones, witches that move and cackle – while rolling their eyes at your miserable single pumpkin on the porch?
  • That you’ll run out of candy early- and some irrepressible toddler will peer through a crack in your drapes and yell, “They’re in there!!! I can see them!” to the horde following?
  • That your teenage children claim they’re just going out for nostalgic fun- but their goodie bags clink oddly when they return home …  late …

The solution to every Halloween worry has been provided this year by the talent and imagination of Scott Good! Scott is the local genius who dispenses music as the Composer-in-Residence of London Symphonia.

(Pictured: Dr. Scott Good, Composer-in-Residence of London Symphonia.)

I hope you’ve met Scott- and even heard some of his compositions, but he keeps pretty modest about being “a composer, conductor, concert designer and trombonist whose music is driven by the desire to create beauty, evoke emotion, and play with groove. With a belief in the power of art to enable cathartic events, he has worked with a rich community of musicians, orchestras, ensembles, choreographers, actors, and artists to create intense, emotional, live performance experiences.” I Googled that

And his latest stroke of genius? Creating a score for a 1924 silent movie, the classic The Hands of Orlac. The “creepy movie” leaves ample space for the composer to utilize dissonant and esoteric sounds. With soloists Greg Oh and Stacie Dunlop, and strings from the incredible YAPCA school, our composer’s imagination has run wild! Scott has mixed in local and Toronto artists who play accordion, saxophones, trumpet, trombone, and harp – as he calls it, a dream band of over fifty live musicians!

Scott Good invites you to attend The Hands of Orlac – A Gothic Experience in this video clip https://www.facebook.com/share/r/17J1QPqK4h/

And the movie that’s on the screen at The Met? Movie buffs praise it as a psychological tour de force. Paul Orlac, a concert pianist, loses his hands in a dreadful train accident, but a clever surgeon replaces them with the hands of an executed murderer (Oh, how I wish Marty Feldman could have done the fetching.). Director Robert Wiene, after the success of his The Cabinet of Dr. Caligari (1920), created this masterpiece of “body horror” just waiting for London’s composer and musicians to make this silent film scream again.

Watch the Official DVD Trailer for The Hands of Orlac here https://youtu.be/6RwYXaTN_CY?si=9zOeaWaCLqbOWmr0

Underscoring – see, I did a “music” there – the actions are groundbreaking ideas familiar today. Body identity, medical transplant science, expressive and unsettling visuals that prefigure psychological thrillers on Netflix.

So, how could attending this cathartic experience on October 31st be perfect? Why not unleash your own creativity and bring a Goth element to the audience? You may be too old to go trick-or-treating, but why not trick yourself out to make the event totally immersive?

Remember the basic canon of Goth fashion –

  • BLACK is essential.
  • Layer on the textures- lace, leather, velvet
  • Chokers, heavy necklaces, an abundance of bats…yes, bats
  • Chains wherever you can tuck them.
  • Dramatic makeup – eyeliner, dark shadow, bold, deep lipstick
  • Hair that’s dyed or streaked, backcombed from roots to ends.

The Globe and Mail has described Scott Good’s music as having “a kind of majestic bestial reality.” When will you ever get a chance to be part of a really majestic and bestial concert experience like THIS, again?

If You Go:

What: Forest City Film Festival presents The Hands of Orlac – A Gothic Experience

When: Friday, October 31, at 8:30pm

Where: Metropolitan Church, 468 Wellington St, London, ON

Tickets: $35 – $80. https://fcff.ca/hands-of-orlac/?fbclid=IwY2xjawNu0JxleHRuA2FlbQIxMABicmlkETFWVU9ueXVOMXlIMXVUNFE1AR5vhjEdvgdoHLDhGaEb2MThzvf5qZn1nUDnkQZEpWYjhXpE5mq6A3-gkDXWDQ_aem_wFG3mBxB1pzcvLmreHV8tQ#buynow

For more information about London Symphonia, visit https://www.londonsymphonia.ca/

For more information about the Forest City Film Festival, visit https://fcff.ca/

An Informal Chat with Odesa Company’s Scott Smalley during Intermission at Misery, Oct. 25/25

by Richard Young

by Richard Young, Publisher & Content Manager, The Beat Magazine

If you were one of the fortunate people who took time off from watching the Blue Jays World Series games to attend Odesa Company’s all too short four-day run of Misery at the Princess Ave Playhouse in St. Thomas, lucky you. If you didn’t, pity.

Produced by Laura Williams and co-directed by Chris and Scott Smalley, the tautly staged thriller based on the Stephen King novel was a delight and filled with tension from beginning to end.

The story is familiar. Paul Sheldon, a well-known author of a series of highly successful Misery romance novels, wakes up to find himself severely injured and confined to a bed with no recollection of how he got there. He discovers he was badly hurt in a car accident and is now convalescing in the remote home of Annie Wilkes, a former nurse who claims to be his biggest fan. Grateful and flattered at first, Paul gradually realizes that he is being held prisoner by his menacing and increasingly violent caregiver.

To be sure, the Princess Ave Playhouse was the ideal venue for the Odesa Company’s production. Small and intimate, it gave audience members a front-row seat to the action on stage and made them feel that they were in the cramped cabin with the play’s protagonists.

The play’s leads were both outstanding.

(Pictured: Helen Wrack-Adams as Annie. Photo Credit: Ross Davidson)

Helen Wrack-Adams shone as the physically dominating and sadistic Annie who turned on a dime throughout the play. One moment she was affectionate and fawning, the next minute she was taking a mallet to Paul’s ankles. Her increasing menace was definitely felt by the audience who, like Paul, dreaded each time she entered the bedroom.

As Paul, Andrew Dodd spent much of his time on stage in bed or in a wheelchair. He deftly conveyed his character’s gradual realization that he was being held captive by a seriously deranged God-fearing, moral absolutist. The scene in which he cast himself out of bed and crawled across the floor in an attempt to escape was so convincing that members of the audience were wincing in pain, including this writer!

(Pictured: Andrew Dodd as Paul. Photo Credit: Ross Davidson)

Patrick Hoffer, as Buster, the small-town sheriff and Paul’s would-be rescuer, breaks up the tension with his brief appearances on stage. Unfortunately, he ended up being shot by Annie for his efforts.

(Pictured: Patrick Hoffer as Sheriff Buster. Photo Credit: Ross Davidson)

The final physical altercation between Paul and Annie was startingly realistic, thanks no doubt to the contributions of London’s Shrew’d Business.

(Pictured: Annie (Helen Wrack-Adams) and Paul (Andrew Dodd). Photo Credit: Ross Davidson)

*********************

I had the good fortune to buttonhole Scott Smalley during the Intermission for a brief impromptu interview about the play and Odesa Company. Here’s an edited summary of that chat.

Q. How has the play’s run been so far?

The run’s been really good. Sales have been really good. I’m a Blue Jays fan, and I’m really grateful that they’re in the World Series, but we have found ourselves competing with their success. Our matinees have been selling well, and audiences have been really enjoying the production.

Q. Could you have extended the play to a second week?

We could have. It’s one of those things where we look at our sales data. We picked up momentum thanks to good word of mouth. Unfortunately, it’s one of the drawbacks of doing a one-week run. You don’t have as many opportunities to build interest and momentum in your production.

Q. Is there any particular reason why you chose Princess Ave Playhouse as the venue for Misery?

It’s well-suited for this show. A more intimate space is really helpful for the type of story we’re telling, especially in the second act when things get a little bit crazier on stage. After we did The Elephant Man here, it became very obvious that St. Thomas audiences are interested in great theatre, and they’ve been very supportive of our efforts. We’ve had people come from London who said they didn’t know this place even existed, so that’s pretty cool.

Q. Any comments you would like to make about your Cast?

They’re wonderful! When it came to auditions, we had a lot of options. They were all excellent, and they all brought different things to the roles, but the chemistry that we’ve developed during the rehearsal process was really amazing, and the on-stage product reflects that. I’d like to point out that our Techs have been just as much of the play’s process and success

Q. One final question. What’s up next for Odesa Company?

We were going to do StageQuest next, but we’ve bumped it to next year. We’ve got a few irons in the fire, and we’ve had folks who have pitched various shows. We’re kinda navigating those things, and we look forward to having a very full 2026 season.

For more information about Odesa Company, visit https://odesa.company/

Follow Odesa Company on Facebook https://www.facebook.com/odesa.company

Follow Odesa Company on Instagram https://www.instagram.com/odesa.company/

CD Review: Brent Jones – The Truth Window

by Richard Young

Reviewed by The Beat Magazine’s Ian Gifford

When I agreed to start doing reviews for The Beat Magazine, I knew that I wanted to review some new up-and-coming bands’ records in the future, but I also knew that some had been out for a while, and that I felt needed more attention. So, in the future, you can expect a mixed bag. All of the reviews will be local within a certain catchment, which basically means bands that you can expect to see live in London regularly.

As a musician and sound guy, most of these people are friends and colleagues of mine, so there will be some bias, but I am here to promote and not to tear down. When I wrote for ID magazine (Guelph) in the 1990s, I admit, I could be a scathing critic, but that is no longer part of my voice as a writer. My job is to make you aware of local music you may not have heard about yet and give you a reason to discover it for yourself. If you want to criticize after that, well, you’re on your own. The following review is for someone I consider a dear friend, if not a “brother from another mother”, Brent Jones, and his latest album, The Truth Window.

(Pictured: Brent Jones. Photo Credit Belinda J. Clements Photography)

Brent Jones is well-known in the London area as a singer-songwriter, session musician (piano), engineer, and producer. In recent years, he has transformed his family’s old barn into a unique multi-purpose venue that he shares with the community at large. Over this past year, he has been releasing and promoting his newest project, which has been touted as part 2 in an eventual trilogy of releases.

A conceptual six-song piece with a total run time of 36 minutes, The Truth Window contains themes of war, revolution, death, destruction, rebuilding, healing, and ultimately, the value of love. The recurring mentions of soldiers and battles are likely metaphorical references to the cycle of life itself, which would seem natural to the author, who spends a large part of his time on the family farm.

The lyrics throughout the album are cleverly disguised references to life experience and personal growth, throughout the good and bad times in our lives, as well as the idea that we never go through these “battles” truly alone. From the first song, “Turbulent Flow” which may describe family that grows and falls together through the seasons of our existence, to the very last strains that ask, “What if loving was the key to our survival?”, The Truth Window feels like the original revelation, down to the final resolution of a personal epiphany for the artist in question.

There are lines all over this record that read like ancient quotes from the greatest philosophers and theologians alike, for example, “The space of history will turn the lens a shade of rose” or “Don’t you know that the smell of victory is sweeter with a bloody nose?” both from “Good Soldier”. I have to wonder also if the title “Alms of Harvest” may be tied to the scriptures of Leviticus 19:9-10, which commands the leaving of the edges of your farmers’ fields to the poor and the travelers of the world and neighbouring communities (described in the texts as aliens or foreigners).

***

9 When you reap the harvest of your land, do not reap to the very edges of your field or gather the gleanings of your harvest. 10 Do not go over your vineyard a second time or pick up the grapes that have fallen. Leave them for the poor and the foreigner. I am the Lord your God.

***

The Truth Window almost feels, at times, like an autobiography for Brent. Here’s a man who has the privilege of watching the cycle of life on an annual, if not daily, basis. The song “October Surprise” feels like the most personal statement on the album when it says, “You better make it count, boy!”, as if Brent is reflecting on the gifts he’s been given and how he can give back to the universe. Just how has he given back? Well, he created Quiet Earth, which is the venue on the farm that hosts concerts and weddings, plus a wide variety of other community-minded events that give, in the songs’ refrain, “Voices to the voiceless, choices to the choiceless, [and] noises to the noiseless.”

Check out this clip about the new Rogers TV Live from Quiet Earth Series. https://www.facebook.com/share/v/17k9G6Sfyp/

We live at war with time, and it is not always about how we approach the battles as much as who we approach them with. I personally have a unique perspective on this, having been a past band member with Brent (Pete Denomme and the Cosmic Cowboys), as well as having been involved with production for shows at Quiet Earth. I’ve discovered that every single show always begins and ends with the same thing. Love.

By that I mean love of self, love of friends, love of family, love of music, love of life, but ultimately the love of community. The Truth Window encourages us to not just look out our windows at the world by itself, but also to see our own reflection as it blends in with the images we see in the passing seasons. It encourages us to not look at the barren fields in winter with a sense of mourning but with love.

The album was recorded partly in the UK at Peter Gabriel’s Real World Studios, which inspires awe and envy in most musicians I’ve ever told that to, as well as being recorded here in Canada at Brent’s home studio in Dorchester, Ontario. It was mixed and mastered by the award-winning engineer/producer Stuart Bruce (Loreena McKennitt and more) and features vocals by his life partner and collaborator, Jennifer Crook. Another notable contributor is popular Canadian singer/songwriter Emm Gryner, as well as a diverse cast of musicians from the London, Ontario area.

While this music has been publicly available for almost a year to the day of this writing, the actual vinyl LP was released this past summer (June 29th, 2025) with a theatrical and musical performance at Quiet Earth, directed by London’s John Pacheco with a four-person crew of regional actors.

Now this is where the bias comes in, I FREAKIN’ LOVE this album! From the moment Brent put the CD in my hands, I knew so much about the process to that point that I was convinced it would be a masterpiece, and in my mind, it is nothing short of that. It is never overbearing in its messaging or arrangements and production. There is enough air between the words and notes that allow you to experience your own emotions and never force feeds you on how to feel. When its last notes ring out, all I can feel is that which can never be overstated, an overwhelming sense of love.

Rating: 5 out of 5 Stars. Be sure to listen to it as a full album for full appreciation. It is a complete piece of art! Recommended if you like progressive pop like Peter Gabriel, Elbow, Tears for Fears, Kate Bush, and more.

Purchase The Truth Window here: https://quietearthca.bandcamp.com/album/the-truth-window

For more information about Quiet Earth, visit https://quietearth.ca/

Follow Brent Jones on Facebook https://www.facebook.com/thebrentjones

Reviewed by Ian Gifford.

Artist Profile: Cora Linden – Mixing it Up.

by Richard Young

by The Beat Magazine’s Beth Stewart

(Pictured: Cora Linden, Over the Hedge, Collaged paper on wood panel, 12″h x 12″w x 1″d. Courtesy of the artist.)

Cora Linden is a mixed media artist and a long-time fixture in the London art scene. She is known for her unique two and three-dimensional assemblages into which she incorporates repurposed materials, specialty papers, and distinctive textural elements.

Linden’s work is driven by a few core principles. First, anything can be transformed into an art supply. Perhaps the weirdest thing she’s repurposed is a cracked beaver skull. She believes creativity thrives in resourcefulness. This is evident in her one-of-a-kind pieces. Linden rejects the idea that people should settle for mass-produced décor and believes that art should be accessible to all. She seeks diverse audiences and places. This is why Linden’s work can be found at craft markets and at conventions in addition to traditional galleries.

(Cora Linden, Breaking Through, PVC with collaged paper & thread, 26″h X 16″w x 6″d. Courtesy of the artist.)

At this time, Linden continues to work on her Human Evolution series. The first piece, titled Breaking Through, with its bold vertical stripes and collaged excerpts from a vintage medical reference book, was exhibited at the Pride London Art Show 2025. In the text, a male doctor explains three types of women. Linden says, “The ideas are incredibly outdated now.” The piece illustrates how one’s true nature inevitably overtakes the path prescribed by so-called experts. Linden promises there will be more pieces in this series in 2026.

(Pictured: Cora Linden, Horn Solo, horn with faux florals in wooden frame, 15″h x10″w x 2.25″d. Courtesy of the artist.)

To experience more of Cora Linden’s work, visit Altered Arte & Handicrafts (AAH!) pages on Instagram https://www.instagram.com/alteredartehandicrafts or Facebook https://www.facebook.com/AlteredArteandHandicrafts

By Beth Stewart

Web: https://bethstewart.ca/

Facebook: https://www.facebook.com/profile.php?id=100009620916363

The Rocky Horror Show: A Wild, Fearless, and Fabulous Ride.

by Richard Young

Reviewed by The Beat Magazine’s Jo-Anne Bishop.

(Pictured: Shaidon Woods in full costume and makeup as Dr. Frank-N-Furter, and other cast members in The Rocky Horror Show. Photo Credit: Ross Davidson)

The Infuse Productions/Palace Theatre co-production of The Rocky Horror Show is a bold, electrifying spectacle that bursts with energy, confidence, and campy fun from start to finish. Under the inspired direction of Mel Stewart (in her directorial debut, no less) the show hits every outrageous note with style and precision. Stewart’s leadership brings cohesion to the chaos, celebrating the spirit of the cult classic while adding a fresh, local flair that absolutely dazzles.

The choreography throughout is nothing short of outstanding. Crisp, creative, and packed with personality. Every movement feels deliberate and dynamic, perfectly suited to the show’s eccentric energy.

David Long’s minimalist set design is both practical and imaginative. Built to accommodate a live band on stage, it provides the perfect backdrop without ever detracting from the vibrant costumes or the incredible performances that command the audience’s attention.

(Pictured: Betamaxx)

The live band, Betamaxx, deserves special mention. Their tight, polished sound drives the entire show with precision and power. Every cue lands perfectly, every riff energizes the room. Positioned on stage, they manage to be a visible part of the world without ever intruding on the action, which is a testament to both their musicianship and the thoughtful staging.

(Pictured: The Rocky Horror Show Cast Members. Photo Credit: Ross Davidson)

Casting for this production is simply spot-on. Each performer seems born for their role. Shaidon Woods (Frank N. Furter) and Brendon Ainscow (Rocky) lead spectacularly, heating up the theatre with their charisma and—let’s call a spade a spade—incredibly toned physiques.

(Pictured: Jared Brown as Brad and McKenna Langdon as Janet. Photo Credit: Ross Davidson)

Jared Brown (Brad), McKenna Langdon (Janet), Sarah Dennison (Columbia), Aidan Coutts (Riff Raff), and Jenn Marino (Magenta) all deliver outstanding performances, with vocal talent well above typical community theatre calibre. Their voices soar. Sometimes sultry, sometimes raw, always captivating. And of course, the chorus rounds out the cast wonderfully, never missing a beat.

(Pictured: Jenn Marino as Magenta. Photo Credit: Ross Davidson)

Part of what makes The Rocky Horror Show such an unforgettable experience is its infamous audience participation. At the Palace, this tradition is embraced wholeheartedly. It’s wild, raucous, and loud—perhaps too loud for some tastes—but it’s an essential part of the cult phenomenon. As one audience member aptly shouted, “It’s just a jump to the left!” Indeed, the crowd is as much a part of the show as the cast.

At times, Jeff Werkmeister’s performance as the Narrator was momentarily drowned out by the audience’s enthusiasm, but he handled it with wit and ease, working the crowd masterfully and keeping the energy high. His effortless breaking of the fourth wall mirrored Frank N. Furter’s gleeful command of the same device, pulling the audience ever deeper into the madness.

(Pictured: Jeff Werkmeister as The Narrator. Photo Credit: Ross Davidson)

The bravery of the cast cannot go unmentioned. This is a show that demands vulnerability, often performed in little more than underwear, yet the actors deliver with total confidence. Their comfort and commitment make their performances all the more believable, powerful, and liberating to watch.

Overall, The Rocky Horror Show at the Palace Theatre is a fantastic, fearless production that’s both outrageous and artful. It’s community theatre at its most daring, bursting with talent, energy, and unapologetic fun. Whether you’re a longtime “Rocky” fan or a first-timer, you’re in for a wild ride. And a word of advice, if you’re a newcomer: wear pearls—you may need to clutch them.

If You Go:

What: The Rocky Horror Show
Where: Palace Theatre Arts Commons, 710 Dundas St, London, Ontario
When: Thursday, October 30 – 7:30 pm, Friday, October 31 – 7:30 pm, Saturday, November 1 – 2:00 pm and 7:30 pm, Sunday, November 2 – 2:00 pm
Tickets: Palace Theatre Arts Commons | London ON Community Theatre
Adults: $38 – Deluxe ticket with party supplies – $43
Students/Seniors (55+): $36 – Deluxe ticket with party supplies – $41
Youth (under 18): $23 – Deluxe ticket with party supplies – $28

For more information about Infuse Productions, visit https://www.infuseldn.ca/infuse-productions

For more information about the Palace Theatre, visit https://palacetheatre.ca/

Reviewed by Jo-Anne Bishop.

Weekend Roundup of Arts Events in the London Area, October 24-26.

by Richard Young

Compiled by Richard Young, Publisher & Content Manager, The Beat Magazine 2025

This is the first in a series of weekly features highlighting selected arts and culture events in the London area. What better way to begin than with International Artists Day, celebrated annually on October 25th!

Continuing Art Exhibitions in the London Area

There is a lot of great art being exhibited in London area galleries. Let’s take a look at some of it.

The Simple Reflections Art Exhibition continues at TAP Centre for Creativity until November 1, while over at Westland Gallery, The Root of Wisdom featuring works by Clara Kim and Christopher Cape closes Saturday, October 25. Maritime Minute, featuring works by West Coast artist Les Ramsay, continues to October 30 at Forest City Gallery,

The Vice-President’s Day Quilts Throughout the Years exhibition runs to November 1 at the Ingersoll Creative Arts Centre, while works by Lyn Carter and Aiden Urquhart are on display at the Woodstock Art Gallery. At Museum London, the new permanent collection exhibition All Around Me, All Around You still features Canadian artworks and historical artifacts from the museum’s collection.

The Benz Gallery’s “Scared Stiff” Halloween Exhibition continues during our regular hours until October 31st. Stop by to collect or just get into the spirit! 👻

https://www.thebenzgallery.com/current-exhibition

The Gallery Painting Group’s Art Show and Sale opens tonight at 5 p.m. and continues to Sunday at 3 p.m. at First-St, Andrew’s United Church, 350 Queens Ave. in London.

(“Bridge Robin”, coloured pencil on Museum Board, 12 by 12 inches by Beth Stewart)

You can find Beth Stewart’s reviews of some of these exhibitions elsewhere on The Beat Magazine 2025 website.

You Want Theatre? We’ve Got Theatre!

If you are craving some live local theatre, there is lots to choose from this weekend.

The hilarious The Play That Goes Wrong continues at the Grand Theatre until November 2, while sold-out performances of Infuse Productions’ The Rocky Horror Show continue at the Palace Theatre on October 25 and October 26. The show continues until November 2.

AlvegoRoot Theatre’s production of Sleigh Without Bells: A Donnelly’s Story has two additional matinee performances, scheduled for October 25 at 2:00 PM and October 26 at 2:00 PM at The Manor Park Memorial Hall in London.

Over at the Princess Ave Theatre in St. Thomas, Odesa Company presents Stephen King’s Misery on October 25th and 26th, while the St. Marys Community Players present Norm Foster’s hilarious Hilda’s Yard until November 2.

You can check out Jo-Anne Bishop’s theatre Reviews elsewhere on The Beat Magazine 2025 website.

The Forest City Film Festival Celebrates Its 10th Anniversary

The Forest City Film Festival returns for its tenth year, hosting nine days of screenings and events at multiple venues in Downtown London. London creative, Donald D’Haene’s documentary, Interpreting Erik, is one of the award-winning films being screened.

The FCFF continues until November 2. For a full schedule, visit https://fcff.ca/schedule/

Music To Soothe The Soul

The London Community Orchestra presents From Salzburg to Paris on Sunday, October 26, 3:00 pm. at Dundas Street Centre United Church, 482 Dundas St., London, ON.

Featuring soloist Joshua Lee, performing Mozart’s Violin Concerto No. 4 in D Major, K218, composed by Mozart in his hometown of Salzburg in 1775.

The program also includes:
🎶 Debussy – Second Arabesque
🎶 Ravel – Le tombeau de Couperin

Experience the journey from Mozart’s classical elegance to Debussy and Ravel’s Parisian impressionism, a celebration of musical evolution from structure to atmosphere.

Tickets: Adults – $25
Seniors – $20
Students – $15
Children 12 and under – $5

Available at the door and online @ https://www.lco-on.ca/eng/

Encore The Concert Band holds it 2025 season opener, Forward Momentum, on Sunday, October 26 at Sir Frederick Banting Secondary School.

London’s Eastside Bar & Grill hosts Farewell Stanleys release of their brand new, fifth album Mystery To Me, produced by Moe Berg (of The Pursuit of Happiness & The TransCanada Highwaymen), with special guests Brother Leeds, on Saturday, October 25th. Showtime at 8:30pm, 10$ at the door. Copies of Mystery To Me will officially be on sale at this event, available on vinyl & CD. https://linktr.ee/FarewellStanleys

The Gavin Adcock Need To Tour concert takes place Saturday, October 25th, at the London Music Hall.

Visit https://londonmusichall.com/

Over at the Palasad Socialbowl, 63’ MONROE is back to tear the roof off. Loud, raw, and unapologetic—London’s punk pioneers bring decades of sweat, snarls, and speed to the stage. They’re rolling in with the razor-sharp riffs of Limited of Approach and the outlaw rock’n’roll chaos of Jesse James Medicine Show. Expect snarling guitars, thundering rhythm, and a night of pure, high-voltage punk energy.

Licensed – All Ages – $5 Door.

That’s it for this weekend. If your venue has an event you would like featured next weekend, send the details to Richard Young, Publisher & Content Manager of The Beat Magazine at richardyoung@thebeatmagazine2025.ca

Interpreting Erik: Donald D’Haene’s love letter to his late brother.

by Richard Young

By J. Bruce Parker

Well-known London creative, Donald D’Haene, is riding the crest of a wave.

His documentary, Interpreting Erik, being screened at this year’s Forest City Film Festival, is getting noticed; everywhere. It has garnered just under three hundred awards and accolades worldwide. But like all waves, there is a trough, which is the content of the documentary. Interpreting Erik follows the tragic life of Donald’s brother, who died on the streets of Vancouver in 2020. Erik, like Donald, brother Ronny, and sister Marina, was sexually abused by their father, not just once but repeatedly.

The documentary is not just Erik’s story, but the story of Donald and his two siblings’ survival throughout this ordeal. For Donald, it was through therapy, outlined in his two books Father’s Touch and Nobody Wants To Read You Are Happy. For Ronny, it was photography, and he became an award-winning nature photographer. When the family unit broke up, Marina found solace, guidance, and hope in various group homes in London. The D’Haene children survived and grew beyond the horrible abuse of their past, but not Erik.

(Pictured: The D’Haene siblings, Marina, Donald, and Ronny.)

Donald’s documentary explores Erik’s life through his art, his diaries, and his letters. Erik is portrayed by actors Tyler Lionel Parr and Tyrone Traher, reading Erik’s words and characterizing his image on the street. At the film’s end, there is a sense of understanding his struggle.

“You see, we have no videos of our brother, but I found over one thousand letters, some with prose or poems, and over one hundred art pieces and drawings. I never knew I had them. I took care of my mom until she passed, and we had our own ‘Grey Gardens’ (a 1975 film) going,” says Donald. “Thank goodness I never listened to anyone as I never de-hoarded. While I was writing my memoir, I picked up what I thought was a date book my mother kept in an old box. Lo and behold it was a diary and there were more than twenty of them. I never knew she kept a diary.”

“Then I went through scores of bags and found Erik’s letters and art. Erik’s life had meaning; he had incredible talent. More importantly, he had hopes and dreams like any other displaced member of our society. He could never escape the past, although he tried with drugs and other forms of self-abuse. My guilt was suffocating me. My depression consumed me until I decided to tell Erik’s story, first through my book and then through sharing his works and art. I have been reborn telling my Erik’s story. I feel I’m alive again, but I have to be, for him”.

Erik’s life and death on the streets of Vancouver echoes the plight of all marginalized people who end up without a home and little hope. Erik becomes the ‘everyman’ on the street, but he has a name, and he had a life. 

“He was not nothing, he was everything,” as Donald reminds us.

Erik stated, “I need an interpreter in my own skin”. Brother Donald has been successfully able to do that.

Interpreting Erik will be shown at the Forest City Film Festival at Wolf Performance Hall, October 26th at 12:00 p.m. and November 2nd at 2:30 p.m.

For more information about the Forest City Film Festival, visit https://fcff.ca/

Written by The Beat Magazine’s J. Bruce Parker

Meet Jordyn Elliott, a Nashville Artist Manager with Roots in Southwestern Ontario

by Richard Young

by Richard Young, Publisher & Content Manager, The Beat Magazine 2025

What follows is a Beat Magazine Q&A Interview with Nashville Artist Manager, Jordyn Elliott, who got her start in the music business in the London area.

(Pictured: Jordyn Elliott. Photo Credit: Jeanette Dowler.)

Q. For the benefit of readers who may not know, what is an Artist Manager? What do you do for the artists you represent?

An Artist Manager looks after all aspects of a musician’s career including but not limited to signing them to record deals, publishing deals, coordinating with team members like booking agents, business managers, record labels and negotiating contracts for shows and any live appearances. As well managers are the liaison for all correspondence with the artist and over sees all budgets and music releases.

Q. I understand you are originally from the London area. Can you tell me a little bit about your upbringing in Southwestern Ontario?

I was born in Clinton, Ontario, and at the age of four years old, I moved to Mount Brydges. My family owns the funeral home in the small town. I attended public school there and went on to high school in London at St. Thomas Aquinas and then on to Fanshawe College. I graduated from college in a two-year program for Event Management and jumped right into the workforce. I had my first real job when I was eighteen, selling merch for a local band in London.

Q. What motivated you to get involved with the music industry while you were still in London? I think you told me you worked for Brad Jones and Rock The Park. Can you tell me about that?

I come from a very musical family. My grandma was a music teacher for years, and my mom sang along with my aunts and uncles. I always loved music, and I actually sang until the age of sixteen, but experienced anxiety and stage fright, so I decided it was not for me. I did work for Brad! He was a great manager/boss. I helped on the day-to-day activities in his office at Centennial Hall and his yearly festival, Rock The Park. The year I was present, Alice Cooper, Peter Frampton, and Heart played. Such a cool experience. It was that job that I really got excited about management, watching Brad and how successful his company was.

Q. What drew you to the role of Artist Manager? Any mentors, other than Brad Jones?

I have had a solid mentor since the age of twenty-one. I met this rock producer Brian Howes (Skillet, Hinder, Daughtry, and Nickelback) and he kind of took me under his wing. I still collaborate with him on projects to this day. I actually share in three gold plaques for artists we have worked on together. I think artist management is a calling. It wasn’t something I could just learn, it was a feeling, and I really love the development portion of an artist’s career and watching them grow and be successful.

Q. Can you describe a typical day in your life as an Artist Manager?

I usually start my day with answering emails from promoters, agents and label representatives. Usually, I have weekly calls with all team members to strategize for the upcoming week. I attend content shoots for social media, coordinate budgets and approve all assets for releases. I usually have little time to eat ha! I end my day around 7:00 or 8:00 pm unless I have a show then I attend to represent the artist.

Q. What brought about your relocation to Nashville, Tennessee? How long have you worked out of Nashville?

The country music scene was really appealing to me when I met artist Canadian country pop singer and songwriter, Eric Ethridge. I managed him for years, and he was rapidly growing, and we would make trips often to Nashville. Nashville is such a community city, and I was told there are thousands of hit songs written here daily. I was having some really great success with Eric and Sirius XM The Highway. I also signed Eric to his record/publishing deal in Nashville. I have been here since 2020.

(Pictured: Eric Ethridge, cover of California.)

Q. Can you identify some of the acts and artists you have represented since moving to the US? Do you represent any specific genre of music? Do you represent any Canadian acts?

Currently, I manage country artist Shaylen, who is signed to Big Machine/ Nashville Harbor. I also manage British pop artist Karl Michael, who is signed to Peer Music here in Nashville. I have mainly been a manager in the Pop and Country genres. I am developing a country artist from Canada, Sean Michael Ryan.

(Pictured: Karl Michael. Photo Credit Sean Hagwell. ) 

Q. Could you give me some highlights of your career to date? Can you share a success story or major milestone you helped an artist achieve?

I have been fortunate to have some really cool wins with some great artists like Eric Ethridge. I have two gold singles with If You Met Me First, California, and Eleven Past One. I have a gold single for their song The World is Ours. I was also a part of getting Shaylen her Opry debut in October 2024. So special.

(Pictured: Shaylen. Photo Credit: Sean Hagwell. ) 

Q. Artist Managers and Promo representatives sometimes get a bad rap in the music industry. How do you respond to this?

That is unfortunate to hear. I consistently deliver high-quality work for artists, demonstrating my loyalty and dependability in every collaboration.  I really build my relationships in the industry on trust, and I never make promises I can’t keep. There will always be bad eggs in any type of business, but I really want to be known as fair and competent, and I appreciate anyone willing to give me the opportunity to work with them.

Q. What are the biggest, most fundamental challenges or opportunities for emerging artists in the music industry right now?

Social Media! Artists have to constantly be relevant on there. They have to post at least two to three times a week to keep up with their audiences. I also feel like a lot of newer artists have to fund a lot of the marketing assets and productions, and it can be very costly to compete with artists on a label level. A lot of artists work a side job or hustle to make ends meet while they are doing music.

Q. Is there anything else you think our readers should know about Jordyn Elliott, the Artist Manager, and Jordyn Elliott the person?

I want to tell anyone out there who wants to try their hand at management that consistency and networking are the keys to building those contacts. Hands-on experience is the best way to learn! I love my job, and I couldn’t think of anything else in the world I would want to spend my time doing. You have to love it and be passionate because it’s a long road, but the payoffs are worth it!

Q. Do you have any plans to visit Canada at some point in the near future?

Yes! I will actually be back next week to visit family for a few days and again at Christmas.

Follow Jordyn on Instagram https://www.instagram.com/hjordynelliott/

Meet The Beat Magazine 2025 Writer: J. Bruce Parker

by Richard Young

J. Bruce Parker is a retired oncology nurse. As an avid cyclist, he crossed the country by bicycle in 1991 and still explores Ontario’s north via canoe trips. He has published a short story based on his camping experiences.

For over 20 years, as a citizen scientist, he was involved with Monarch Watch, an organization that monitors the annual migration of the Monarch butterfly. He has written about this species and other articles on nature for The Cardinal, Nature London’s quarterly magazine.

For more information about Nature London and The Cardinal, visit https://www.naturelondon.com/the-cardinal/

He is documenting his ongoing friendship with Canadian poet bill bissett, which he hopes to eventually publish. 

Bruce has been writing articles for Villager Publications since 2022. To read samples of Bruce’s writing, visit https://www.villagerpublications.com/

Review – Hilda’s Yard Delivers Heart and Humour

by Richard Young

Reviewed by Jo-Anne Bishop

The St. Marys Community Players’ production of Hilda’s Yard by Norm Foster is a warm, funny, and heartfelt slice of mid-century life that charms from start to finish. Before the play even begins, we see Hilda sitting in her yard with a glass of lemonade on the table, listening to music, tidying up and getting ready to go about her day – and the audience is immediately captivated by her presence.

Set in 1956, the story follows Hilda and Sam Fluck as they finally settle into their long-awaited empty nest, only to find it suddenly full again when their grown children return home, each with problems of their own.

The set is simple yet beautifully realized. From the moment the stage lights rise, the impeccable set design transports the audience straight into the Flucks’ backyard, complete with period-perfect details that make the story feel authentic and lived-in. There is so much attention to detail, from the lawn furniture to the clothesline, grass, and fence, that it creates a space that feels both nostalgic and intimate, allowing the audience to step right into Hilda’s world.

(Pictured: Cast of Hilda’s Yard. Photo credit: Jayne Fuller Photography)

The ensemble cast is truly outstanding. Edie Pedersen (Hilda) and Don Van Galen (Sam) convincingly portray the elder Flucks, a couple ready to while away their quiet hours in front of their new “major purchase” — a 21-inch, state-of-the-art television set. With their children out of the house, they finally believe they can afford a little luxury, and Sam is thrilled at the prospect of a reduced grocery bill (the costs of which he tends to fuss about) — at least until the children come home.

Their son, Gary (Matthew Schell), and daughter, Janey (Alex Pedersen), return, much to their parents’ dismay, each bringing chaos and comedy to the Fluck household. Gary is followed by Bobbi (Sarah Nixon), a hepcat trombone player who’s caught his eye, and Beverly (Derek Roberts), an articulate and surprisingly charming bookie determined to collect on Gary’s unpaid bets. Both Nixon and Roberts deliver outstanding supporting performances, leaving the audience in stitches throughout.

Each performer brings warmth, wit, and depth to their role, perfectly capturing Norm Foster’s trademark blend of humour and humanity. The chemistry among the actors keeps the energy vibrant, and their timing, both comedic and emotional, is impeccable. Costumes and props are spot-on for the era, further enhancing the show’s charm and realism. Every detail, from the 1950s wardrobe to the small domestic touches, contributes to the play’s delightful sense of time and place.

Norm Foster’s dialogue flows naturally, and Hilda’s Yard may well be one of his finest examples of relatable humour and heartfelt storytelling. The pacing is smooth and the transitions seamless, with just enough surprises along the way to keep audiences engaged. Conflicts are resolved in satisfying and believable ways, and the direction by Costin Manu makes excellent use of every inch of the stage. The result is a beautifully blocked, perfectly balanced production.

Hilda’s Yard is an evening of laughter, nostalgia, and heart, beautifully realized by a talented cast and creative team whose passion shines through in every moment. It’s a production that reminds us why community theatre matters and why Norm Foster’s plays continue to resonate with audiences across Canada. Don’t miss this funny and touching show that’s sure to leave you smiling.

If You Go:

What: Hilda’s Yard, presented by the St. Marys Community Players
Where: St. Marys Town Hall, 175 Queen St. East, St. Marys, Ontario
When: October 16 – November 2, 2025
Tickets: $20, available at Home | St. Marys Community Players or in person at Troyer’s Spices, 110 Queen St. E., St. Marys.

Reviewed by The Beat Magazine’s Jo-Anne Bishop