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 Exhibitionsin 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!
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 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 – $5
Encore The Concert Band holds it 2025 season opener, Forward Momentum, on Sunday, October 26 at Sir Frederick Banting Secondary School.
London’s Eastside Bar & Grill hosts Farewell Stanleys release of their brand new, fifth album Mystery To Me, produced by Moe Berg (of The Pursuit of Happiness & The TransCanada Highwaymen), with special guests Brother Leeds, on Saturday, October 25th. Showtime at 8:30pm, 10$ 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.
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
This is the twenty-first in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile Shrew’d Business.
Q. When was your company founded? By whom and why?
We founded Shrew’d Business in 1998. Brian “Brock” Brockenshire and I were the Artistic Directors of the original Renaissance Festival in Ontario. That year, we were thinking of ways that we could use our skills outside of our regular theatre commitments and possibly develop some workshops/performances. We edited down Taming of the Shrew to be only Kate and Petruchio, and we performed that at the Renaissance Festival each weekend. We also performed it at the Parent Festival in Maryland later that summer. From that, we took the name to become Shrew’d Business.
(Pictured: Ceris Thomas, co-founder of Shrew’d Business.)
Q. Is your company best described as professional or not-for-profit community theatre? Or both?
We can fit in either category. We do a large amount of work in the community theatre scene and in high school in and around London, but since Brock is an Equity member, he has also done work with professional companies. Specifically, he has done nineteen shows for the Lighthouse Festival. Usually, one a season, depending upon pandemic influences, and it is due to them that we have a naval cannon in our home that we can fire for the trick-or-treaters on Hallowe’en.
Q. What venue(s) do you use to stage your productions?
We have staged two Fringe productions, The Fantasticks and [They Fight!]. These were both in the Spriet Theatre in the Covent Market Building. We also staged The Seafarer at TAP in 2016. We plan to remount that show in 2026.
(Pictured: Brian “Brock” Brockenshire, co-founder of Shrew’d Business.)
Q. Does your company have a Mission or Statement of Purpose?
We provide quality training for violence on stage. We do more than just violence of course, but that is our main focus. We have been instrumental in several exciting productions for Londo Community Players, Original Kids Theatre Company and Musical Theatre Productions, as well as multiple productions in high schools, and smaller community groups. We rent equipment and have accessed specialty items for specific shows. We are licensed pyrotechnicians, so we have helped shows like You Can’t Take it With You to blow up things on stage.
Q. Does your company have a Board of Directors and paid Staff?
We only have four company members, so we do not require a Board. Our members are paid for many productions, as violence is not something you should leave to the untrained. Depending upon the budget of the show, we can usually come up with a reasonable fee. It is more important to us that a show be safe than incredibly lucrative.
Q. Tell me about your 2025-2026 Season. Does it have any underlying theme?
We don’t have any specific productions for our company this year, but we are helping with Deathtrap, Urinetown, Misery, and The Three Musketeers for other companies.
(Pictured: Apprentice Fight Director Kerry Hishon.)
Q. Do you have any thoughts about the London area theatre community and your part in it?
We moved to London from Toronto in 2005. The intention was for Shrew’d Business to be able to help a variety of productions and members of shows grow in their experience and training for dangerous stage movement. Even in professional theatre we have witnessed real slaps on stage, and this should never happen. The safety of performers and the comfort of the whole team and audience are paramount in our work.
Since I have a love of puppets, we have also been charged with building some interesting creations that have been used on a bunch of stages in and around London. Helping a show be the best possible version is always our goal. There are very few cases where we have said “no” to a team. This has only happened when the timeline was too short, the expectations were too high, or the team was deluded about their thoughts for their show. We’d always prefer to be helpful, but there just are sometimes when you know you can’t have your name associated with something, and safety is that line in the sand.
We’ve been working in London theatre for twenty years and many more years before that elsewhere. At some point, we will need to slow down and eventually stop because staging this specialized kind of work is very draining and becomes physically impossible as the body ages. Hopefully, when that time comes, London companies will realize that they will have to either choose shows without violence or hire them elsewhere to keep their productions safe.
This is the eighteenth in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile Scooter Productions.
Q. When was your company founded? By whom and why?
Scooter Productions was founded in 2017. The founding members are Phil Cal, Heather Rivet, Brian Speagle, and Sherine Thomas-Holder. We got together to produce serious drama with current social themes. Our first production, Penguin Blues, tackled addiction and isolation.
Q. Is your company best described as professional or not-for-profit community theatre?
We are a non-profit community theatre group.
Q. What venue(s) do you use to stage your productions?
Our last two productions have been staged at Manor Park Memorial Hall.
Q. Does your company have a Mission or Statement of Purpose?
“Scooter Productions strives to produce quality live theatre and to promote all of the arts in the Greater London Area.”
(Pictured: Brian Speagle, co-founder of Scooter Productions.)
Q. Does your company have a Board of Directors and paid Staff?
There is no board of directors or paid staff.
Q. Tell me about your 2025-2026 Season. Does it have any underlying theme?
At the moment, our 2025-26 season consists of one production, Memoir, by John Murrell. Our next show is TBD.
Q. What show(s) will you be staging this fall (September to December)? Tell me a little bit about each.
Memoirwill run from November 19th to 23rd.
Plot summary: It is the summer of 1922; Sarah Bernhardt’s last at her beloved island estate off the coast of Brittany. With her erstwhile secretary, butler, and general dogsbody Georges Pitou, she attempts to write volume two of her memoir. Sarah enters a world of memories, spanning her entire life and theatre career. Many of her reminiscences are of her many accomplishments, but there are also memories of pain and trauma. However, she is The Divine Sarah, and she triumphantly rises above them and overcomes! John Murrell has created a moving and complex script that has touched theatregoers around the world.
Q. Do you have any thoughts about the London area theatre community and your part in it?
It is my belief that community theatre groups in London need to collaborate and support one another to grow an audience that will appreciate theatre and all the arts in London. In practical terms, we should be attending each other’s shows and helping to promote them. We are all in the same boat.
by Richard Young, Publisher & Content Manager, The Beat Magazine 2025.
(Pictured: The Beat Arts In London, Issue 1, October 2009. Cover Art by Lionel Morise)
After a nine-year hiatus, I recently revived The Beat Magazine, an independent arts magazine I founded and published from 2009 to 2013, as The Beat Magazine 2025 website.
Since then, several of my peers and contemporaries have asked me one simple question: Why?
It’s a question I have asked myself many times over the last few weeks.
First and foremost, my reason for doing so is my humble attempt to make up for the lack of local arts and culture coverage in the mainstream media over the last several years. Frankly, I think this is criminal in a city the size of London. London and area creatives deserve better.
As one of our volunteer writers, Dawn Lyons, sums it up:
“London’s arts scene is alive with talent, creativity, and passion. It’s full of amazing artists across disciplines who continue to create, perform, and inspire, often without the recognition they truly deserve. I see The BeatMagazine 2025 as a way to showcase that energy and help connect people in the community with the incredible work happening around them.”
Much like the former print publication, the website provides timely, informed local arts news and commentary, and previews and reviews of local arts events. It also includes profiles of the area’s creatives and arts and culture venues. It is ad-free, and subscriptions are free.
(Pictured: The Beat Magazine, Issue 30, March 2012. We featured Ceris Thomas on the cover. Ceris was appearing in The Drowsy Chaperone, then playing at the Palace Theatre.)
Second, simply because I want to.
Since the print magazine folded in the summer of 2013, I have kept myself busy doing many things.
I wrote freelance for a variety of local print publications, including Lifestyle Magazine, Business London, London, Inc., Professionally Speaking (Ontario College of Teachers), Scene Magazine, and the Villager Group of community magazines.
(Pictured: The Beat Magazine, Issue 25, October 2011. This cover, featuring a cast member from Evil Dead: The Musical, proved to be one of our most popular ones. We had difficulty keeping our stands stocked!)
I worked part-time/casually at a well-respected London Advertising & Marketing agency, writing copy about heavy industrial machinery. Talk about a learning curve! I thank owners Robert Adeland and Mina Thaler for their patience in teaching me the ins and outs of large cranes, dump trucks, excavators, and the like.
From December 2022 until August 2025, I was the Publicity and Program Department Head for Silver Spotlight Theatre, London’s theatre company that gives those 55 and older a chance to sing, dance, and perform on stage or backstage.
Most recently, I have served on the London Public Library’s Historic Sites Committee, the body that erects plaques around the city commemorating people and places of local historical significance. One project I take particular pride in is an Interpretive Sign Celebrating Wonderland Gardens’ Contribution to London’s Music History, which I prepared in collaboration with the City of London Culture Office. It will be officially unveiled on a date TBD.
(Pictured: The original Wonderland Gardens Outdoor Bandshell. Wonderland opened on May 24, 1935.)
That brings me up to the summer of 2025.
An unexpected medical diagnosis of Chronic Kidney Disease in July forced me to reevaluate many aspects of my life.
First and foremost, was changing my dietary and exercise habits. Gone are all processed foods, fast foods, and those with high levels of sodium and potassium. No more putting off going to the gym at least three times weekly.
Second, was relieving those things that cause me mental stress and unnecessary anxiety.
At my age (70-something), I decided that I want to fully re-engage with the local arts and culture community, rather than focusing on one aspect of it with my involvement with Silver Spotlight Theatre.
I also want to work at my own beck and call and not be accountable to others who may not always share my at times unbridled enthusiasm and relentlessness.
(Pictured: The final issue of The Beat Magazine, Summer 2013, featuring London dancer and choreographer, Amy Wright, on the cover)
In short, reviving The Beat Magazine seemed to be the best course of action to follow at this point in my life.
Has it taken up a lot more of my time than I thought? Hell, yes! But it’s my time and I love it.
Is there any financial return? Hell no! It’s strictly, to use the old cliche, a labour of love.
So, welcome to the new Beat Magazine in the form of The Beat Magazine 2025 website!
Let us know what you would like us to cover.
Let us know if you would like to volunteer some writing about the local arts and culture scene.
Let us know how we’re doing.
Let us know what’s working and what’s not working.
This is the thirteenth in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile the Palace Theatre Arts Commons.
Q. When was your company founded? By whom and why?
London Community Players (LCP) were founded in 1974. London Youth Theatre Education (LYTE) in 2012. Palace Theatre Arts Commons (PTAC) was formed in 2020, and the London Fringe Festival joined us then.
Q. Is your company best described as professional or not-for-profit community theatre? Or both?
Non-profit community theatre
Q. What venue(s) do you use to stage your productions?
David Long Stage (350-seat auditorium) and Procunier Hall (75-seat backbox theatre)
Q. Does your company have a Mission or Statement of Purpose?
We believe everyone who wants to be entertained, provoked, inspired, or moved by theatre should be afforded the opportunity to do so.
We inspire and nurture individuals through volunteer and educational experiences in theatrical production and management.
We support and promote theatrical youth programs. In conjunction with our partners, we produce, present, and promote high-quality, affordable, entertaining theatrical experiences.
We provide extensive theatre resources for the broader community. We own and manage a heritage venue that is a destination of choice and is available to host a wide variety of cultural and community events.
We create opportunities in the performing arts for everyone in our community.
Q. Does your company have a Board of Directors and paid staff?
Board of 13 members and paid staff of 2 full-time and 2 part-time.
Q. Tell me about your 2025-2026 Season. Does it have any underlying theme?
London Community Players – Mainstage (David Long Stage)
The Front Page: SCOOPED September 25 – October 5, 2025
The Rocky Horror Show October 23- November 1, 2025 Co-production with InFuse Productions
Deathtrap November 27 – December 7, 2025
Urinetown: The Musical February 19 – March 1, 2026
Mamma Mia! May 28-June 7, 2026
London Community Players – Procunier Hall (Black Box)
Three Tall Women October 16 – 26, 2025
Closer February 5-15, 2026
Harris Cashes Out March 5-15, 2026
The Family Creetin with Banished by the King Productions April 16-25, 2026
London Youth Theatre Education (LYTE)
Junior Musicals (ages 8–13)
Elf Jr. – December 19–21, 2025
Junie B. the Musical Jr. – January 2026
Senior Musicals (ages 14–18)
Mean Girls High School Version – March 2026
Anne of Green Gables: The Musical – March 2026
Q. Do you have any thoughts about the London area theatre community and your part in it?
No response was given.
For more information about the Palace Theatre Arts Commons and to purchase tickets, visit https://palacetheatre.ca/
This is the tenth in a series of Q&A Profiles with London area theatre companies and groups. Today, we interview Melissa Ogden, founder of LIT (Live Immersive Theatre) Productions
Q. When was your company founded? By whom and why? I created LIT Productions in 2024, and we officially launched in 2025. LIT stands for Live Immersive Theatre. I have been a professional musician and supporter of the arts most of my life, and I am very excited about this new venture. I saw a need for a different night out that combined film, performance art, live music, and socializing, all for a reasonable ticket price. An alternative to the theatre or going to a nightclub.
Q. Is your company best described as professional or not-for-profit community theatre? Or both? LIT Productions is a professional company. We have a growing team of talented musicians, vocalists, stage managers, and sound and lighting technicians.
Q. What venue(s) do you use to stage your productions? One of the things that makes LIT Experiences different from traditional theatre is the party atmosphere. Guests are seated at tables with their friends, where they can talk and enjoy cocktails during the show. They can walk around, sing, and dance. So, our indoor venues are banquet halls and clubs rather than theatres. I am also actively booking outdoor shows in 2026. These shows will have a similar party vibe with a beer garden where guests bring their own lawn chair. An outdoor movie, live show, and a cold beer on a beautiful summer night – how fun is that?! Our debut production of Grease is being held indoors at The Marconi Club of London on September 26, 2025.
Q. Does your company have a Mission or Statement of Purpose? At LIT Productions, we blend film, live music, and performance theater to create immersive, one-of-a-kind LIT Experiences. We champion collaboration, diversity, and inclusion, and deliver an unforgettable (and affordable) night out. It’s a new way to ‘theatre’.
Q. Does your company have a Board of Directors and paid Staff? As of now, I am the sole owner and decision maker. All the LIT performers and production team are paid. We also have volunteers who help out at events.
Q. Tell me about your 2025-2026 Season. Does it have any underlying theme? We will be putting on more Grease shows in 2026, both indoor and outdoor. We will also be launching our production of The Rocky Horror Show. I am also excited to launch booking packages that will allow businesses to book an LIT Experience for corporate fundraisers and private events.
Q. What show(s) will you be staging this fall (September to December)? Tell me a little bit about each. I will explain what LIT Experiences are. A movie musical plays on the big screen and the musical numbers are performed live in character! Unlike the theatre, you can mingle, sing, dance – it’s a party! Our only show in 2025 is ‘Grease – a LIT Experience’ – Sept 26 at The Marconi Club. It’s sold out. And we are starting production of Rocky Horror to launch in 2026. The ultimate goal is to be staging several different productions (Grease, Rocky Horror, Mama Mia, Hairspray) at various venues throughout the calendar year.
Q.Do you have any thoughts about the London area theatre community and your part in it? We have created a dynamic team by blending together members of the music and theatre communities. We have vocalists who sing in bands but have never performed in theatre before. And we have theatre vocalists who have never performed in front of a live rock band. We have amazingly talented musicians from different genres. It has been so fun and collaborative and we are all learning from and getting the best out of each other. Judging by our sold out show and Londoner’s support of other live shows in the city, we definitely have a thriving arts scene. I want to thank Londoners for that! I have been a member of the music community for many years, but I am new to the theatre scene. I look forward to collaborating with both communities on events and initiatives that support and promote the arts in London.
This is the fourth in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile the Grand Theatre, London’s premier professional theatre company.
Q. When was your company founded? By whom and why?
In 1934, the four amateur drama guilds in London, The London Drama League, The Half-Way House Players, The Meredith Players , and The Community Drama Guild, pooled their resources together to become London Little Theatre. With the amalgamation, London Little Theatre was able to afford to rent the Grand Theatre. In 1945, the London Little Theatre purchased the Grand Theatre building from Famous Players.
In 1971, London Little Theatre became a professional theatre company known as Theatre London.
In 1983, Theatre London changed its name to the present Grand Theatre.
Q. Is your company best described as professional or not-for-profit community theatre?
The Grand Theatre is a not-for-profit professional theatre company, known for world-class theatre created and built in London, Ontario. As southwestern Ontario’s premier producing theatre and one of the most beautiful theatre spaces in Canada, the company has deep ties to the community and to its artists, artisans, and technicians.
It is one of twenty-two Regional Theatres across Canada, typically the largest or most established company in an area, serving the dual role of bringing work and artists from the national or world stage to the region while also celebrating work and artists from the region.
The Grand Theatre is also ranked as a Category A theatre, one of twenty of Canada’s largest and highest budget theatres alongside Mirvish Productions, the National Arts Centre, and the Stratford Festival.
Q. What venue do you use to stage your productions?
The Grand Theatre, 471 Richmond St, London, Ontario.
Q. Does your company have a Mission or Statement of Purpose?
OUR VISION
The place to gather where world-class theatre thrives.
OUR MISSION
We create live professional theatre that gathers, inspires, and entertains audiences in London and beyond.
Q. Does your company have a Board of Directors and paid staff?
The Grand Theatre has a volunteer Board of Directors. The Grand Theatre Foundation has a volunteer board of directors. In a typical season, the Grand Theatre will work with one hundred or more professional guest artists, and approximately an equal number of production, technical, and administrative professionals and staff.
Q. Tell me about your 2025-2026 Season. Does it have any underlying theme?
The Grand Theatre’s 2025/26 season, titled “You Are Here”, invites theatregoers on a year-long trip full of visits to places they love, or have been dying to see. Stopping at unknown destinations along the way, unlocking delightful discoveries that they can’t wait to revisit.
In the plays this season, there is a theme of people trying to go it alone. But at their heart, these joyful plays are about quite the opposite. They are about the discoveries we make when we come together in community— the same way we do when we go to the theatre. The same way we do when we come to the Grand: the place to gather where world-class theatre thrives.
Q. What shows will you be staging this fall (September to December)? Tell me a little bit about each.
The Grand’s 2025/26 season will launch with the hilariously chaotic The Play That Goes Wrong by Henry Lewis, Henry Shields & Jonathan Sayer, and directed by former Grand Theatre Artistic Director Dennis Garnhum, director of last year’s smash-hit comedy CLUE.
(Pictured: Company members in THE PLAY THAT GOES WRONG, 2024, The Citadel Theatre in partnership with Theatre Calgary and Royal Manitoba Theatre Centre. Photo by Nanc Price.)
This will be followed by the wonderfully magical holiday hit, Disney’s Frozen, directed by Grand Theatre Artistic Director Rachel Peake, a co-production with Edmonton’s Citadel Theatre.
In the New Year, the Grand Theatre welcomes fresh beginnings withPrimary Trust by Pulitzer-winning playwright Eboni Booth, a co-production with Crow’s Theatre.
In February, experience the star-studded musical drama Piaf/Dietrichby Daniel Große Boymann and Thomas Kahry, adapted by decorated Canadian playwright Erin Shields, intertwining the lives of Marlene Dietrich and Edith Piaf in a dazzling tribute.
Next, travel back to Victorian England with Oscar Wilde’s beloved comedy The Importance of Being Earnest.
Finally, land in the northeast tip of North America for the heartwarming and uplifting Come From Away, the Tony and Olivier Award-winning Canadian musical by Irene Sankoff and David Hein.
And don’t forget about Newsies, this year’s Grand Theatre High School Project, Disney’s NewsiesThe Musical.
Music by Alan Menken Lyrics by Jack Feldman Book by Harvey Fierstein Based on the Disney Film written by Bob Tzudiker and Noni White Originally produced on Broadway by Disney Theatrical Productions
September 17 to September 27, 2025
Opening Night: Friday, September 19
Spriet Stage
Q. Do you have any thoughts about the London area theatre community and your place in it?
As one of Canada’s premier producing theatres and a vibrant cultural hub, the Grand Theatre delivers world-class productions that both engage and inspire, while fostering deep connections within our community.
We strive to be the cornerstone of entertainment in London, to support the artistic community and the development of theatre-makers, and to be a trusted place for communities to gather where the diversity of their lives is reflected. Our spaces offer a welcoming and accessible environment, intended to act as a hub within the community. We are committed to growing the number of local professional artists working on our productions, and to being a national teaching theatre working to correct imbalances in the industry by providing opportunities for artists from equity-denied groups.
The Grand Theatre and the City of London benefit from a vibrant collection of community theatre companies, many of which produce shows on the Grand’s Auburn Stage and connect with the Grand through initiatives designed to welcome and nurture the talented theatre artists who call London home. Artists in the Auburn gathers emerging and local artists for a hands-on workshop series, speaker series, available rental space, and season-long Playwrights Lab, led by director, dramaturge, and Grand Theatre Artistic Director Rachel Peake.
The Grand engages dedicated professional artists from across the country – and around the world – to create world-class, London-made productions on our stunning 839-seat Spriet Stage each season.
This is the second in a series of Q&A Interviews with representatives of London area theatre companies and groups. Today, we profile David J. Pasquino and DJP Productions.
Q. When was your company founded? By whom and why?
DJP Productions was founded by David J Pasquino in April 2025, for the sole purpose of putting on Prescription: Murder. I discovered it a couple of years ago when I read that Pat Sajak was going to play the role of Dr. Roy Flemming in the play at a community theatre in Hawaii (it was on at the Hawaii Theatre, July 31 to August 10, 2025). Much to my surprise, the play, written in 1962, was the very first Columbo story and was adapted into a TV special in 1968. I grew up watching Columbo and could not pass up the opportunity to play him, so I had to figure out a way to get this play on a stage in London, and producing it seemed to be the best way to do all of this.
Q. Is your company best described as professional or not-for-profit community theatre? Or both?
Not-for-profit community theatre.
Q. What venue(s) do you use to stage your productions?
Prescription: Murder will be onstage at the Auburn Stage at the Grand Theatre.
Q. Does your company have a Mission or Statement of Purpose?
DJP could be my initials, or maybe it could stand for Discover Joy and Passion? Either way, this inaugural production is an expression of my love of theatre, and for the theatre community in London – something I discovered 12 years ago that I never knew was missing from my life. I hope people coming to the show experience that Joy and Passion as well.
Q. Does your company have a Board of Directors and paid staff?
No.
Q. Tell me about your 2025-2026 Season. Does it have any underlying theme?
I don’t know if one show can be called a season, but the purpose is to bring the original Columbo story to the stage and the people of London, Ontario.
Q. What show(s) will you be staging this fall (September to December)? Tell me a little bit about each.
Unfortunately, nothing in that time frame, but Prescription: Murder will be on March 19 – 29, 2026.
Q. Do you have any thoughts about the London area theatre community and your place in it?
I have been a part of the London theatre community since my first show, To Kill a Mockingbird, in March 2013, and have acted in over twenty plays since then. This is my first time producing a show (I am also acting in it), and I am a little anxious because I obviously want this to be a success and to have people (cast, crew, and audience) enjoy it. I will have to see how this goes before I commit to producing other shows, but there is at least one other one play I have always wanted to put on. Who knows, maybe I will catch the producing bug, and DJP Productions will put on regular shows! I owe a debt of gratitude to all of the directors, producers, stage managers, crew, and actors that I’ve had the good fortune to work with; they welcomed me with open arms and have become very important to me in the last decade, and maybe this is one way I can pay a bit of that debt.
Members of London’s theatre community came out in force at the Palace Theatre on Saturday night, September 6, to help one of their own.
Organized by Director Mariann Sawyer, the Save OurStage FUNdraiser was held to raise money for badly needed immediate repairs to the historic Palace Theatre.
“From a leaky roof dripping into our props basement, to pipes clogged with tree roots, some long-overdue painting and day-to-day wear and tear — we’re facing a short-term need of about $10,000 just to keep things running safely and smoothly,” said Mariann.
To be sure, it was a wonderful night of entertainment and an illustration of the abundance of amazing, talented performers London is home to.
Participants ranged in age from the young members of the Palace’s LYTE program to members of Silver Spotlight Theatre, a group of individuals fifty-five years and older dedicated to producing Broadway musical productions.
Acts that graced the stage included the London Chorus, Pink Pony Club Experience, Caterpillar Chain, The Bohemians Choir, Three Worst Pies (Niccole Alcaidinho, Melissa Metler, and Ceris Thomas), Silver Spotlight Theatre, and The Improvables. Soloists and duos included Joanna Makinson, McKenna Langdon, Lesley Andrew, Rosalie Mattison, Jared Brown, Olivia Power, Kiefer & Grady Maclean, Edgar Yanez, Andrew Olmstead (who delighted the audience with his magic), Jenn Marino, Angie Jansen, Carol Taylor-Wilks, and Kate Milner.
The appreciative audience gave the performers several well-deserved standing ovations throughout the evening
According to Mariann, over one hundred people were involved in bringing the show to the stage.
Over twenty items were generously donated by community members and businesses in and around London. Everything from experiences to custom-made items was up for grabs.
It was nice to see so many members of the city’s arts community there to support their peers and lend support to the historic Palace Theatre. The arts are alive and well in London!
For more information about the Palace Arts Commons and the theatre’s 2025-26 Season, visit https://palacetheatre.ca/
big bandemic closes out springbank gardens concert series, sunday, sept. 7.
Sunday, September 7th, is our last concert of the 2025 season. We are going out in a big way with a really big band. Big Bandemic is an 18-piece band featuring some of the finest musicians around.
It’ll feel a bit like the old Wonderland Garden days. See you at 2pm!
Master Hypnotist, tj fox, wsg Peter Mennie, at the wolf performance hall, sept. 5.
Straight from Riviera Hotel & Casino in Las Vegas, Master Hypnotist TJ Fox takes the stage at Wolf Performance Hall on September 5th with special guest Peter Mennie.
an acoustic evening with the sadies at the palasad socialbowl, sept. 5.
An Acoustic Evening with The Sadies Get ready for a night steeped in pure Canadian rock ‘n’ roll royalty. The Sadies are more than just a band—they’re a force. With their razor-sharp musicianship, genre-defying sound, and an unmatched ability to weave surf, psych, garage, country, and punk into something entirely their own, they’ve carved a legacy as one of the most wicked live acts you’ll ever witness.
From haunting ballads to full-tilt barnburners, The Sadies deliver every note with fire, soul, and that unmistakable edge that’s kept them at the top of the game for decades. If you know, you know—and if you don’t, this is your chance to find out why they’re one of Canada’s most beloved and badass bands.
Licensed – All Ages – Doors 7pm Show 8pm $25 Advance – $30 Door
echoes of the land exhibition opens sept 2 at westland gallery.
Jane Roy, Denise Antaya, and VC Glennie join us for our newest exhibition, opening on Tuesday September 2nd! Join our artists at the Opening Reception on Saturday September 6th from 1pm to 3pm to celebrate this beautiful new show.
Pictured:
Jane Roy, “French River Tree Portrait I”, 20 x 10″, acrylic on canvas, $300
Find out what’s happening this week at your Library!
Get ready, London. After a long summer of touring Ontario, Gravity Junky is ready to bring it home for a free dance show at The Dawghouse.
699 Wilkins St., London, ON.
good food, live jazz at peppermoon restaurant, sept. 4.
Join us Wednesday, September 4 for an unforgettable evening with the incredible Nevin Campbell & Rachelle Courtney.
6 PM – 9 PM
Peppermoon Restaurant, 1100 Commusiioners Rd E. London ON
Smooth vocals, soulful piano, and the perfect vibe to pair with your dinner & drinks.
Hot tub hippies at the wortley roadhouse, sept. 5 & 6.
190 Wortley Rd, London, ON
Actor Auditions for Theatre Aezir, Sept. 7.
Get Ready for “Dating Games”! Attention actors in their 20s to late 30s! Theatre Aezir invites you to join an exciting comedic journey.
We are holding auditions for “Dating Games” by Garth Wingfield, a comedy comprised of five entertaining ‘playlets’ designed to delight in a single evening. As part of our artist development initiative, this production offers a unique opportunity for talented actors to participate in an exceptional project. Come be a part of the fun!
About the Production: This unique opportunity allows actors to work closely with emerging directors under the mentorship of seasoned professionals. As part of our commitment to nurturing future theatre talent, actors who are selected will participate in a one-week acting workshop honing your stagecraft with instruction in stage movement, diction, and vocal production. • Performance Dates: November 5 to November 16, 2025 • Actor Training: Week of October 12, 2025 • Rehearsals: October 19 to November 4, 2025
How to Apply: Spark our interest by sending your resume and headshot to auditions@theatreaezir.com. Auditions will be held on Sept 7. Be first in line. Send your resume now. We’d like to hear a contemporary monologue (1-2 minutes) that highlights your skills and abilities. Get ready for some spontaneous fun as we’ll have you doing cold readings from the script.
rum ragged at the aeolian, sept. 5.
2021 JUNO Award Nominees, Rum Ragged, take a bold approach to the distinct folk music of their home, the Eastern Canadian island of Newfoundland. With a reverence for their roots and a creative, contemporary edge, this young band has quickly become known as the finest performers of their great, living, musical tradition. Boasting bouzouki, fiddle, bodhran, banjo, guitar, and button accordion, these new champions of East Coast music enliven and enlighten audiences with their signature brand of Newfoundland folk. Always honest, thought-provoking, and often humorous, it’s Rum Ragged’s live show that makes them a fast favourite with any audience. Their combination of striking vocal harmonies, staggering musicianship, and captivating storytelling gives concert-goers an experience they won’t soon forget. Since their inception in 2016, Rum Ragged has maintained a rigorous tour schedule, performing at some of the world’s premier folk, celtic and roots venues all while managing to record four acclaimed, award-winning studio albums. Rum Ragged is not your run-of-the-mill folk band, they are the genuine article.
Summer Songs on Elmwood with Laurraine Sigouin & Friends, Monday, Sept. 1, 2:00 pm, 64 Elmwood Ave. Donations for the musicians are welcome.
Save our stage fundraiser at the palace theatre, sat, sept. 6.
Saturday, September 6 Showtime: 7:30 PM (Doors open at 6:30 PM) Tickets: $35 (all fees included)
Join us for an unforgettable night of music, magic, laughter, and community spirit at Save Our Stage: A Variety FUNdraiser! This one-night-only celebration brings together some of London’s most talented performers — singers, musicians, actors, magicians, and more — all coming together to help raise vital funds for the Palace Theatre Arts Commons.
Proceeds from this high-energy evening will support crucial repairs, ongoing programming, and the beloved productions that keep our historic theatre alive and thriving. In addition to the live entertainment, enjoy a silent auction, door prizes and surprise moments throughout the night.
Come early to mix and mingle with fellow theatre lovers, bid on great prizes, and soak in the vibrant atmosphere of community and creativity.
Help us Save Our Stage – and have a ton of fun doing it!
tom dunphy ‘s classic country music show at the richmond tavern, sept. 6.
goldfish continues at the Port Stanley Festival Theatre until sept. 13.
goldfish by Steve Ross continues till September 13 at Port Stanley Festival Theatre. Starring Stratford Festival stars: Martha Farrell and John Dolan, both making their PSFT debuts, directed by Artistic Director Liz Gilroy, set design by Joe Recchia, assistant set design by Doug Cottrell, lighting and sound design by Paige Thompson, and costumes by Dora-nominated Alex Amini.
history culture walks presented by museum london begin sept. 4.
Summer may be winding down, but there’s so much to look forward to at Museum London.
This September, we’re excited to welcome you to a full month of community events, new exhibitions, and free programming as part of London Heritage Council‘s Doors Open London and Ontario Culture Days — all celebrating the sights, sounds, and stories that make our city special.
Check out what’s coming up here and access a full listing of programs and events on our website: https://buff.ly/RciwHtz
dan hill and andy kim in story and song at the aeolian, sept. 6.
Dan Hill – is an international music industry legend and one of Canada’s most distinguished, authentic, and multi-talented artists: Grammy-winner, five time-Juno Award winner, Harold Moon Award, and inducted into the venerated Canadian Songwriters Hall of Fame Award . Dan is known for his heartfelt sensibility on two massive international hits, Sometimes When We Touch, recognized as one of the Top 100 Songs of the Century and one of Top 100 Most Played Songs of All Time, and Can’t We Try, which spent 29 weeks on Billboard charts . Dan has produced hit songs for Celine Dion and George Benson, with his compositions being recorded by artists such as Britney Spears, Rod Stewart, The Backstreet Boys, Tina Turner, Dolly Parton, Kenny Rogers, and many more His voice is “smooth softness, with a light warmth,” perfectly describing both his original and recent works that fans still gather to enjoy today.
Andy Kim – “I’m excited to share the stage with my dear friend, the multitalented Dan Hill.”
In 1969, Andy co-wrote Sugar Sugar – his first Billboard #1 hit. In 1974, Andy wrote a new song called “Rock Me Gently” and absolutely no one wanted to produce it. Andy loved the song, and he wouldn’t take no for an answer. He formed his own record company, called !CE, and produced the record on his own. When it was released, “Rock Me Gently” went straight to #1 on the Billboard charts and it remained on the charts for a staggering 4 months. This second #1 Billboard song added to Andy’s international success. In 2004, Andy’s collaboration with Ed Robertson of The Barenaked Ladies’ “I Forgot To Mention” gave him another Top 10, and Andy was voted by Canadian Music Week as the Best Solo Indie Artist of the Year.
A true Canadian son, Andy has had 9 top 40 Billboard hits including Baby I Love You. He was recently honoured with the appointment to the Order of Canada. He has been awarded the country’s top industry honours including a Juno award, the Canadian Music Industry Hall of Fame and a star on Canada’s Walk Of Fame. Andy is a member of Songwriters Hall of Fame, was inducted into Billboard’s Hit Parade Hall of Fame, and in 2017, for the 2nd time in their 70-year history, SOCAN honoured Andy with their Cultural Impact Award. Over his epic career, Andy has sold over 30 million records, and has over half a billion streams on Spotify and YouTube.
live music with colin coleiro, sept. 3, at the pierside pub.
Live music and Wings, Wed Sept 3, with Colin Coleiro starting at 6pm.
158 William St Port Stanley, ON
tropical explosion with orlando valencia music, sept. 6, at the roxbury niteclub.
shady artists exhibitions opens sept. 4 at the tap centre for creativity.
The annual Shady Artists exhibition is here! Join us this Thursday, September 4 from 4PM – 7PM for the opening reception as part of Art Crawl Thursdays.
The exhibition will run until September 13. The gallery is open Tuesday to Saturday, from 12PM – 5PM.
Debussy – Second Arabesque
The Beat Magazine 2025 