London Community Players’ production of Harris Cashes Out! plays on the Procunier Hall stage at the Palace Theatre from March 5 – 15. Director Julianna Goertzen talks about the production in this Q&A interview with Richard Young.
Q. What is the basic premise of Harris Cashes Out? Could you provide a brief plot synopsis?
Harris Wellborn is an old, washed-up Broadway musical writer who didn’t make much money in theatre. After his wife passed away, he fell into despair, and his sister, Maggie, moved him against his will to Baltimore to be closer to her. She arranged for an eccentric dog walker, Kim, to check on him and his health, but Kim and her boyfriend, Jason, had other plans to take advantage of Harris and his musical writing past. It’s a comedy about relationships and the things that happen when very different people are in proximity to one another.
(Pictured: Harris Cashes Out! Director, Julianna Goertzen. Photo: Ross Davidson.)
Q. The description on the Palace Theatre website indicates that the play has a Broadway theme. Does it include any musical numbers?
The only musical numbers it includes are the little ‘soft-shoe humming’ songs that Harris (played by Tim Bourgard) makes up on stage every performance. You may also recognize famous musical numbers played during the intermission and changes in scenes.
(Pictured: Tim Bourgard as Harris Wellborn. Photo by Ross Davidson.)
Q. Why did you choose the Procunier Hall stage as opposed to the larger Palace Theatre stage?
With a play like Harris Cashes Out!, I believe it would be more appropriate for a smaller venue like Procunier Hall to hold. With only four actors and a simple rundown apartment set, you’re right up close to the action and can hear the quiet, sensitive scenes that you might not catch with a big stage.
Q. Can you tell me about the playwright Londos D’Arrigo? I understand he’s Canadian and from around these parts. What other noteworthy plays has he written?
Londos was born, raised, and currently resides in Toronto. We have the privilege of having him coming to see our production of Harris Cashes Out! and we are very excited. Londos says that Harris Cashes Out! is a favourite of his. Other comedic plays he has written include Spreading it Around, which the London Community Players produced in 2009 at the Palace Theatre. He has also written a play called Vicki’s Back!, which sounds very similar to Harris Cashes Out!, written with a female lead in ‘show biz’.
(Pictured: Playwright Londos D’Arrigo.)
Q. Can you tell me something about yourself in terms of your involvement in community theatre, things such as other plays you have directed, produced or starred in?
I have always been involved in theatre from a young age. Most of my theatrical career was with Aylmer Community Theatre (ACT). In 2007, I started out as a makeup artist and dresser for those quick changes backstage. My acting debut on ACT’s stage was a comedy called Not Now Darling by Ray Cooney and John Chapman, where I played Sue Lawson. I was required to act drunk and walk around in my underwear on stage. Since then, I have been a part of many productions, whether as a stagehand or stage manager. My specific role was not of primary importance; what mattered most was that the cast and crew enjoyed a positive experience while producing the show. I have only directed two one-act shows with ACT in the past, so this is also my first full-length show.
In regard to my London community theatre experience, this is my directorial debut. A year ago, I was on the Palace Theatre stage as Dorothy Foxton in Murdered to Death, a comedy by Peter Gordon; before that, I was Dorothy in Stepping Out by Richard Harris in 2009.
(Pictured: Vivien King-Sherwood as Maggie Bellows. Photo by Ross Davidson.)
Q. What challenges have you encountered bringing this play to the Procunier Hall stage?
I have experienced very few challenges with bringing Harris Cashes Out! to Procunier, although the set and lighting crew may disagree since a set like this hasn’t been built in Procunier Hall for as long as anyone can remember. The biggest challenge about the play is the part of Harris. Harris’ lines amount to 50% of the dialogue. Tim Bourgard, who plays Harris, has been working very hard to recall every word, blocking, prop, and costume piece. The other actors have been very helpful and encouraging to Tim as we make our way through rehearsals.
(Pictured: Sam Didi as Jason Sernach. Photo by Ross Davidson)
Q. Is there anything else you think our readers should know about LCP’s production of Harris Cashes Out!?
This family-friendly show is full of laughs for all ages. Come out and enjoy live theatre up close and personal in Procunier Hall at the Palace Theatre. You won’t regret it.
(Pictured: Kim Sutton as Jasmine Gunkel. Photo by Ross Davidson.)
CAST & CREW: HARRIS CASHES OUT!
Director
Julianna Goertzen
Stage Manager
Alex Goertzen
Producer
Andrew Kaszowski
Assistant Stage Manager
Andrea Stevens
Light Design
Andrew Kaszowski
Sound Design
Alex Goertzen
Costumes
Julianna Goertzen & MJ Walzak
Props
Colin Arthur
Intimacy Coordinator
James Noonan
Set Build Lead
David Long
Harris Wellborn
Tim Bourgard
Maggie Bellows
Vivien King-Sherwood
Kim Sutton
Jasmine Gunkel
Jason Sernach
Sam Didi
IF YOU GO:
What: London Community Players present Harris Cashes Out!
When:Thursday, March 5 – 7:30 pm Friday, March 6 – 7:30 pm Saturday, March 7 – 7:30 pm Sunday, March 8 – 2:00 pm Thursday, March 12 – 7:30 pm Friday, March 13 – 7:30 pm Saturday, March 14 – 2:00 pm Sunday, March 15 – 2:00 pm
If you have a story idea or would like to become a Volunteer Writer for The Beat Magazine, you can reach Richard at richardyoung@thebeatmagazine2025.ca
London Community Players’ production of Urinetown: The Musical opens this week at the Palace Theatre. What follows is a Q&A Interview with the play’s producer, Ceris Thomas, conducted by Richard Young.
(Pictured: Laura Williams as Penelope Pennywise, Henry Truong as Bobby Strong, Jesslyn Hodgson as Hope Cladwell, and Allison Gold as Josephine “Ma” Strong. Photo Credit: Ross Davidson.)
Q. The description of Urinetown: The Musical found on the Palace Theatre website reads: “In a dystopia ruled by drought and corporate greed, public toilets are the law— and rebellion smells suspiciously like revolution. Equal parts absurd, poignant, and laugh-out-loud funny, Urinetown skewers capitalism, power, and musical theatre itself.” Could you break that down for our readers?
Urinetown: The Musicalis notoriously hard to describe, which is probably why so many explanations feel incomplete or confusing. Honestly, if it had a different title, people might find it easier to just shrug and say, “Sure—let’s go see this thing.”
At its core, Urinetown is a dystopian satire that imagines a world so devastated by water shortages that bathrooms no longer exist in private homes. To manage the crisis, business and government join forces and arrive at a “solution”: the public must pay to pee. It’s an intentionally oversimplified take on a massive environmental issue, designed to get the audience quickly and clearly into the world of the show.
As with many well-meaning systems in a capitalist society, the opportunity to profit from an unavoidable human need quickly curdles into greed and manipulation. That’s where we meet the people of Urinetown—some desperate to survive, others perfectly comfortable in their assumed wealth and eager to raise the fees even higher.
(Pictured: Kate Sepi as Officer Lockstock and Luke Bainbridge as Officer Barrel. Photo Credit: Ross Davidson.)
The absurdity, poignancy, and laugh-out-loud comedy come from how the story is told. One of the creators’ most delightful choices is the musical’s constant tribute to classic Broadway shows. One song clearly channels Fiddler on the Roof; the next explodes with unmistakable West Side Story energy. The first time I heard it, I actually laughed out loud in my car.
If you’ve ever seen a musical—any musical—you’ll catch the references and giggle along. And if you’re someone who doesn’t usually like musicals? This show lovingly invites you to laugh at all the ones your mom dragged you to see.
(Pictured: Ceris Thomas, Producer of Urinetown: The Musical.)
Q. It also reads: “No one is safe. Not even the audience. Bring your sense of humour — and your spare change,” implying audience members will be expected to participate in some way. Will they?
The fourth wall is very much broken in this production. Officer Lockstock serves as the show’s narrator, frequently conversing with Little Sally, a member of the “poor” who isn’t afraid to challenge Lockstock’s interpretation of events. Beyond that, the audience needs only to bring a sense of humour and a willingness to laugh out loud at the shenanigans of the players.
(Pictured: Ryan Starkweather as Senator Fipp, Jesslyn Hodgson as Hope Cladwell, and Sean Brennan as Caldwell B. Cladwell. Photo Credit: Ross Davidson.)
Q. Can you provide a brief Synopsis of the play?
Our parody poster series—riffing on Les Misérables, West Side Story, The Producers, Wicked, and more—wasn’t just a marketing gimmick. It was a visual clue to the DNA of Urinetown itself. The show gleefully borrows familiar musical theatre tropes and iconic structures, reshaping them to tell its own absurd and pointed story.
At its heart, Urinetown gives us all the classics: a villain who controls the money, the police, and the government; a hero who controls nothing but works hard and dreams of a better future; and a beautiful daughter of the villain who becomes the catalyst for change when our hero falls instantly in love. His life is upended, his resolve hardens, and he sets out to fix a broken world—for love, for justice, and for the people he cares about.
What follows are the choices made by the citizens of Urinetown, and the consequences that come with them. It’s familiar, it’s twisted, it’s self-aware—and all of it is driven by music that is relentlessly fun.
(Pictured: Urinetown Les Misérables parody poster.)
Q. Do any of the play’s satirical situations and themes have local relevance?
Yes—and the relevance is immediate and unavoidable. The neighbourhood surrounding our theatre is routinely ignored by municipal leadership. The parking lot outside our doors has no public bathroom, and as a result, it becomes the only option for people who have nowhere else to go. That reality mirrors Urinetown so closely that it feels less like satire and more like lived experience.
In Urinetown, the poor are criminalized for existing. They are punished for meeting basic human needs, while those in power remain insulated from the consequences of their decisions. That dynamic is playing out here as well. When audiences say they are “afraid” to come to this area, that fear reflects the same distance and neglect that allow these conditions to persist.
We believe that is exactly why it is important to come. Showing up matters. Being present in this neighbourhood matters. Urinetown asks us to look at who we ignore, who we punish, and who we choose to care about—and invites audiences to step into a space that deserves attention, investment, and humanity.
Coming to this neighbourhood—choosing to be present, to witness, to engage—is not something to be afraid of. It’s something that matters. Urinetown asks us who we ignore, who we punish, and who we decide is worth showing up for. In this case, the question doesn’t end when the curtain comes down.
Q. Will the audience recognize any of the play’s musical numbers?
Even if audiences don’t know the specific musical numbers themselves, they will absolutely recognize what those songs are paying homage to. Urinetown is filled with stylistic tributes to iconic musicals—there are clear nods to Fiddler on the Roof and West Side Story, as well as The Fantasticks, among others. The familiarity isn’t about recognizing a tune, but about recognizing the style, which makes the jokes land and the storytelling even richer for theatre-literate audiences—while still being fun and accessible for everyone else.
Q. What challenges have you encountered bringing this play to the Palace Theatre stage?
The journey to bringing Urinetown to the Palace Theatre has been both unexpected and incredibly rewarding. London Community Players originally had a different production planned for this slot, but when royalties became unavailable, we had to pivot quickly. That shift led me to reach out to a talented artist I knew from other shows, and I was thrilled when she agreed to join us on the David Long Stage.
Choosing Urinetown turned out to be an inspired fit. There is a deep pool of artists in London who have been eager for the chance to tackle this show, and the auditions reflected that excitement. We welcomed many new performers into the room, which always brings fresh energy to a production. Rehearsals have been collaborative, joyful, and full of discovery.
As with any show, the real problem-solving began once we moved onto the stage. Urinetown asks us to create several locations within a single city, and the David Long Stage offers limited wing space. Rather than seeing that as a limitation, our team embraced it as a creative opportunity—finding smart, imaginative ways to build a complete world that could live in one place. As a first-time set designer, after taking a course in Stratford last summer, I’ve been supported by an incredible crew. I’m learning that a set is never truly finished; it simply reaches the moment where it’s ready to welcome an audience.
(Pictured: Leah Exley, Christine Varga, Luba Skyba, Nicholas McConnell, Amelia Armstrong, Matt deKort – Urine Good Company Employees. Photo Credit: Ross Davidson.)
Q. Your marketing/social media campaign for Urinetown has been nothing short of brilliant. Could you give a shout-out to those individuals responsible for it?
Thank you! We really appreciate your kind words and that you’ve been following our campaign.
The “Pets of Urinetown” came about naturally because so many of our cast members have pets. Sharing stories and photos of their furry friends was a fun, comfortable way for the cast to connect—and I thought it would be a gentle, playful way to spark interest in the show.
(Pictured: Pets of Urinetown poster.)
The poster campaign, on the other hand, was entirely the brainchild of the brilliant Henry Truong, who also plays Bobby Strong, our hero. Henry came up with the imagery, collaborated with others to bring the visuals to life, and even wrote all the copy. It was a truly inspired creative effort.
Urinetown gives so many ways to engage with the material, from the music to the story to the little touches we’ve created for social media. I think that’s why people who love this show really, really love it—and our team’s creativity has made sharing that love so much fun.
Q. Is there anything else you think our readers should know about LCP’s production of Urinetown?
One thing to know: it’s not here long! Urinetown runs for just eight performances, from Thursday, February 19th through Sunday, March 1st. Both Sunday shows are matinees, and the second Saturday also offers a matinee to give those who might feel less comfortable in the area another chance to attend. That Saturday matinee will also be adjudicated for the WODL festival, with a public adjudication immediately following the performance for anyone who wants to stay and watch.
For peace of mind, LCP provides security at all of our productions, with patrolled entrances and monitored parking. And as a bonus, parking behind the theatre is now free at all times.
Don’t miss it—once it’s gone, it’s gone!
(Laura Williams as Penelope Pennywise and Matt deKort as Old Man Strong. Photo Credit: Ross Davidson.)
CREATIVE TEAM
Producer – Ceris Thomas
Director – Sydney Brockway
Stage Manager – Amanda Marshall
Musical Director – Steven Morley
Lighting Designer – Indrani Mahadeo
Sound Designer – Quinton Esquega
Costume Designer – Tannis Daoust
Costume Assistant – Chaaya Vy
Costume Assistant – Chloe Scripnick
Sound Operator – Doug Deschenes
Lighting Operator – Jenny Katkov
Assistant Stage Manager – Larissa Bartlett
Assistant Stage Manager – Jess Bohan
CAST
Kate Sepi – Officer Lockstock
Luke Bainbridge – Officer Barrel
Rae Ryder – Little Sally
Henry Truong – Bobby Strong
Jesslyn Hodgson – Hope
Laura Williams – Pennywise
Sean Brennan – Cladwell
Ryan Starkweather – Fipp
David Lu – McQueen
Cassandra “Cass” Allen – Mrs. M/Boy Cop #1
Skyler Gallagher – Dr. B/Cop
Jade Rogers – Secretary/Cop
Nicholas McConnell – Hotblades Harry/Boy Cop #3
Antonia Sidiropoulos – Little Becky Two Shoes/Cop
Matt deKort – Old Man Strong/Ensemble
Allison Gold – Josephine “Ma” Strong/Cop
Jennifer Groulx – Tiny Tom/Boy Cop #2
Christine Varga – Soupy Sue/Cop
Dustin Freeman – Robbie the Stockfish/Cop
Luba Skyba – Billy Boy Bill/Cop
Charlotte “Charlie” Camrass – Rebel Poor/Girl Cop #1
Amelia Armstrong – Ensemble
Leah Exley – Ensemble
IF YOU GO:
What: London Community Players present Urinetown: The Musical
When: February 19 to March 1, 2026
Where: David Long Stage, Palace Theatre, 710 Dundas St., London, ON
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.
Debussy – Second Arabesque
The Beat Magazine 2025 