So, I warned you in my Bio, didn’t I – I’m not an academic musician – English Lang and Lit graduate – and I’m doddering past 80 years of age. And reviews of concerts seem sort of pointless to me. If you were there, you know what it sounded like- and if you weren’t, you don’t need any shade of schadenfreude thrown at you for having missed a unique experience (although I have high praise for the crew that videotapes the London Symphonia concerts-the experience is worth trying). So, “The Husband” and I huffed up the stairs to the balcony and positioned ourselves where we could see David Jalbert’s hands on the keyboard – all of us “Displaced Persons” kids took piano lessons when our families were let into Canada… we know where to sit.
Yes, the music was spectacular – but it was only part of the experience. With London Symphonia concerts at “The Met,” you get something unique on the concert evening- something that deserves thanks and acknowledgement, while empathy, respect for diversity, and liberal education are becoming crimes and vices in the elephantine country south of us.
You know those rooms set aside for “Big Givers” in theatres and performance halls where they can get a free glass of musty Chardonnay and schmooze with others of that generosity level? AT OURMet, the London Symphonia musicians, guest artists, and the conductor are ready to chat with you and to answer any dumb question you might have.
After Saturday night’s concert, I was able to hug Ted and Renee of Serenata Music and thank them for their generosity in helping the Symphonia bring to London someone like Jalbert. I walked over to a gaggle of Western Music students who were still jumping up and down with the excitement of the music. I cornered two of them – a toque and hockey shirt on one, a BIG waxed mustache and sleeveless tee (no sombrero) on the other – to thank them for making the concert even better with their presence. I also told them I was grateful for being in Canada together- were we in Chicago or Memphis, ICE agents might have seized them both at the exit. I could tell Ben the Cello that, should I ever become deaf, I could enjoy concerts fully just by watching his face. And I could hug Cosette the Conductor, telling her how much I loved Kooba (I know, after showing the other half of my Spanish- “Ola!”). “The Husband” had to get all expert, shaking her hand and thanking her for “a wonderful master class in orchestral conducting.”
(Pictured: Cosette Justo Valdés. Photo Credit: Lia Crowe)
And the music – a totally shared experience, no matter what your level of “expertise.” Cosette the Conductor, dressed in traditional black, led the audience in singing along with “O Canada.” She had brought to the program two pieces by Cuban composers – and in the second, after she explained its inspiration – the double-bench horse-drawn carts in Cuba that haul farmers, water, crops, and appliances – every clack of Tim Fancom’s percussion brought that musical scene to life. And although Cosette said that “Canada is my home” after six years, those unmistakable Cuan dance moves enhanced her conducting of the piece.
(Pictured: David Jalbert. Photo Credit: Julien Faugère)
And David Jalbert’s performance of Ravel’s Concerto in G major? It left the audience breathless – not only for Jalbert’s genius and technical skill, but through, I believe, the musical “community” Ravel’s writing for orchestra and piano creates in the three-movement piece. The first begins with Jalbert’s hands posed in a criss-cross on the keys while a jazzy chorus of clarinet, trumpet, bassoon, and trombone joins him in some sensuous music- and that harp suddenly adds brushstrokes of mystery. Don’t even ASK about how perfect his rapid trills were! The second movement assured us that Jalbert can handle anything – a solo piano beginning that eventually is joined by the English horn and the other instruments in rising tension. And the final presto movement did what a French composer, Louis Fleury, said it should do: be “an unstoppable onslaught, spurred on by the shrieks of the clarinet and the piccolo, the donkey brays of the trombone and occasional fanfare flourishes in the brass.” How that wonderful Canadian pianist had the energy to play a Prokofiev rumble of pure delight as an encore – we OWE him!
(Wolfgang Amadeus Mozart, 27 January 1756 – 5 December 1791)
Do you want to know about the Mozart Symphony #39 in E-flat Major? Brace yourself for more stories of musical heroes. Wolfgang died at the age of 35, and within two months of his final years, composed THREE symphonies- 39, 40, and 41. Number 39 was the introduction, so to speak, that culminates in his “Jupiter” (#41). But Wolfie- no oboes??? The London Symphonia clarinets took the limelight in the bold and heroic first movement. In the second, third, and fourth movements, the 18th-century composition took us through dialogues of instruments in our city’s brilliant small orchestra, ending in something that’s been called “the 18th-century equivalent of a hoedown”.
If you couldn’t make it- and are curious about how all of that anticipation and joy can be in one symphony – DO invest in the London Symphony “Video on Demand” concert purchase on their website. If you’re as cheap as I am, here’s a freebie from Frankfurt:
Okay for now, but don’t you dare miss the full experience of “Payadora” on November 15, 2025, in the London Symphonia 2025-2026 series.
This is one of many 2025-26 season first concerts- opportunities I hope to tell you more about soon – but this one is special. “Classical” music is my passion to hear live and to write about. Not because I’m a musician or an instructor, but because I’m committed more than ever to the shared experience of being at a concert played or sung by London’s formidable talent pool. The energy and emotion felt by the players are felt by everyone in the audience – it’s a shared experience that increases the pride and identity of our city.
Opening Night, London Symphonia
October 4, 2025, at 7:30, Metropolitan United Church
(But as Londoners, let’s call it “The Met” – The Met halfway between Toronto and Detroit)
(Pictured: Opening Night Guest Artist, Canadian pianist, David Jalbert.)
And on the program …
Augusta Holmès, La Nuit et l’Amour
Rodrigo Prats, Canta el Carretero Cuando Dan Las Seis Ravel, Piano Concerto in G Major Mozart, Symphony No. 39
First, David Jalbert- the guest artist. The Canadian is ranked “among the best 15 pianists of all time” by the CBC. Critics have strived to explain what makes him unique: “In an age of knuckle-busting keyboard technicians fixated on a single era, composer or concerto, it is a great pleasure to encounter an artist of Jalbert’s stature for whom the piano is simply a transcendent means of human expression” (WholeNote)” His recordings are already legendary- Prokofiev, Faure, the Goldberg Variations, and on Saturday night, he’s performing Ravel.
In an interview with Andrew Chung, Jalbert admits that he’s like an actor, changing characters with every composer that he plays. Ravel, to him, is an “old friend” who “never ceases to amaze”. The concerto he’ll perform with London Symphonia is only twenty-two minutes long- but it’s “an astonishing piece” with French themes, touches of flamenco, and hints of American jazz.
And I can’t omit this detail about Jalbert. In the “dark times”, when Orchestra London musicians were regrouping through “We Play On” into the stunning ensemble we know today, Jalbert offered to perform with them – refusing to take a fee!
You know by now that London Symphonia has no permanent conductor. An exciting new conductor is invited for every program- and this opening night has an upcoming young Cuban-born maestra on the podium.
(Pictured: Opening Night Guest Conductor, Cosette Justo Valdés.)
Cosette Justo Valdés has conducted in a mind-boggling number of cities around the world. She is Honorary Director still of the symphony of Santiago, Cuba where she spent nine years, but her contributions to Canadian culture through music are particularly interesting: “Through her daring, innovative programming with the Vancouver Island Symphony Ms. Valdés has quickly ignited new passion in her audiences, inspiring them to engage personally not only with living, contemporary music but also with rarely heard historical works. As an ongoing part of her artistic agenda in Vancouver Island, Ms. Valdés proudly continues to give a powerful voice to the works of women composers and composers from Native Canadian and American heritage.”
I promised myself I would not drag current politics into notices about London’s rich classical music scene – but with every new announcement and curtailing of DEI, cutting of support for the arts and education, and ridicule of “wokeness’ – I’m breaking that promise. As Thom Hartmann reminds his fellow Americans, “[The old Democrats] knew that politics is not just about what laws are passed but about what stories a nation tells itself about who it is. They knew that culture is not an afterthought; it is the riverbed through which politics flows.”
London Symphonia is one of London’s most valuable forgers of our Canadian culture. This opening night concert will add to our cultural fabric – and level up your internal immunity to the noise pollution of social media and politics.
What: London Symphonia Opening Night
When: October 4th, 2025
Where: Metropolitan Church, 468 Wellington St, London, ON
This is the nineteenth in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile Silver Spotlight Theatre.
Q. When was your company founded? By whom and why?
Although the initial seeds for a senior’s theatre group were planted before the pandemic, it came to life in 2022. Art Fidler approached Rick Smith, who was then president of London’s Musical Theatre Productions, to see if MTP would take the idea under its wing. A seniors’ grant was obtained from the provincial government, and Silver Spotlight Theatre came into being.
Locally, there are a number of theatre groups that provide opportunities for both children and older youth. Many other companies tend to skew younger in their demographics, and the number of (particularly on-stage) opportunities tends to decrease as performers age. Silver Spotlight was created to provide additional opportunities to older performers who weren’t ready to be put out to pasture.
(Pictured: Silver Spotlight Theatre co-founders, Art Fidler and Rick Smith. Photo Credit: Jim Cressman)
Q. Is your company best described as professional or not-for-profit community theatre?
As a branch of Musical Theatre Productions, SST is a not-for-profit community theatre group. All members of the Silver Spotlight community are impassioned volunteers who are committed to providing opportunities for seniors to bring musical theatre to London.
Q. What venue(s) do you use to stage your productions?
To date, all of the SST productions have taken place in the Auburn Stage at the Grand Theatre. We work within the framework of MTP’s season planning process to select the shows we will produce as well as the venue.
Q. Does your company have a Mission or Statement of Purpose?
We don’t have a formal statement of purpose, but our primary goal is to provide opportunities for seniors to get involved in all aspects of community theatre, both on- and backstage. Additionally, we’re not looking just to attract people with previous theatrical experience, but also people who have no background in theatre but wished they’d had the opportunity to participate when they were younger and thought those opportunities had passed them by. Several performers in SST’s first production, Babes in Arms, had never been on stage before. Everyone who has become involved with Silver Spotlight has enthusiastically embraced the concept of a seniors’ theatre group.
Q. Does your company have a Board of Directors and paid Staff?
As a branch of MTP, Silver Spotlight does not have its own Board of Directors, but several members of the Silver Spotlight community serve on the MTP Board. We also have a small advisory group of SST members who provide guidance on future plans for the group.
Q. Tell me about your 2025-2026 Season. Does it have any underlying theme?
Presently, SST only stages one production per season. As participation in the group increases and the number of participants rises, we may look at mounting additional shows.
about it.
Q. What show will you be staging this fall (September to December)? Tell me a little bit about it.
We will be staging Showtune from December 4-14, 2025, at the Auburn Stage. Showtune is a musical revue that celebrates the music and lyrics of Jerry Herman, one of the most prolific Broadway composers of all time. A casual observer may not recognize the name Jerry Herman, but everyone has heard the songs from some of his most famous works, including Mame, Hello, Dolly!, and La Cage aux Folles. Herman was awarded the Tony Award for Lifetime Achievement in the Theatre in 2009 and was a recipient of the 2010 Kennedy Center Honors. Auditions for Showtune have taken place, and we are well into rehearsals for the show.
Q. Do you have any thoughts about the London area theatre community and your part in it?
The local theatre community is incredibly vibrant, and London residents are fortunate to have numerous choices. From musicals to dramas to comedies, well-known titles to locally-written plays, children to youth to adults, everyone should find something that appeals to them. Silver Spotlight provides additional opportunities to senior performers, many of whom have been involved in the local theatre scene for decades and all of whom feel they still have something to offer to the community.
Released April 2025 Reviewed by Ian Gifford 09/27/2025
It’s been a while since I’ve penned an album review, but sometimes you just need the right album to come along to inspire the writing bug, and Tom Dunphy’s debut solo release, Everything Was New, is one such album. I’ve been thinking about it since I first dropped the needle and decided that it’s something that should be shared.
As one half of the husband and wife writing duo for London’s favourite Honky Tonk band, The Rizdales, Tom is no stranger to writing a great song. This collection features five fresh Tom Dunphy originals, as well as some reworked tracks and a single cover song. The album is a stripped-back classic country record with songs that sound like they could have been written by Marty, Merle, Hank, or Willie themselves, but with Tom’s unique vocal styling. Tom covers the acoustic guitar and upright bass duties deftly, with the added talents of Toronto session stars, Steve Briggs on electric guitar and Burke Carroll on lap steel (both of the Brothers Cosmoline/BeBop Cowboys).
This overall tone is in stark contrast to the rocking Rizdales sounds we are used to, but is reminiscent of the early writers that inspired that sound. The no drums approach, coupled with the lightly strummed acoustic guitar and twangy colourings of the Telecaster and the steel, takes you back to the early days of the Grand Ole Opry and the records that were getting the artists there! It feels like Tom could have been born in a different era, yet he writes with contemporary themes and issues at heart.
Highlights for me are the first single, the lively “You Make me Shake” or “September is Gone” which provides some vivid images of the autumn and the striking line “They say new life begins with the spring, ours will begin with the fall”; and the rework of Tom’s old band’s single The Juke Joint Johnny’s’ – “Leaving Train” which has had new life breathed into it by both Steve and Burke’s contributions.
This album is true country music that reaches the same passion and emotions as its American predecessors. While it contains the expected themes of breakups and beer drinking, it’s never hokey or kitschy, it’s just a good listen from front to back, of some well written and well executed tunes, where even the lone cover (“Song to a Dead Man” by T-Bone Burnett), which the album is named after a line of, doesn’t seem out of place.
If I had to give it a Star Rating, it would be 5 Stars, because I simply can’t find anything wrong with it. It’s a record I could play over and over again and be transported to some old diner in Nashville at 3:00 am, with the jukebox gently humming in the corner.
This is the sixteenth in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile the Port Stanley Festival Theatre.
Q. When was your company founded? By whom and why?
In 1978, Jim Schaefer became the founding Artistic Director of the Port Stanley Summer Theatre, bringing live summer theatre to the North Shore of Lake Erie. For forty-seven years, the Port Stanley Summer Theatre has provided the community with entertainment in the Village Hall.
Q. Is your company best described as professional or not-for-profit community theatre?
A registered not-for-profit charitable organization managed by a Board of Directors, elected by the members of the organization at the Annual General Meeting.
Q. What venue do you use to stage your productions?
The Grace Auditorium is located inside the former Town Hall building on the North Shore of beautiful Lake Erie in Port Stanley, Ontario. Capacity: 202 seats, Tiered theatre-styled seating, 30′ x 20′ stage, full inventory of lighting and sound.
Q. Does your company have a Mission or Statement of Purpose?
Our Mandate is to produce appealing summer theatre that highlights Canadian works in drama, comedy, and musical comedy, along with other celebrated works.
Our Mission Statement is Create Inspire Develop Sustain.
Q. Does your company have a Board of Directors and paid staff?
Yes, both a Board of Directors and paid staff. The paid staff consists of Liz Gilroy, Artistic Director, Tony Sclafani, General Manager, Joe Recchia Production Manager, Denise Lunn, Advertising and Marketing, and other part-time staff.
Q. Tell me about your 2025 Season. Did it have any underlying theme?
The 2025 summer season consisted of six Canadian productions, including the world premiere of goldfish by acclaimed actor and writer Steve Ross. Five Musical Mondays on the Pat and Ali Shakir patio, where you could enjoy the best view in town of the harbour and great live music. New play development is a priority. The Summer Festival Theatre season runs from May to September, with season subscriptions going on sale in November.
Q. What show(s) will you be staging this fall (September to December)? Tell me a little bit about each.
The Port Stanley Festival Theatre hosts a Playwrights’ Festival every September, helping to develop new Canadian stories. This year, it took place from September 18 to 20, featuring three nights of FREE Public Readings as we developed new Canadian stories. PSFT presented three new Canadian plays, and patrons had the chance to be part of the creative process and hear brand new scripts from some wonderful playwrights. We’ve got a thriller from Steven Gallagher, Deadly Memories, a charming folksy comedy, Harts Crossing, by Tracey Hoyt, and a brand-new Norm Foster play, the hilarious Ship To Shore.
The Dreamboats, October 4, 2pm and 7:30pm. Dive into a musical time machine with The Dreamboats as they bring back the magic of classic, original rock ‘n’ roll! Infusing the timeless sounds of the ’50s and ’60s with a fresh, contemporary energy, this Canadian quartet promises an afternoon and evening of nostalgic melodies and electrifying entertainment.
The Fretless featuring Madeleine Roger, November 8, 2pm and 7:30pm. A Canadian band known for its unique blend of folk, classical, and Celtic traditions. A one-of-a-kind folk kitchen party experience! Their ensemble of two fiddles, a viola, and a cello produces a rich, multi-layered, and distinctive percussive sound that redefines contemporary folk music.
A staged reading of A Christmas Carol by Charles Dickens, adapted by Liz Gilroy. Saturday, November 29, at 1pm and 7pm. It’s back and it’s bigger and better than last year! A wonderful yuletide experience for the whole family.
Blue Suede and Rhinestones: Dolly Meets Elvis, Saturday, February 14, at 2pm. Step into a world of musical imagination with this new show to the PSFT stage. An unforgettable tribute to the King of Rock’ n’ Roll and the Queen of Country.
Plus, we present musical entertainment almost every Saturday between October and May. Check our website http://www.psft.ca for details.
Q. Do you have any thoughts about the London area theatre community and your part in it?
PSFT is proud to be part of the vibrant theatre community in the London area and is deeply grateful for the community’s ongoing support of the arts. We continue to be a welcoming space for local theatre/art lovers to see, hear, and celebrate incredible Canadian talent. PSFT is excited to contribute to the rich cultural landscape by bringing Canadian stories to life locally in the Port Stanley community. These stories are waiting for you — our audience — to experience, connect with, and be part of them.
For more information about the Port Stanley Festival Theatre and to purchase tickets, visit https://psft.ca/
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/
The family of Nick Panaseiko Sr., widely known as PROMOMAN and celebrated as one of Canada’s most passionate concert promoters, invites friends, family, and fans to a Celebration of Life on Sunday, September 28th at Eastside Bar & Grill.
This special afternoon will honour Nick’s remarkable legacy in music and entertainment, reflect on the connections he created, and celebrate the countless lives he touched. Nick’s career and charisma made him a true icon — and whether you knew him personally or through his stories, you were never more than a few degrees away from his influence.
Event Details:
Location: Eastside Bar & Grill
Date & Time: Sunday, September 28th, 11:30 AM – 5:00 PM
Schedule:
11:30 AM – 1:00 PM: Social & Snacks
1:00 PM: Eulogy and Speeches
Live Music to Follow (Running on Rock N’ Roll Time) featuring Shelly Rastin and Laura Gagnon Music
(Pictured: Shelley Rastin. Rock Solid Images)
(Pictured: Laura Gagnon)
Nick Panaseiko Sr. leaves behind a legacy of passion, music, and community spirit that will continue to inspire for generations. This event will bring together all those who felt the power of his connection — the true “6 Degrees of Nick.”
“My dad wasn’t just a promoter, he was a storyteller, a connector, and a friend to so many,” said his son, Jay Panaseiko. “This celebration is not just about remembering his life, but about honouring the joy, laughter, and music he shared with all of us.”
During his career in the music business, Nick Panaseiko rubbed shoulders with the titans of the music industry. Here are just some of them.
(Nick with Canadian guitar great, Domenic Troiano)
(Pictured: Nick with The Who’s drummer, Keith Moon)
(Nick with Canadian rock legend, Ronnie Hawkins)
(Pictured: Nick with members of Kiss. Nick was instrumental in promoting the band.)
(Nick with Alice Cooper)
(Nick with the members of Canadian rock band Rush)
(Nick with Liberace)
Celebration of Life on Sunday, September 28th at Eastside Bar & Grill
This is the eleventh in a series of Q&A Profiles with London area theatre companies and groups. Today, we interview Chase R. Montgomery, founder of Mavis Productions.
Q. When was your company founded? By whom and why?
Mavis Productions got its start in 2019, but it really came into being in November of 2022 as the pandemic lockdown came to an end. It was founded because I wanted to bring more performing opportunities to South Western Ontario communities in the form of musicals and plays of all kinds, both famous/family and infamous/cult.
Q. Is your company best described as professional or not-for-profit community theatre? Or both?
Mavis Productions is best described as a touring community theatre company that visits multiple communities with our productions. It is our hope to continue to make shows bigger and bigger so that one day, grand-scale productions can be accessible to everyone during these hard financial times.
Q. What venue(s) do you use to stage your productions?
As a touring company, Mavis has several venues we currently call home.
London: The Wolf Performance Hall, Joanne and Peter Kenny Theatre, and Paul Davenport Theatre.
Fergus: The Fergus Grand Theatre.
Chatham: The Kiwanis Theatre.
St. Thomas: The Princess Playhouse.
Alymer: Old Town Hall Theatre.
Brantford: The Sanderson Centre of Performing Arts.
Q. Does your company have a Mission or Statement of Purpose?
To bring new and unique entertainment, created by our communities for our communities.
Q. Does your company have a Board of Directors and paid Staff?
Mavis is comprised entirely of volunteers from many of our South Western Ontario and Michigan, USA communities
Q. Tell me about your 2025-2026 Season. Does it have any underlying theme?
Our 2026 Spring Season focuses on the struggles of Misfits.
Those of us, young and old alike, who just don’t fit in. Whether it’s because they were born different or thrown into circumstances that cause them to feel alone and struggle through this world.
However, through sheer determination and self-reliance (or the help of newly found friends who are also misfits), they find their place in life and are ready to take on the rest of the world and the monsters that brought them to ruin.
We feel this resonates with Mavis and our communities, as it is a long-standing theme of our past seasons, and we are so excited to be bringing it forward again with these three musicals:
The Lightning Thief: A Percy Jackson Musical (London and Fergus)
Evil Dead the Musical (London)
Joseph and the Amazing Technicolor Dreamcoat (Fergus and Brantford)
Q. What show(s) will you be staging this fall (September to December)? Tell me a little bit about each.
London Oct 9-18:
Richard O’Brien’s The Rocky Horror Show
This cult classic has become not only a long-standing tradition for Mavis but also one of London’s favorite annual events. As this will be the 4th year Mavis has brought this show to life for our London community, AND it is the 50-year celebration of the film, we cannot express the excitement and effort being put into it.
The show tells the story of young lovers Brad Majors and Janet Weiss, who find themselves in the company of a strange doctor (whose scientific endeavours are as strange to them as the clothes he wears), his servants, and a party full of unique characters. To say that it is a tale of Frankenstein with flair would be an understatement!
With so much history and so much love from the world, especially for the iconic songs like Time Warp and Sweet Transvestite, Rocky Horror will delight any and all with its pleasurable ways.
Fergus
November 13-16
Tom Stoppard’s The Real Inspector Hound
Moon and Birdboot, two drama critics, arrive to watch the performance of a new detective play, a parody of the conventional stage thriller. However, the private lives of the critics become inextricably mixed with those of the play’s characters until Moon is shot dead and the real Inspector Hound proves to be…?
Brantford
December 27 and 28
Andrew Lloyd Webber’s Sunset Boulevard the Musical
In her mansion on Sunset Boulevard, faded silent-screen goddess Norma Desmond lives in a fantasy world. Impoverished screenwriter Joe Gillis, on the run from debt collectors, stumbles into her reclusive domain.
Persuaded to work on Norma’s “masterpiece,” a film script that she believes will put her back in front of the cameras, Joe is seduced by her and her luxurious lifestyle. Joe becomes entrapped in a claustrophobic existence until his love for another woman leads him to try to break free with dramatic consequences.
Q. Do you have any thoughts about the London area theatre community and your part in it?
The London community has been among the greatest communities to create an experience that we have ever had. For four years, they have welcomed our unique artistic views with open arms, coming by the thousands to our adult/cult shows and our family shows. London is truly a city that embraces all forms of expression.
For our part, Mavis Productions will continue to push the envelope to create bigger and better shows for all our communities from all walks of life. It is a privilege to produce these shows, and we will continue to honor it.
Vocalist and guitarist, Anne Moniz, is one of London’s most prolific musicians. Chosen by London music fans to be a member of the Forest City London Music Awards Fantasy Band twice (2021 and 2022), Anne continues to be one of the city’s busiest and in-demand musicians. These days, she is making music as the lead vocalist for the nine-piece Tell It To Sweeney, and as a duo with her companion and accompanist Daniel Oniszeczko.
The Beat Magazine 2025 caught up with Anne in between gigs. What follows is an edited Q&A profile.
Q. Where were you born? How old are you? How long have you lived in London?
I was born right here in London, Ontario, at St. Joseph’s Hospital. I am old enough to know better. I have lived in London for most of my life, other than some stints in Woodstock and Toronto, Ontario.
(Pictured: Anne Moniz, Age 5)
Q. Was yours a musical home? Did you have any professional training, or are you self-taught? A bit of both? Could you tell me about your early musical endeavours as a child and teenager?
My parents’ record collection was impressive. Classical, Latin, and flamenco, prog rock, and disco. My love for music is well-earned. My mother played piano and sang, and my father played a bit of guitar. They both drew, painted, and wrote poetry. They are both very creative people and were always hugely supportive of my interests as I grew up. I was very lucky. I took guitar lessons from Greigg Fraser for a few years out of the downstairs of Matt’s Music on Wellington Road. I sang in the choir all through school. I have a working knowledge of musical theory. It can open up a lot of doors both compositionally and professionally, but I didn’t like learning it. I naturally possess an excellent ear, and I have had some good teachers who encouraged and facilitated that.
When I was about eleven or twelve, my parents brought me to folk open stages where I met the late and great Dennis Humble, as well as Steve Brown. I performed at Harrington Music Fest when I was about twelve, which was a very big honour. The folk community around here is exceptionally welcoming and kind. As a teen, I very much got into a lot of terrible trouble. When I was eighteen or nineteen, I was in a horror punk band with Toronto-based artist Nyssa Komorowski called The Cha Chas, and we performed around town. We had a room at The ‘Wick and spent a lot of time there.
Q. Do you remember the moment when you decided that music was going to be a big part of your life? How long have you been playing music professionally? Do you consider yourself a full-time or part-time musician?
It was sitting a little too close to the TV one night, absolutely glued to watching Bonnie Raitt perform live on some show when I was six. One of my parents asked if I wanted to do that and I said Yes. I have been playing music ever since. I have always made some money doing it, so it depends on your definition of professionally. At the rate I am playing music nowadays, I would not be able to sustain myself whatsoever in terms of income. Though I do consider myself a full-time musician, in that I am always being a musician, I definitely prefer doing things at my own pace and am really picky about the things I put out and participate in. It’s too personal for me to flog staunchly as a business, as some others are capable of doing. It just feels disingenuous for some reason when I try to do it.
Q. Other than vocals, do you play any other instruments?
I play guitar and some bass. I have a working ability on piano, and actually also Celtic harp. I took some lessons with Roger Muma when I was young as well. He taught Jennifer White, who is a touring Canadian harpist. In school band, I played clarinet, and I am actually taking it up again now in my spare time.
Q. What have your musical influences been over the years?
I have a penchant for old punk rock, Misfits, and The Stooges. Eighties goth rock like Bauhaus, and Sisters of Mercy. Of course, all the famous songwriters, Joni Mitchell, Neil Young, and John Fogerty, to name but a few. I’ll listen to anything. Lately, I have been really into Turkish psychedelic bands like Şatellites and Altin Gün. My favourite album and guilty pleasure is the 1997 club hits compilation Pure Energy Vol. 4, featuring the track “Let Me Clear My Throat” by DJ Kool. If anybody is reading this and has a physical copy they want to part with, please let me know!
Q. Tell me about the various groups and musicians you have played with since you started playing professionally. Who are you currently playing with?
I’ve played in many bands over the years. Of course, there is The Cha Chas, which I mentioned earlier. We had songs like “Zombie Mambo”, “My Boyfriend’s Dead” (parodying of course “My Boyfriend’s Back”, sung originally by The Angels in 1963), and “Vampire Man”. All love songs. We were rather cheeky. I had a brief career as the lead vocalist for The Carnies many years ago while Jaime Short was living elsewhere (RIP). I got told way too often that I have too nice a voice for punk rock, and at the time, I did not take that as a compliment.
After that, I was in a rock band called Wonderjunk. We were very LOUD. We got to open for Spookey Ruben at Bovine Sex Club back in like 2009, which is a bit of a blurry memory. After that, I was in an indie band called High School Sweetheart with Jessica Vanden Boomen. We won a contest through FM96 to record a couple of songs at EMAC Recording Studios, and we were guests on air. She was my best friend. We broke up because we got into a heated argument about me prioritizing school over the band (I could definitely not do both at once).
After I graduated, I played bass for Leanne Mayer’s band Hollow Romance for a bit. I tried to make a go at a full-band rock version of some of my original music, which was Nimway. It had a lot of promise and was gaining traction. We were asked to play at the Demics anniversary showcase at Call The Office, which was my personal favourite highlight. My marriage completely dissolved in 2020, and sadly so did the band.
Nick Elie and I were also the rhythm section for the live, psychedelic, improvisational band Prism Tape Philosophy, led by Howie Kittelson. That man can tell a story and is the finest radio show host I have ever heard. I played rhythm guitar and sang backup for Mad Moxxis for a few years, and we did some really good songs and music videos together. I left after we had a hiatus. I was doing too much stuff and had to reprioritize. Nicole is still a good friend. I sing backups now for Thames Rivieras, which is Pete Dekokker’s baby. Everybody sings. I call it a “punk rock opera” act, which Pete gets a kick out of, but you have to hear it. We actually have a new album coming out soon.
I am the lead vocalist for nu-swing band Tell It To Sweeney, which is a nine-piece funk, disco, jazz-infused wild child. That band saved my life after Nimway fell apart. I get to be a red-hot mama and sashay around the stage, shaking my butt and yelling at people. It’s a lot of fun, and people love it, which is the best part. We have played Northern Lights Festival in Sudbury, Elora Riverfest, and lots of other cool gigs.
And I am playing folk music again with my companion and accompanist, Daniel Oniszeczko, as Anne Moniz. I am on my signature twelve-string acoustic, and he has written some excellent basslines to my songs. I write sad music, but there is definitely a place for it. I have had people walk out of my shows in tears, and many people come up and thank me for the catharsis my music has brought them. I am hoping to finally record it soon, but I am being very picky about things.
Daniel and I also have an instrumental project we call Photoplay. It is a mix of classical- almost klezmer-sounding- assorted film soundtrack music. That is the best way I can describe it. It is so involved technically that we haven’t done much with it, but we would love to get it recorded as well. Many of the bands I discussed have music out for distribution, so please check them out online if you are curious.
Q. Tell me a little bit about any recordings you have made in your career.
I have made it onto a lot of local DIY and indie recordings over the years, as well as studio recordings. High School Sweetheart has a debut self-titled EP from 2012, and a subsequent full-length called There I Was. Nimway has a 2017 self-titled EP still in distribution. I am sitting on a full-length, but I can’t bring myself to release it. I was not in a great place when it was recorded. In 2019, Hyper Squirrel Productions released a nu-metal concept album called DreamWake that features different musicians and vocalists from around the world, including me.
I am featured on Westminster Park’s 2020 album Dark Night, Nearly Dawn on guitar and vocals. They are one of my favourite London bands. Mad Moxxis has music still in distribution. We only ever released singles, most notably “Bad Karma” in 2022. That is a good song. Thames Rivieras released a full-length debut in 2022 called Whatnot Jive, and we have another one on the way.
Tell It To Sweeney released two singles earlier this year: “Hurts My Neck”, which has an accompanying, very DIY music video on YouTube, which was a lot of fun to make. Also, “Behind The Veil” features a voice clip from Boris Karloff. I wrote to his daughter, Sara, and negotiated permissions, and it was a really wonderful experience. I don’t know what compelled me to reach out like that, as I am usually quite shy, but I had to have it. We played a show recently, and people knew the words to our 2020 single “The Countess”. That was the coolest thing I’ve ever experienced.
Q. What projects are you currently pursuing? Do you have any gigs coming up in the next month or two you would like our readers to know about?
Right now, I am the most serious about Tell It To Sweeney, as well as my original acoustic music. Lots of writing, solidifying, and pre-production. Getting our feet wet again, playing live. Refining the live show. Getting my groove back. Daniel and I are playing at The Richmond Tavern on October 16th as guest musicians for The Inside Outside, a cultural showcase hosted by Tami Kegley. October 24th is Great Balls of Fire, a fundraising show benefiting Young Adult Cancer Canada (YACC) that runs from 4pm to 1am. Both Photoplay and Tell It To Sweeney are playing at this event.
Sweeney is also playing a Hallowe’en party on November 1st at Frontier Ghost Town, an old western movie set-turned-campground in Durham County. We’ve been invited to play Come Together, their annual Labour Day weekend music festival, for the past several years, and it is always a great time. On November 28th, Daniel and I are hosting our last full night of acoustic music at Dawghouse Pub, and my friend Nyssa Komorowski from The Cha Chas is coming to open for us. You can find her stuff on Bandcamp! Other than playing a couple of private events, that is it for me in 2025.
Q. In addition to your musical endeavours, are you involved with any other arts organizations or activities in the London community?
I am not! Truthfully, at this point in my life, I am spending a lot of my time cultivating solitude and personal reflection. The last few years have brought many changes that I am still negotiating. I am rewiring my brain, rewriting my story, creating some peace. It is at the same time relaxing and hugely uncomfortable. I always answer my messages, though, so please say hello sometime. I love to share a laugh.
Q. Is there anything else you think our readers should know about Anne Moniz the musician and Anne Moniz the individual?
I graduated from the Ontario Institute of Audio Recording Technology (OIART) in 2015 and have a few production credits (one of those is Leanne Mayer’s debut EP, 2018’s “Bittersweet Remedy”, coproduced with Michael Marucci). I am really into yoga, cats, cartoons, food, plants and flowers, cemeteries, tin toy robots, espresso, and I speak French.
Prism Tape Philosophy performing at The Richmond Tavern, 2021. Left to right: Howie Kittelson, Kevan Carmen, Nicholas Elie, Anne Moniz, Shane Wilcox, Brent Jones. Photo by Vera Kittelson.
Thames Rivieras performing at Palasad Socialbowl, London, ON, 2024. Left to right: Pete Dekokker, Anne Moniz. Photo by What Wave Dave.
Tell It To Sweeney performing at Polish Hall, Brantford, ON, 2024. Left to right: Me, Kyle Gagné, Matthew Greeson, Mitch Brolese, Ryan McNevin. Photographer Unknown.
Anne Moniz and Daniel Oniszeczko performing at The Richmond Tavern, 2025. Photo by Billy Sastard.
Nimway performing at Rum Runners, London, ON, 2019. Anne Moniz. Photo by Jason Roorda.
Tell It To Sweeney performing at Rib Fest, 2025. As you look left to right: Mitch Brolese, Matthew Greeson, Anne Moniz, Kyle Gagné. Photo taken by Bob Klein.
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.
The Beat Magazine 2025 