Reviewed by Vicki Stokes, Entertain This Thought. (Reprinted with the permission of the author.)
((Photo: Company in 42nd Street. Photo by Hilary Gauld.)
Do you ever get annoyed when your purse or pocket gets weighed down with small change? Today, those nickels and dimes seem useless when a loaf of bread costs dollars, not coins. In 42nd Street, now on the Main stage at Huron Country Playhouse, the talented, glamorous dancers are willing to stick some gum on a string to fish a coin from a city grate. They are dreaming of their next meal, avoiding thinking about what will happen if they can’t pay their rent. And they are willing to go to great lengths to get their show, Pretty Lady, on the stage.
Set during the Great Depression, 42nd Street tells the story of a highly talented Peggy Sawyer who misses her opportunity to get cast in Pretty Lady. Dorothy Brock, an aging star, is guaranteed the lead because her beau is financing the musical. The chorus girls take a liking to Peggy and help her get cast in the show, and when Dorothy is injured, the show is threatened unless Peggy can be convinced to learn the role in a hurry.
42nd Street was conceived as a novel in 1932, which became a feature film in 1933. It wasn’t until 1980 that the musical came along, full of familiar musical hits. If you’ve ever found a twenty-dollar bill in an old jacket and hummed to the tune of “We’re in the Money”, then you are sure to recognize a few more of the musical numbers in this show. 42nd Street represents the theatre district in New York.
Hadley Mustakas plays Peggy Sawyer, while her mother, Jackie Mustakas, plays Dorothy Brock. It’s an interesting dynamic in a musical about rehearsing for a musical, that a real-life mother and daughter play an up-and-coming and a has-been. These are merely roles they play, as Hadley has become quite experienced (for Drayton Entertainment, she has been in 2 Pantos and Fiddler on the Roof), and Jackie is still quite active in theatre. And both are very talented.
The rest of the cast is fabulous, and a few are outstanding. Gabrielle Jones impresses as Maggie, one of the writers of Pretty Lady. She is motherly to the chorus girls and can belt out show tunes with ease. Jay T Schramek, as Andy Lee, the Pretty Lady choreographer, is a mesmerizing tap dancer. The performances of the ensemble are top-notch, and Director/Choreographer Michael Lichtefeld brings out the very best.
(Photo by Hilary Gould.)
The set evokes a Broadway feel with the neon-look signs and various backdrops. You are taken to a restaurant, brought to a train station, and carried away in a Pullman car. There is a musical number that uses shadows to great effect. The music is captivating, striking the perfect mood. The contemporary costumes reinterpret 1930s fashion, featuring bows, silky fabrics, full-length body-hugging dresses, and daring short skirts. Suits and dress pants are standard for the men in the cast.
This feel-good, toe-tapping musical should be a hit this summer, not for the plot but for the incredible job of the cast and crew.
42nd Street continues until June 27th at Huron Country Playhouse, Mainstage. Tickets are available by calling the Box Office at 519-238-6000, or Toll-Free at 1-855-372-9866, or by checking www.huroncountryplayhouse.com for availability.
42nd Street Music by Harry Warren Lyrics by Al Dubin Book by Michael Stewart and Mark Bramble Directed and Choreographed by Michael Lichtefeld Musical Director – Jeannie Wyse Performed by Hadley Mustakas, Josh Graetz, Jackie Mustakas, Eric Craig, Gabrielle Jones, et al. Produced by Drayton Entertainment Mainstage, Huron Country Playhouse, Grand Bend – June 10 to June 27, 2026
Reviewed by Mary Alderson Entertain This Thought. (Reprinted with the permission of the author.)
(Pictured: Devon Michael Brown with members of the company. Photo: Ann Baggley.)
The Saints are the people of the Save-Our-Souls Mission, a Salvation-Army-like group, who parade the streets of New York with their meagre marching band, trying to bring lost souls back to their Mission, for a Bible-thumping soul-saving meeting.
The Sinners are the guys: gamblers, who roll the dice and try to find a location to hold their next craps game. As well, there is another group of sinners, the dolls: women who dance in skimpy clothes at the Hot Box Club.
We don’t doubt the sincerity of the Mission folks for a minute. But soon we learn that the sinners have a strong ethical code, too. The guys never welch on a marker, meaning they never try to sneak out of keeping a promise or repaying a debt. As well, the dolls want to live moral lives. Their leader, Miss Adelaide, wants nothing more than to end her 14-year engagement with Nathan Detroit, get married and have children.
This is a good old-fashioned musical with everything. There is a great plot with lots of laughs and even some romance, there are great songs and wonderful singing with rich, powerful voices, and there is the most amazing dancing you’ve ever seen. This well-cast production is now on stage at Stratford Festival Theatre, running until November 1, and if the opening night audience is any indication, it will be extended by repeat customers wanting more.
About 22 years ago, when I first started writing reviews, I was often asked to critique community theatre shows. I had just returned from a trip to Broadway when I wrote about a very good community theatre production, and I was quite kind to them. However, the starring amateur actor insisted that their production “could stand up to anything on Broadway.” When I inadvertently grinned at that comment, assuming he was joking, he took offence.
It’s a long way to New York City from Stratford in southwestern Ontario. But Guys and Dolls, now on stage at the Stratford Festival, has completely closed that gap. If you have never seen a big-time musical on Broadway, head over to Stratford to see Guys and Dolls. This is better than Broadway.
(Pictured: Members of the company. Photo: David Hou.)
As I tried to explain to the amateur star, Broadway shows have the whole package. The orchestrations are perfect, and the music surrounds and fills the audience. The lighting, costumes, and sets draw you in. And the talent – acting, singing and dancing – is perfect.
Director Donna Feore, as she did in 2017, has constructed the whole package, filling it with expertise and energy. And the audience on opening night was appreciative. The show was stopped with a long and loud standing ovation for the powerful dance number.
Among the saints and sinners are two couples — gambling organizer Nathan Detroit who’s had the long-term engagement to Hot Box Dancer Miss Adelaide, and Sky Masterson, a lucky gambler, who takes missionary Sarah to Cuba on a bet. The story unfolds as the two unlikely couples come together.
Jennifer Rider-Shaw leads a strong cast as Miss Adelaide. Her comedic talents, combined with her powerful singing voice, command the audience’s attention whenever she’s on the stage. She has the New York accent down pat. Her “Adelaide’s Lament” has the audience amused. Later, she sings “Take Back Your Mink” with the Hot Box girls. Mark Uhre as Nathan Detroit keeps the audience laughing as the loveable rogue. In some productions, one has the impression that Miss Adelaide only wants to get married for the sake of marriage. But with this couple, the audience is convinced that they really love each other.
(Pictured: Olivia Sinclair-Brisbane and Jennifer Ryder-Shaw. Photo: Dan Hou.)
Olivia Sinclair-Brisbane as Sarah Brown looks the missionary very much with her innocent face and sweet smile. Dan Chameroy gives us a Sky Masterson who is equally charming and deceptive. He makes you believe that he reluctantly fell in love with Sarah. Chameroy sings “Luck Be a Lady”, reminiscent of Frank Sinatra.
Steve Ross as Nicely-Nicely Johnson and Gabriel Antonacci as Benny Southstreet are the hilarious sidekicks. Ross’s gospel solo at the Mission, “Sit Down, You’re Rockin’ the Boat” is rollicking good fun. Stephen Patterson as Brother Abernathy, the Mission leader, sings a beautiful rendition of “More I Cannot Wish for You” that brings tears to your eyes. Juan Chioran as Big Jule, the tough-guy gambler, adds to the urgency of finding a gambling hide-out.
Special shout-out to Nehassaiu deGannes as Lieutenant Brannigan, for her performance at the beginning of the show. She aims her weapon and fires a bullet straight into a ringing telephone, causing its demise. Her no-nonsense approach puts the fear in everyone. No one in the full-to-the-rafters theatre is going to let their phones ring during the show.
The high-energy dancing and intricate choreography with jumps, flips and spins is what you’ll remember from Guys and Dolls, especially when the guys roll the dice in “The Crapshooters Dance”. With these guys moving all over, one doesn’t know where to look! There is also amazing dancing in the exciting Havana scene, and the women shine as high-kicking Hot Box girls. In this Broadway-calibre production, you will actually see what a showstopper is.
So, what happens when the lives of saints and sinners collide? You need to hurry and buy your tickets for Guys and Dolls to learn the answer. It will sell out fast, even if it’s extended.
Guys and Dolls continues in repertory until November 1 at the Festival Theatre, Stratford. Tickets are available at the Stratford Festival at 1-800-567-1600, or check www.stratfordfestival.ca
Photo: Devon Michael Brown as Rusty Charlie with members of the company, Guys and Dolls. Stratford Festival 2026. Photo: Ann Baggley.
Guys and Dolls Story and Characters by Damon Runyon Music and Lyrics by Frank Loesser Book by Jo Swerling and Abe Burrows Directed and choreographed by Donna Feore Musical Direction by Franklin Brasz Performed by Jennifer Rider-Shaw, Mark Uhre, Olivia Sinclair-Brisbane, Dan Chameroy, Steve Ross, Stephen Patterosn, Nehassaiu deGannes, et al. Festival Theatre, Stratford May 26 to November 1, 2026
What follows is a Q&A Interview with Toni Wilson, Director of Mamma Mia playing at the Palace Theatre from May 28 to June 7 . The Interview was conducted by The Beat Magazine’s Publisher & Content Manager, Richard Young.
Q. Tell me about Mamma Mia! – backstory, author, performance history, etc.
Mamma Mia is a story of love, family, and friendship built around the musical hits of ABBA. It takes us to a beautiful Greek island where we can escape the complicated world in which we live – we all need a little glitter and joy once in a while.
Mamma Mia is based on the songs of ABBA, a Swedish pop/dance group active from 1971 to 1982 and one of the most popular international pop groups of all time.
Mamma Mia is a jukebox musical written by British playwright Catherine Johnson, based on songs recorded by Swedish group ABBA and composed by members Benny Andersson and Björn Ulvaeus.
In 1997, Judy Craymer commissioned Catherine Johnson to write the book for the musical. In 1998, Phyllida Lloyd became the director of the show, with choreography by Anthony Van Laast.
Mamma Mia premiered at the Prince Edward Theatre in the London West End on April 6, 1999 then staged at the Royal Alexandra Theatre in Toronto on May 23, 2000, followed by a Broadway production on October 18, 2001
(Photo: Ross Davidson.)
Q. What prompted LPL to select Mamma Mia! for its Spring production?
LCP was looking for a big-name show to complete their 2025/2026 season, and both Jeff Holbrough, Music Director, and I have been waiting for the opportunity to bring Mamma Mia to community theatre. It has great music, engaging characters and lots of dancing, and we knew it would be a whole lot of fun.
(Pictured: Keyboards Annette Gilbert, Music Director Jeff Holbrough, and Director Toni Wilson.)
Q. Could you provide a brief plot synopsis?
Sophie is preparing to marry her fiancé, Sky, on a beautiful Greek island where her mother, Donna, runs a small hotel. Wanting her father to walk her down the aisle but unsure who he is, Sophie secretly reads her mother’s diary from the summer she was conceived 20 years ago and invites her possible dads to her wedding. The men, Sam, Harry and Bill, arrive, unaware of the real reason they were invited to the wedding. At the same time, Donna’s former 1970’s rock bandmates, Tanya and Rosie, arrive to support their friend Donna and her daughter Sophie. Donna is thrown into a state of panic when she discovers that her old flames have arrived for the wedding, and Sophie begins to question her marriage to Sky. In the end, all is resolved, and the play ends with a wonderful Greek island wedding.
Q. Mamma Mia! Is an obvious crowd favourite and it has been staged several times by different troupes in the London area in recent years. What sets this production apart from the others?
Mamma Mia has been a crowd favourite for many years.
The cast of 35 is comprised of two generations of people from the ages of 20 to 75. They offer so many different perspectives on an age-old story of love and marriage. After spending so much time together, we have become our own family and are loving every minute of it.
This production incorporates a large ensemble that provides a backdrop to the story with their wonderful vocals, their creative movement throughout the story and their ongoing interest in the lives of the main characters. The cast will have a hard time saying goodbye on closing night.
(Photo: Ross Davidson.)
Q. I understand the show is officially SOLD OUT before it begins. How do you account for this?
Mamma Mia sold out well before the run of the show, and this is why.
People want to be entertained, people want to hear good music that they recognize, people want to be part of a big cast that has fun, people want to suspend their disbelief and dream of a world like the one we create in Mamma Mia – full of smiles, glitter, dance and music. People want to dream…….so ABBA, thank you for the music.
(Pictured: Director Toni Wilson and Choreographer Laura Wood.)
Q. Can you comment on the Cast – Leads and Ensemble?
I am the luckiest director – over 100 people from our London Community and beyond auditioned for this show. They all wanted to be part of the magic of Mamma Mia.
All of my leads are very strong and perfect for the parts they play. They came to rehearsal with a very professional attitude, knowing their lines and music early in the process and have set a precedent for all of the cast members. They are also kind and generous in their work with each other and with the ensemble, and appreciate the crew that makes them look so very good.
I love them all very much.
Q. How would you describe the sets, props and costumes of the play?
David Long is my set designer, and he is a gift to the Palace Theatre. He is creative, hard-working and has brought my vision of Mamma Mia to life with a beautiful set. You will feel as if you are on a Greek Island and part of the story.
Both my costumes and properties teams have collaborated and worked together with our artistic team to elevate the vision of Mamma Mia – a bright, colourful summertime feel. Sending heartfelt thanks your way.
Lighting and sound are also an integral part of the success of a big musical production. I have listened to their suggestions and trust their expertise to bring Mamma Mia to life. The technical pieces of the show add so much depth to the performances.
(Photo: Ross Davidson.)
Q. What can audiences expect from Mamma Mia?
Mamma Mia is going to grab you from the moment the curtain opens until the end when you join in with the singing and dancing during the encore. Be ready to be entertained and leave the theatre feeling like a dancing queen.
Q. Is there anything else you think readers should know about the show?
Mamma Mia has been a wonderful experience from beginning to end. Having my vision come to life depends upon the collaboration of both the cast and crew so that everyone respects the contributions we all make in the creation of a musical theatre production. The people I have brought together for this project, both cast and crew, have been outstanding in developing positive relationships with one another. Their collective effort to do their very best for the good of the show amazes me, and I am grateful.
I think we have created a once-in-a-lifetime experience for both the cast and crew of Mamma Mia and for our sold-out audiences. We are living the dream together.
(Photo: Ross Davidson.)
ARTISTIC TEAM: MAMMA MIA!
Director: Toni Wilson
Producers: Cathy Weaver and Mike Jewison
Music Director: Jeff Holbrough
Choreographer: Laura Wood
Stage Manager: Anita Goodfellow
CAST: MAMMA MIA!
Melissa Metler: Donna Sheridan
Sophie Sheridan: Jordyn Taylor
Rosie Mulligan: Angela Southern
Tanya Cresham-Leigh: Bronwyn Powell
Sam Carmichael: Jim Noonan
Harry Bright: David Bogaert
Bill Austen: Sam Shoebottom
Sky: A. J. MacDonald
Ali: Kate Deman
Lisa: Emma Vanderkuyl
Pepper: Ethan Couchman
Eddie: Tate Stadnisky
Father Alexandrios: Jim Brock
ENSEMBLE: MAMMA MIA!
Michelle Brock
Lisa Shelton
Sue Bruyns
Karen MacDonald
Janice Van Dasler
Megan Dow
Janet Bueckert
Hayley Kell
Lauren Brooks
Megan Gilliland
Isabel Dalimore
Kaity Adam
Jesse Grant
Rob Carver
Basil Gracious
Frank Delle Donne
Liam Sweezey
Gabriel Sizeland
Iain Guild
IF YOU GO:
What: London Community Players present Mamma Mia!
When: May 28 to June 7, 2026.
Where: Main Stage, The Palace Theatre, 710 Dundas St., London, ON.
Tickets: SOLD OUT
Interview conducted by Richard Young, Publisher and Content Manager, The Beat Magazine 2025.
(Pictured: Members of the Guys and Dolls company. Photo: David Hou.)
Full Disclosure: I’ve always been a sucker for full-scale Broadway musicals. And, before the “Drama Police” show up in my Facebook Comments, I appreciate drama and “serious issues plays” just as much as the next guy. But there’s something about musicals that attracts me to them every time.
From the opening chords of its first production number to the final bows of its outstanding Cast, the Tony Award-winning production of Guys and Dolls, now playing in previews at the Stratford Festival, is a spectacle that theatre-goers do not want to miss, if for no other reason than to allow them to escape the harrowing front-page news of 2026.
Let’s start with the stellar veteran Cast.
I would gladly pay to hear Stratford veteran actor Dan Chameroy read a phone book. His portrayal of Sky Masterson, a notoriously lucky gambler willing to bet on just about anything, is brilliant. Add to that Olivia Sinclair-Brisbane, the focus of his unrequited love, as the pious and beautiful Sergeant Sarah Brown of the Save-a-Soul Mission, and you have a winning combination.
The play’s other love story between small-time gambler Nathan Detroit, played masterfully by Mark Urhe, who runs a floating craps game in need of a location, and his long-suffering fiancée of fourteen years, Miss Adelaide, played by Jennifer Ryder-Shaw, is equally appealing.
(Pictured: Olivia Sinclair-Brisbane and Jennifer Ryder-Shaw. Photo: Dan Hou.)
The supporting cast of stereotypical small-time grifters adds an extra dimension to the story and further encourages the audience to suspend their disbelief. Characters with names like Nicely-Nicely Johnson (Steve Ross), Benny Southstreet (Gabriel Antonacci), Rusty Charlie (Devon Michael-Brown), Harry the Horse (Henry Firmston) and Big Julie (Juan Chioran) come and go on the stage with great aplomb.
(Pictured: Members of the company. Photo: David Hou.)
The ensemble actors shine in the show’s outstanding production numbers, choreographed by Stratford veteran, director Donna Feore. Stunning dance moves, accentuated by impossible gymnastic feats, leave the audience gasping for air.
The play’s costumes and sets are a joy to behold, as is expected of Stratford Festival productions. The men are dressed in garish vintage 1940s pinstripe suits, while the women look like they walked off the screen of a classic Hollywood film noir.
Sets range from a dingy New York City streetscape, a Havana nightclub, a lively cabaret, a mission, and a NYC sewer! Set changes are done quickly and seamlessly.
(Pictured: Members of the company. Photo: David Hou.)
And the music!
Under the baton of Music Director, Franklin Brasz, the cast and pit orchestra perform songs that have become part of the Great American Songbook, including If I Were a Bell, A Bushel and A Peck, Guys and Dolls, and, of course, Luck Be A Lady.
At the preview performance I attended on Saturday, May 23, audience members could hardly wait to jump to their feet to give the cast a well-deserved standing ovation amidst shouts of Bravo.
(Pictured: Devon Michael Brown with members of the company. Photo: Ann Baggley.)
To be sure, if you are a fan of musical theatre (and even if you aren’t), you don’t want to miss this outstanding production.
As a rule, the Stratford Festival presents two major musical productions each season. Last season’s box office smash, Something Rotten, returns to the Festival stage for a command performance. Featuring many of the cast members of Guys and Dolls, it’s definitely a show you want to see if you missed it last year.
Reviewed by Richard Young, Publisher & Content Manager of The Beat Magazine 2025.
(Pictured: Cast & Crew of Shrek: The Musical. Photo by Ross Davidson.)
Attending Musical Theatre Productions’ Shrek: The Musical, now playing on the Auburn Stage at the Grand Theatre, was honestly not something I was particularly excited about going into this particular evening. As a person with children, I’ve seen the original film countless times, and after sitting through several elementary school productions over the years, I assumed I had already experienced everything this show had to offer.
However, I always like my mind to be changed, and it was almost immediately! From the moment I walked into the sold-out preview performance, filled with audience members of all ages, the positive energy in the theatre was impossible to ignore.
Settling into reviewer mode, I first took note of the production design. The set itself was fairly simple, but the forest scenes were well executed and created a warm, inviting atmosphere. What truly stood out throughout the production was the lighting design by Joe Recchia. The lighting danced between shades of shimmering calm to reverberating sparkle and beautifully enhanced the mood of each scene without overwhelming the stage. Well done!
(Photo by Ross Davidson.)
The real strength of this production, however, lies in its ensemble. For a volunteer-driven community theatre project, the level of talent onstage was genuinely impressive. Under the choreography of Stephanie Pritchett, musical numbers such as “Story of My Life,” the hilarious tap-dancing “What’s Up, Duloc?”, the uplifting and powerful ensemble anthem “Freak Flag,” and the finale “I’m a Believer” were so polished and energetic that I often forgot I was watching an “amateur” theatre production.
(Pictured: Members of the Shrek Ensemble. Photo by Ross Davidson.)
The cast attacked every number with enthusiasm and confidence, creating an infectious sense of fun that carried throughout the evening. There were so many exceptional, individual performances from the ensemble that if I had to name one, I would have to name them all. That alone is well worth the ticket price.
Further into the show, I had expected Lord Farquaad, played by Leo Sigut, to appear shuffling about on bent knees as traditionally portrayed in many productions. This staging chose not to go that route, meaning the character initially took me a moment to recognize, and admittedly, some of the short jokes lost a bit of their impact. Still, it proved to be a far more comfortable choice for the actor, and Leo Sigut’s wonderful over-the-top performance more than compensated for the missing gag.
(Photo by Ross Davidson.)
One of the standout performances of the evening came from Dwight P Anderson as Donkey, who very nearly stole the show. His performance was high-energy, hilarious, and packed with physical comedy that kept the audience laughing throughout the night. Paired with Amelia Hilton as Dragon, the number “Forever” became one of the highlights of the production — a soul-inspired song that was funny, and surprisingly heartfelt all at once. (I should mention that Amelia’s costume is stunning!) I was also deeply touched by “I Know It’s Today,” performed by the three Fionas. In particular, young Fiona, played by Emily Molina, delivered such a clear and sweet vocal performance that it genuinely brought a tear to my eye. I sincerely hope to see more from her in future productions.
(Pictured: Rosalie Mattison as Princess Fiona. Photo by Ross Davidson.)
One final surprise of the evening came during intermission, when I discovered the music was being performed by a live band. I had assumed the score was pre-recorded because the sound was so seamless and professional. That revelation alone speaks volumes about the quality of the musicians involved.
Overall, this production of Shrek The Musicalis family-friendly, energetic, and genuinely delightful entertainment. Congratulations to director Brittney-Lee Lowey and to the entire cast, crew, and musicians on a thoroughly enjoyable production. You deserved your standing ovation! I loved it and highly recommend it.
IF YOU GO:
What: Musical Theatre Productions presents Shrek: The Musical.
Where: Auburn Stage at the Grand Theatre, 471 Richmond St., London, Ontario
When: May 7 to 17, 2026
Tickets: Call the Grand Theatre Box Office by phone at (519) 672-8800, and online at https://www.grandtheatre.com.
CAST:
Adriano Burgo as Shrek Dwight P. Anderson as Donkey Rosalie Mattison as Princess Fiona
Leo Sigut as Lord Farquaad Eden Eidt as Gingy and others Cameran Shalatski as Pinocchio and others Amelia Hilton as Dragon and others
Tevin Pritchett-White as Child Shrek and others Emily Molina as Child Fiona and others Tessa Pritchett-White as Teen Fiona and others
Ensemble:
Keirah Buckley (featured as the Ugly Duckling) Matt Butler (featured as the Captain of the Guard) Nicole Chapple (featured as the White Rabbit) Niamh Coady (featured as the Wicked Witch and 3 Blind Mice) Lauren DaSilva (featured as Queen Lillian and Peter Pan) Michael Heath (featured as Pig 1)*
Mariana Hrnjak (featured as Pig 3 and Duloc Greeter) Elvis Ibekwe (featured as Papa Bear) Solange Kirkwood (featured as Pied Piper and Elf) Natalia Martin (Featured as Mama Ogre and Fairy Godmother) Lucas McHugh (featured as Papa Ogre and Grumpy)** Celine Medeiros (featured as Mama Bear and Dragon Wing)
Olivia Power (featured as Humpty Dumpty and 3 Blind Mice) Haven Raeburn-Gibson (featured as the Mad Hatter) Duncan Sizeland (featured as Pig 2 and the Bishop) Ahrielle Tilson Diaz (featured as the Sugarplum Fairy and Dragon Wing) Ewen Van Wagner (featured as the Big Bad Wolf)
Stage Manager: Aleesa Prendergast Assistant Stage Manager: Sam Stack Couture Assistant Stage Manager: Sam Takacs
Music Director: Jaclyn Cunneyworth Pianist: Juan Giraldo
Choreographer: Stephany Pritchett Set Designer: Haley Helm Set Illustrator: Griffen Helm Lighting Designer: Joe Recchia
Props Master: Alyssa Palma Head of Wardrobe: Sally Buchanan Head of Hair: Jordann Atha Lead Makeup and SFX Artist: Rachelle Lov Goebel Makeup Artist: Cate Connell
*Shrek is also supported by a Production Committee, consisting of members from the MTP Board of Directors and the local theatre community.
Reviewed by Kim Kaitell
Kim Kaitell is the Owner of OĀZA, an Artist, Actor, and Director.
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
(Cast and Crew of Urinetown: The Musical. Photo Credit: Ross Davidson)
Community theatre can sometimes surprise you. Occasionally, it can even rival (or surpass!) professional productions in artistry, ambition, and execution. That was unquestionably the case with this remarkable staging of Urinetown: The Musical at the Palace Theatre.
Directed by Sydney Brockway, produced by Ceris Thomas, and featuring an orchestra under the leadership of Steven Morley, this production demonstrated a level of talent that felt genuinely world-class, and all the more impressive given its community theatre setting.
For those unfamiliar with the show, Urinetown is far more than its intentionally provocative title suggests. The musical is a sharp political satire that explores themes of corporate greed, environmental crisis, class inequality, and the consequences of unchecked capitalism. Set in a dystopian future where water scarcity has led to the privatization of public amenities — including toilets — the story examines power, resistance, and the moral ambiguities of revolution. At the same time, it quite cleverly parodies the conventions of musical theatre itself by breaking the fourth wall and inviting audiences to question not only the characters’ motives, but their own assumptions about justice and heroism.
(Pictured: Jesslyn Hodgson as Hope Cladwell, Sean Brennan as Caldwell B. Cladwell, and Ensemble members. Photo Credit: Ross Davidson.)
Balancing humour with social commentary is no easy task, yet this production navigated both with intelligence and confidence. Notably, the company also extended these themes beyond the stage through direct outreach to unhoused members of the surrounding community. An effort that meaningfully deepened the production’s social resonance.
(Pictured: Laura Williams as Penelope Pennywise, Henry Truong as Bobby Strong, and Allison Gold as Ma Strong. Photo Credit: Ross Davidson.)
The performances were uniformly exceptional. Kate Sepi delivered a commanding and charismatic Officer Lockstock, serving as both narrator and participant with clarity, presence, and authority. Henry Truong, as Bobby Strong, brought both emotional sincerity and vocal strength to the role, grounding the story’s central conflict with authenticity. Jesslyn Hodgson as Hope Cladwell possessed a vocal quality that elevated every musical moment she touched. Sean Brennan delivered a captivating and hilarious Caldwell B. Cladwell, creating a villain whose presence was magnetic and layered. His performance (for me) stood comfortably alongside work seen on much larger and better-funded stages. Rae Ryder as Little Sally offered memorable nuance and charm, embodying the show’s self-aware humour with skill.
(Pictured: Rae Ryder as Little Sally and Kate Sepi as Officer Lockstock. Photo Credit: Ross Davidson.)
A particularly extraordinary moment behind the scenes became one of the evening’s most impressive achievements: Penelope Pennywise, normally played by Laura Williams, was unexpectedly performed on opening night by director Sydney Brockway herself due to illness. Had there not been a notice in the lobby advising of the opening night change, audiences would never have known. It was a nearly seamless, truly confident, and fully realized performance, and a testament to Brockway’s professionalism and depth of preparation. However, it is my understanding that, as commendable as Sydney’s performance was, Laura’s performance is one not to be missed, which is why I will be making a return trip to see Penelope Pennywise in her other form, once Laura is cleared to return.
(Pictured: Sydney Brockway, Urinetown Director/Choreographer.Photo Credit: Ross Davidson.)
Equally impressive was the ensemble. There was not a weak link in the company, and truly, there are no small roles in this production. Each cast member is to be commended for delivering an exceptional performance, owning every line and every beat. The choreography was executed with precision, energy, and commitment, and the cast functioned as a cohesive storytelling unit throughout. At various points in the evening, nearly every ensemble member captured attention, which is a hallmark of strong direction and engaged performers.
(Pictured: Urinetown Ensemble Members. Photo Credit: Ross Davidson.)
The design elements further strengthened the production. Costumes by the team of Tannis Daoust, Chloe Scripnick, and Chatham Vy were thoughtfully conceived, particularly in their use of colour to distinguish social groups: the impoverished citizens versus the corporate faction. The costume choices enhanced the visual storytelling clearly and effectively. Combined with the set, props, lighting, and musical direction, the overall aesthetic achieved a level of polish that elevated the entire production.
(Pictured: Foreground Jesslyn Hodgson as Hope Cladwell and Henry Truong as Bobby Strong. Photo Credit: Ross Davidson.)
What elevates this production even further is the company’s commitment to connecting the show’s themes with the lived realities of the surrounding community. Members of the cast shared that during the rehearsal process, they felt a responsibility to recognize and engage with unhoused individuals living in the neighbourhood around the theatre. They responded not only with awareness but with action, providing food and basic necessities during the rehearsals and the run of the production. This effort was also acknowledged in a cast note included in the program, which read:
“Urinetown the Musical is about access, power, and what happens when basic human needs are controlled by systems rather than compassion. Producing this show in a neighbourhood where these questions are not abstract, but lived, reminds us that theatre doesn’t exist in a vacuum. We acknowledge the people in our community who are navigating housing insecurity, poverty, and barriers to care, and we affirm their dignity and humanity. We invite audiences to laugh, think, and leave asking bigger questions about how communities choose to care for one another.”
(Photo Credit: Ross Davidson.)
This initiative demonstrated a meaningful alignment between art and empathy, reinforcing the social relevance of the production beyond the stage itself. And this, for me, is the longstanding purpose of the arts. To merge art and real life, and to showcase the stories that make us human.
If there were any critique to be offered, it would be that the orchestra occasionally overpowered the vocals in certain moments. However, this was a relatively minor issue within an otherwise outstanding musical presentation.
Ultimately, this production of Urinetown exemplifies what community theatre can accomplish when passion, talent, and leadership align. It was bold, intelligent, and thoroughly entertaining. It is a production that not only delighted audience members but also invited them to reflect on timely social questions. Productions of this calibre are something any arts community should be proud to claim. This show deserves full audiences for the rest of its run. Please, plan to see this production and tell your friends.
As always, please support the arts. Keep storytelling alive.
IF YOU GO:
What: Urinetown: The Musical with Music and Lyrics by Mark Hollman, Book and Lyrics by Greg Kotis
When: February 19th to March 1st, 2026
Where: The David Long Stage at the Palace Theatre, 710 Dundas Street, London, Ontario.
Producer Ceris Thomas explains the meaning of the title Urinetown in this exchange with Beat Magazine Publisher Richard Young. Urinetown: The Musical plays at the Palace Theatre from February 19 to March 1.
(Pictured: Ceris Thomas. Photo Credit: Ross Davidson.)
“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.
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.”
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
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
Prepared with files provided by the Grand Theatre.
The lives and music of French songbird Edith Piaf and Hollywood leading lady Marlene Dietrich are set to dazzle London audiences when Piaf/Dietrich A Legendary Affair takes the stage at the Grand Theatre.
Audiences will experience all the glitz and glamour of mid-century fame in America, all the passion and tragedy of great love affairs, and an epic set list of beloved, powerful hit songs including “La vie en rose”, “Milord”, and “Lili Marlene” in this all-new production of Erin Shield’s adaptation, directed by Grand Theatre Artistic Director Rachel Peake.
(Pictured: Grand Theatre Artistic Director, Rachel Peake.)
“What I love about this story, told originally through the imaginations of German Daniel Große Boymann and Austrian Thomas Kahry, and adapted for our stage by the endlessly talented Canadian Erin Shields, is that it uses music, conflict, and language to transport us,” says Peake. “Prior to reading this play, I had no idea that these two icons even knew one another. They seem so different – Piaf wearing her heart on her sleeve and her pain in public, while Dietrich hid everything behind a mask of glamour. But friendship is funny that way, attraction is funny that way.”
Marlene Dietrich was Hollywood’s femme fatale throughout the 30s and 40s, and the name on everyone’s lips. Edith Piaf, the French chanteuse, had soared to stardom in her home country and would soon intoxicate the rest of the world with her raw, powerful songs of love and longing.
The two women were born fifteen years and 1,000 kilometres apart and found their way to both fame and each other. By the time they met, Marlene had a string of leading roles and was one of the highest-paid talents in show business. A young Edith had been singing on the streets of Paris to support herself and had written the song that would make her famous, “La vie en rose.”
(Pictured: Deborah Hay as Edith Piaf and Terra C. MacLeod as Marlene Dietrich. Photo Credit: Mai Tilson.)
Their first meeting and the lifelong, tumultuous relationship that followed are the story that unfolds on stage. Audiences will be excited to see Londoner and notable Canadian theatre talent Deborah Hay, transformed into Edith Piaf and making a much-anticipated return to the Grand after her stand-out performances in Fall On Your Knees and Mary Poppins in previous seasons. Having dazzled the world from Broadway to the West End as Chicago’s Velma Kelly, Terra C. MacLeod steps into the top hat and tuxedo tails of the smouldering Marlene Dietrich in her Grand Theatre debut.
(Pictured: Karen Burthwright.)
The cast also features Karen Burthwright and Eric Craig, both with Broadway credits to their names. In fact, they have even performed together as members of the original Broadway cast of Tony Award-nominated Paradise Square. In Piaf/Dietrich, these two Canadian stars will play all of the men and women, lovers and hecklers, muses and rivals, who make up the worlds of the two showbiz legends.
(Pictured: Eric Craig.)
CREATIVE TEAM
Rachel Peake – Director
Mary Ancheta – Music Director
Genny Sermonia – Choreographer
Lorenzo Savoini – Set Designer
Ming Wong – Costume Designer
Michelle Ramsay – Lighting Designer
Emily Porter – Sound Designer
Nicole Wilson – Assistant Director
Siobhan Richardson – Intimacy Director
Phyllis Cohen – Dialect Coach
Suzanne McArthur – Stage Manager
Melissa Cameron – Assistant Stage Manager
Gina Woodward – Apprentice Stage Manager
CAST
Karen Burthwright – Supporting Female
Eric Craig – Supporting Male
Deborah Hay – Edith Piaf
Terra C. MacLeod – Marlene Dietrich
Orchestra
Mary Ancheta – Conductor / Keyboard
Erik Larson – Bass
Céline Murray – Violin
Dave Robilliard – Drums.
IF YOU GO:
What: Piaf/DietrichA Legendary Affair.By Daniel Große Boymann and Thomas Kahry. Adapted by Erin Shields from a translation by Sam Madwar.
When: February 17 to March 7, 2026.
Where: Spriet Stage at the Grand Theatre, 471 Richmond St. London, ON.
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