news – The Beat Magazine 2025

David Long – A Life In Apples, Advocacy and Community Theatre

March 10, 2026 by Richard Young

By J. Bruce Parker

(Pictured: The Palace Theatre’s David Long.)

The Palace Theatre, constructed in 1929 as a venue for silent movies and designated by the City of London in 1991 for its historic or architectural value or interest, remains a focal point in London’s Old East Village for quality theatre. It is the home of London Community Players, London Youth Theatre Education & London Fringe.

This historic venue is divided into two stages, the 75-seat Procunier Hall and the 350-seat David Long Stage.

Often, a stage is named after a beloved but deceased benefactor, actor, producer, or director. However, David Long is still with us, with a 47-year history associated with the London Community Players.

I recently met up with David at his home in East London. Over coffee and banana bread and surrounded by a lifetime’s collection of artwork and plates, we discussed the trajectory of his life.

(Pictured: David Long.)

The Long family’s ancestry in London dates back to 1850. At some point, according to David, family members “dispersed around the city.” David’s great-grandparents purchased land in the vicinity of Commissioners Road and Andover Drive. His father established Wood Lynn Farm Market, with various venues in the city. The Longs owned 300 acres of apples alone.

Wood Lynn Farms would become the first ‘pick your own’ orchard in Ontario. A pre-teen David was conscripted to wait at the gate and hand out a flyer to incoming customers, offering smiles as well as both prices and the ‘rules’ of the orchard. No overfilling, and there were trunk checks. At the time, a bushel of apples cost $1.50. This was long before ‘controlled atmosphere storage’ of apples, and so three generations of the Long family were involved during the narrow apple picking season, which would run from September into the Thanksgiving weekend of October. David proudly adds, “They were lined up on Oxford Street.”

David Long stayed true to his original neighbourhood, where his family home was established in 1935, just three houses from the Brick Cemetery. In 2010, ‘Friends of Brick Street Cemetery’ was established to provide guardianship to the eternal home of over 750 souls, and David Long got on board. The first burial occurred in 1813, 13 years before the City of London was established.

The organization researched the names of those under the soil and began repairing and re-erecting tombstones. According to David, “one third of the stones were on the ground, one third were leaning, and one third were still standing.” David was dubbed with the nickname ‘Jigsaw’ as it was his task to reassemble broken tombstones with both cement and epoxy. There was also the painstaking effort to clean the fronts of the stones without diminishing the lettering.

It was at York University in the 1970’s that David enrolled in a theatre program. . His desire to study theatre was built upon his drama experience in high school, which included a role in a production of the classic “Arsenic and Old Lace.”

But a year in university was enough, and he eventually returned to London after a bit of a tenure working in a paint store in Stratford.

It may or may not have been a synchronistic moment, but David’s return coincided with the beginnings of the London Community Players. He had invested a year’s worth of training in drama, and now a new theatre back home was opening.

The genesis of the London Community Players began with former members of ‘London Little Theatre’ as well as some passionate and earnest local actors. Productions began at the Gallery Theatre established at 36 York St. Their focus was Canadian-written plays, and 35 were performed between 1974 and 1978.

David leapt in and was cast in “Norman, Is That You?’ London’s first ‘gay’ play, a work David regards as a “bit of fluff,” but an important piece of theatre in recognizing and accepting London’s gay community. This was 1977, and London Free Press theatrical reviewer, Doug Bale, who could run roughshod over a local production, answered the question “Is London ready for gay plays?” with a resounding “Yes”.

David’s talents were also recognized in his ability to design and create sets. “My one grandfather built houses, and my other grandfather painted houses. I think I get my building skills from one and my painting skills from the other. The theatre discovered that I could build sets, and so that was the end of my acting career.”

As David was settling back into the theatre in his hometown, ‘HALO,’ the Homophile Association of London, Ontario, was establishing itself as a community club at Colbourne and Pall Mall streets. When David came out as a gay man in the late 70s, he had the support of his family, specifically from one of his grandfathers, who stated, “I knew people like that at Beal in the 1920s, and it didn’t bother me then, and it doesn’t bother me now”.

(Pictured: HALO Building, Colborne and Pall Mall Streets, London, ON.)

David eventually became president of the HALO club at a time of social intolerance of homosexuality. He was often the subject of homophobic slurs as he entered the front door, as well as dealing with vandalism in the form of broken windows, which were eventually boarded up. He recalls, “The music didn’t stop, and the dancing didn’t stop, so the club persevered and survived.”

This was a time when the former mayor of London, Diane Haskett, refused to proclaim ‘Gay Pride’ at City Hall as it was against her Christian values. She was eventually overruled by the Ontario Human Rights Tribunal, and the gay pride flag was flown over city hall. The HALO centre was the hub of the largest gay community in Canada, struggling yet surviving.

David recalls, “There were always lineups to get in. We had double-door security to protect our patrons. We always had Western (referring to the University of Western Ontario). The thing with the gay community at UWO was that everyone was here for four years. They would arrive, they came out, came to HALO, and they left when they graduated. There was always this kind of turnover.”

By the early 90s, within the gay community of London, HIV/AIDSwas creeping in. This disease was largely ignored by the media as well as American President Ronald Reagan. made its impact in London.

John Gordon was the first man in London to come out about his diagnosis of AIDS in South Western Ontario, and his death and legacy were the cornerstone of the creation in 1992 of the `John Gordon Home’, a Victorian-style residence on Dufferin Ave, which became a hospice. Tenants were cared for by a team of 30 volunteers (myself being one). The bedrooms of the building were remodelled, offering an individual design to each of the eight. David Long coordinated the renovation. He eventually found himself on the board of the John Gordon Home and was the representative of JGH to the Aids Committee of London. David knew the first residents, the first to arrive and the first to go to spirit.

During the same period, the London Community Players were growing. With his long-standing work with the theatre, David became part of the Board of Directors. There was this notion to physically expand the theatre as it grew, but it was David Long who noticed the ‘For Sale’ sign at the Park Theatre in East London. There was an existing stage as well as seating for up to 400 people, and in short order, the deal was closed, and the Park Theatre was purchased in December of 1990.

Renovations happened quickly, with backstage areas including dressing rooms being constructed, with the first play opening in July of 1991.

David reflects. “Looking back over the years, some of the plays we have done there have been mind-boggling.’ He adds, “It is community theatre, but you balance the events. You have people who want the light entertainment, and you have people who want to be entertained, challenged, and educated.”

Now in its 51st season, The Palace Theatre continues to present engaging theatre to the London public. But community theatre has always had its challenges.

There is the issue of operating on tight budgets and high production costs. There is a reliance on volunteers, who may come and go. Casting actors has its own issues of scheduling conflicts as well as finding actors with the right skills. You also have to find a balance to produce safe and popular shows which guarantee the sale of tickets up against bringing in challenging and thought-provoking work. Every town and city which has a community theatre is always under this threat.

The Palace Theatre has had its share of added challenges. London has a homeless population of over 2000, and the 700 block of Dundas Steet as David Long calls it is ‘ground zero’ for the problem of homelessness. The plight of vagrancy in London carries the issues of addiction, mental health problems and vandalism, which directly affects the Palace Theatre.

Windows have been broken, as well as break-ins and theft. There is open drug use on the block, which is a deterrent to potential theatre goers.

Providing security is expensive, as hundreds of dollars are required to secure each production, protecting the building as well as safely ushering patrons in and out.

David adds, “The social services provided here are overwhelmed, and the foot patrol can only do so much,” adding, “Theatre used to be in the parks and on the streets, and we just can’t do that now.”

(Pictured: The Palace Theatre’s David Long.)

What is the future for Community Theatre?

“The future is challenging. There are theatre companies always closing down as they cannot adapt, change and survive. We need young people to get involved in theatre in multiple layers,” says David. He adds, “We used to sit and talk on breaks during rehearsals. Now everyone is on their phones. Cell phones are the worst invention which creates distractions from real communication.”

“There is this perception that we are an elite group of people. No, we are just trying to pay the rent and are open to any and all ideas for the stage. Give us something challenging, and we would love to do it. Let’s use Procunier Hall to do create something very ambitious.”

And what would be the ideal piece of theatre?

“Something in Procunier Hall, about 90 minutes long with no intermissions, no breaks, and no lapses with the actors and their connection to the audience”.

He slyly adds, “We shut the door for 90 minutes, and you can’t get out.”

David’s lifelong commitment to Community Theatre is reflected not only in the productions selected for the stage but also in the sets he thoughtfully designed and created. The David Long Stage that proudly bears his name stands as a fitting and enduring tribute to his dedication, creativity, and lasting impact.

To learn more about the Palace Theatre Arts Commons and its productions, visit Palace Theatre Arts Commons | London ON Community Theatre

By J. Bruce Parker

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

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

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

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

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

Help! I don’t know what to write about the London Symphonia Concert on February 14th

February 12, 2026 by Richard Young

Previewed by Daina Janitis

My first problem is the fabulous team that works for, loves, and supports London Symphonia. Look at their website – https://www.londonsymphonia.ca/event/love-and-romance-denise-pelley, where you’ll find everything you wanted to know – and more – about the creator of the program and the soloists.

And then it’s Black History Month, and here we are in Canada creating a musical program featuring two black soloists. Haven’t we heard that our more powerful neighbour has done away with DEI – and isn’t it embarrassing that we still toe the line for that acronym? And is it pointless virtue signalling that seems to praise London for being aware of our People of Colour?

(Pictured: London vocalist Denise Pelley.)

And, finally, am I being condescending to point out the achievements of our program originator and soloists as though Londoners needed educating about them? We know about Scott Good’s composing career, we know about Denise Pelley’s medals and her opening for Aretha Franklin, and her YM-YWCA Woman of Distinction award. If we’ve been to Stratford in the last 16 years, we know that Roy Lewis is a 16-year veteran of the Festival stage.

But here’s the thing, and it’s raw right now. I admit to everyone that I have too much time, doubt and fear on my hands right now to ignore the horrors of authoritarianism, ignorance, and greed that are happening in our neighbourhood. At 80, I’m not going to run for office, but I want to reveal that London’s live art music scene has been my harbour of hope.

Sitting in those Met pews – no cushion, I get the cheaper seats – and watching the faces of our Symphonia musicians and their featured guests renews hope. The evidence of their work and commitment, and the joy they show in bringing them to us in live performance, is something that no recording can do. I multiply the effect by chatting to strangers beside me, to students at the reception (who can attend for FREE, for God’s sake) and hugging the performers afterwards (very few have pushed me off). Those are gifts I never expected to receive in life.

Because we are in the presence of souls who have battled racism and every kind of insidious discrimination, have given up lucrative jobs for their art, and have honed their talents to the utmost just for US. Bearing witness to their courage as well as their art makes US better!

(Conductor Scott Good and guest artist Denise Pelley share their insights into the upcoming February 14th performance.)

Do you know that Denise Pelley has inspired young people in Junior Achievement for 19 years, has performed at the Grand in musicals, and has travelled to Sudan twelve times to establish a music and arts camp for 400 kids? Did you know that her son, Jason Edmonds, was killed in a road rage accident, and she created a Foundation to tell young people about that rage as one of the many dangers facing them?

Did you know that Roy Lewis is from the UK, came to Canada, and founded the Obsidian Theatre (focusing on Black Canadian stories) – as well as painting, sculpting, teaching Elizabethan Literature at several universities, and co-founding “Shakespeare in the Rough”? His poetry tackles the death of love, the struggle for understanding, and redemption in the face of grief.

(Pictured: Roy Lewis, Poet and Narrator)

Conductor Scott Good is not Black, but he’s a genius of music with a soul that encompasses the rhythms, aspirations, and hopes of all humanity. I can only hope that London hears more of his oratorios, symphonies, jazz masterpieces and chamber music. He is a creator of music and of bridges that support our shared humanity.

Being in the very presence of artists like this is a privilege and a healing.

(Pictured: London Symphonia Conductor, Scott Good.)

I can only ask you to read, before you attend the concert, the words of an American poet, Joseph Fasano, whose word-compositions are as powerful as the music of our London performers this weekend:

(Pictured: American poet and novelist, Joseph Fasano.)

“How does Authoritarianism happen? It starts slowly, in slogans and small acts. It starts in the eroding of decency and empathy.

It starts with a “Leader” undermining faith in any “Truth,” the deliberate disorientation of the citizen’s mind.

And then? It stirs in the heart of the common man, whose world has become too complex for him. He looks around and finds a world that is frightful, complicated, new. He sees his falling bank account. He loses his job. New media bombards him with changes he cannot understand. He despairs. He is filled with an unnameable terror.

When he can take the fear no longer, he abandons his reason. He hands his mind over to a Leader—a Fü*rer, a Chairman, a Figure He Never Had—who promises to simplify his thoughts, his feelings, his life; to tell him the one, concocted, state-sponsored Truth he wants to hear. And that Leader will do exactly that.

Authoritarianism, therefore, thrives on the one-sided mind: the individual, and ultimately the group, that has become alienated from, or has repressed, a part of itself, usually in an attempt to avoid feeling what it is terrified to feel. The one-sided person seeks to control the ways in which others express themselves, and he does so for precisely this reason: he unconsciously envies those who can feel what he cannot feel.

Authoritarianism always begins with a reductive philosophy that despises empathy, that views tenderness as a weakness, that seeks to police how others love. Dostoevsky once wrote that hell is nothing other than the state of being unable to love. Authoritarianism is nothing but the small mind’s fear of the myriad beauties of this world. Even as its rulers acquire material wealth, they wish to deprive the world of the spiritual riches they cannot have.

Thus, as a movement, the ultimate unconscious wish of Authoritarianism is always destruction, self-destruction, s*icide. It longs for stillness, not growth; its nationalistic fervor is a not-so-hidden desire to be alienated, to sever its bonds with other nations and peoples. It ends as H*tler did in Berlin: alone, isolated, taking everyone with it into the dark.

It is predicated, always, on a false nostalgia: a longing for an ideal, imagined past. Its slogans are vague enough to inflame the fantasies of the one-sided mind be great again, blame others, your life is hard because of Someone Else. Most catastrophically, then, the one-sided mind projects its repressed half (its shadow or its tenderness, its darkness or its heart) into this Other, and seeks to oppress it, then ultimately to destroy it. Genocide, tyranny, oppression: these are acts of the fractured, one-sided mind, afraid of encountering and experiencing the other side, the other opinion, the Great Other, in whose presence it would be challenged to face the whole of what it means to be human.

Art, mystery, poetry, education: these things reconnect us to our wholeness, to the varied voices within us. When we act from that grace, that state of openness, of listening, of synthesis and integration, we practice the lost arts, the arts that all power structures inherently desire to devalue and repress empathy, compassion, creativity, love.

Where is the wise way between societal extremes? Where is the movement that supports the worker, the common citizen, without stoking his deepest fears and using them to divide society and conquer it? Where is the form of government that wishes for its citizen to be whole?

A fractured, one-sided mind is a mind that can be controlled, sold reductive narratives, induced to want and to purchase any artificial fulfillment. A whole mind, even a mind that strives for impossible wholeness, is free. And that is why real, radical wholeness is a threat to the status quo, to tyranny, to propaganda.

As is art. As is grace. As is empathy. And that is why love, radical love, common love, even in the darkness between two bodies, is a revolution that can bring kings to their knees.”

— Joseph Fasano

IF YOU GO:

What: London Symphonia presents Love and Romance with Denise Pelley.

When: Saturday, February 14, at 7:30pm.

Where: Metropolitan United Church, 468 Wellington Street, London, ON.

Tickets: Online at https://ci.ovationtix.com/36746/production/1248187?performanceId=11679476

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

Follow London Symphonia on Facebook https://www.facebook.com/londonsymphonia and Instagram https://www.instagram.com/london_symphonia/

Here’s a recent Facebook post about the concert by conductor Scott Good, shared with his permission:

“Dear friends,

On February 14 at 7:30 PM at Metropolitan United (London, ON), I’ll be joined by my colleagues at London Symphonia, R&B/Jazz vocalist Denise Pelley, and poet/actor Roy Lewis to present Love and Romance.

Yes — it’s Valentine’s Day, and we are going deep!

The seed for this concert was planted almost two years ago when I noticed Valentine’s Day landing on a Saturday evening. As a concert designer, I love an occasion — a focal point that shapes an evening’s arc. Valentine’s Day is ideal: music across all styles is saturated with romantic passion, longing, joy, and vulnerability. It’s an excuse for genres to mix and make sense together, and for audiences to encounter both the familiar and the unexpected. I like to think of occasion concerts as community-oriented — something many can enjoy.

I knew early on the program had to include Mahler’s Adagietto from his Fifth Symphony. I remember the first time I heard it; I’ve never known a piece of music to evoke the sensation of a loving, gentle touch quite like it. Later, I learned it was written as a love letter to his wife. It had to be here.

Around that time, I had recently worked with Denise at the Forest City London Music Awards, where we presented Stevie Wonder’s You and I. It went beautifully. Denise brings such generosity and depth to performance, and the song – with its tender, yet vulnerable lyric – aligns perfectly with this theme. The following year we returned with You Don’t Know Me, this time with horns, strings, and rhythm section. That collaboration allowed me to shape the orchestration around her expressive vocal language, and it became clear we had the beginnings of something larger.

Roy’s role in guiding the evening through poetry and poetic prose became unexpectedly profound. After a remarkable performance with Symphonia last year, he joined us with poems written specifically for Valentine’s Day — fourteen of them. As I read through his work, I realized something deeper was at play: these poems weren’t only about love found, but love lost. With great love comes great grief, and the concert gradually reshaped itself around that truth.

Nine of Roy’s poems ultimately frame the program, each leading into a song or instrumental work — the pain of Cupid’s arrows illustrated by Ellington’s Good Morning Heartache, a thrilling glance explored in Bacharach’s The Look of Love, the electricity of being with the one you adore caressed by Carmichael’s The Nearness of You. Instrumental moments include Ravel’s sensuously flirty “Pantomime” from Daphnis et Chloé, featuring Laura Chambers on flute, and the king of romance, Barry White’s orchestral hit Love’s Theme.

As the concert turns toward loss and reflection, we arrive at Autumn Leaves, performed without rhythm section, just orchestra and voice – followed by an up-tempo moment of melancholy in an orchestral rendering of Radiohead’s Weird Fishes I created for the concert, a song that aptly describes, through driving rhythm, evocative chords, and a spacious yet unrelenting melody, a feeling of loss and the difficulty of moving on.

We close with Here’s to Life, in the Shirley Horn arrangement — a true bucket-list piece for Denise, and the perfect sentiment to end the evening:

“May all your storms be weathered.

And all that’s good gets better.

Here’s to life, here’s to love, here’s to you.”

With solos from Nevin Campbell, Joe Phillips, Rob Stone, and Shawn Spicer, and an orchestra navigating classical lyricism, jazz harmony, and blues grit, + original arrangements alongside renditions made classic by Ella Fitzgerald, Dianna Krall, and Matt Monro, this promises to be a rich, emotionally charged night of music. Join us if you can!”

Previewed by Daina Janitis

School of Rock announced as 2026 Grand Theatre High School Project

February 9, 2026 by Richard Young

Prepared with files provided by the Grand Theatre

The Grand Theatre is thrilled to announce that School of Rock will be the 2026 Grand Theatre High School Project. In a company first, London and area’s most talented young artists will be rocking out on stage, playing live music – in addition to the familiar performance and production roles typically part of a Grand Theatre High School Project production. Applications to join the student company are now open and close on March 30, 2026.

Based on the 2003 hit movie starring Jack Black (Tenacious D, A Minecraft Movie) and written by Mike White (The White Lotus, School of Rock), the production features all of the movie’s contagious anthems as well as fourteen new original songs by none other than Andrew Lloyd Webber (Jesus Christ Superstar, Cats, The Phantom of the Opera).

“School of Rock is a fun, high-energy show and a chance for high school students to be playing instruments right on the stage, which is an exciting first for the Grand Theatre High School Project,” shares Rachel Peake, Grand Theatre Artistic Director. “It’s a show about the strength of young people and about how your individuality – your weirdness – is your strength.”

(Pictured: Rachel Peake, Grand Theatre Artistic Director. Photo Credit: Dahlia Katz.)

The Grand Theatre High School Project returns for its 28^th year, providing London and area high school students with education and training in the working environment of a professional theatre, at no cost to the participants. From September 22 through October 3, 2026, the Spriet Stage will transform into the super rockin’ world of Dewey Finn – and London’s talented teens will be his star pupils playing music live on stage, creating and running various production elements that bring the show to life.

School of Rock tells the story of Dewey Finn, a wannabe rockstar with no band, no job, and if he can’t make rent, no place to live – and possibly no best friend. Ready to try anything, he poses as a substitute teacher and takes a gig teaching fifth grade at Horace Green Prep. Demerits and grades aren’t his thing, but the noble quest to win a local Battle of the Bands brings this unlikely band of students and teacher together for the sake of rock glory – and extra credit.

To helm this year’s High School Project, award-winning Director Lezlie Wade returns to the Grand Theatre to bring this league of would-be rock legends to greatness. Wade previously directed Dream a Little Dream at the Grand Theatre in 2014/15, and has directed at the Stratford Festival, Shaw Festival, Theatre Aquarius, Musical Stage Co., and beyond. Her production of Spamalot ranks as one of the longest-running shows in Stratford Festival history.

(Pictured: Lezlie Wade, Director, School of Rock.)

“With the help of a down-on-his-luck guitarist, School of Rock is the inspirational musical that transforms a class of straight-A students into a mind-blowing rock band, unlocking their inner rebels,” shares Wade.

Wade is joined by Matthew Atkins as Music Director, who audiences will recognize as the Artistic Director of the London Gospel Collective and as the Music Director of Disney’s Newsies at the Grand Theatre last year.

(Pictured: Matthew Atkins, Music Director, School of Rock.)

Choreographer Julius Sermonia (Broadway, Stratford, Shaw) also joins the production, in a much-anticipated return to the Grand Theatre (Beauty and the Beast, Pig, Charlie and the Chocolate Factory, and last season’s smash-hit Waitress).

(Pictured: Julius Sermonia, Choreographer, School of Rock.)

The Grand Theatre is looking for students to join the show’s company in acting, singing, music, and production roles. Students interested in production roles may apply to work in one of several areas, including stage management, props, wardrobe, scenic art, carpentry, sound, and marketing. The program has historically created opportunities for up to 80 student participants.

*(Pictured: Lyla Worrall, Solarah Rose, and Hayden Baertsoen from Disney’s **Newsies**, September 2025. Photo Credit: Jordan Peter.)*

HOW TO GET INVOLVED

The Grand Theatre invites London and area high school students to apply for the 2026 Grand Theatre High School Project. The project is open to any high school student from the London region who will be enrolled in high school in the fall of 2026 or participating in homeschooling.

For more information on how to apply to be part of the 2026 Grand Theatre High School Project, visit https://www.grandtheatre.com/participate-high-school-project.

Applications will close at 9 a.m. on March 30, 2026. Interested students are encouraged to apply now or register for a free information session to learn more.

Big Laughs, Honest Moments, and Stories We All Recognize: St. Marys Community Players 2026 Season

February 1, 2026 by Richard Young

Prepared with Files from the St. Marys Community Players.

St. Marys Community Players have announced their 2026 Season Lineup: Marc Camoletti’s BOEING BOEING and the beloved Peanuts Musical You’re a Good Man, Charlie Brown.

“Our 52nd season lineup of productions will offer a vibrant pairing of plays that celebrates the full spectrum of theatrical joy—combining the dizzying precision of a classic farce with the warmth, wit, and gentle introspection of a beloved musical,” says Greg George, the company’s Marketing and Communications coordinator.

BOEING BOEING: A High-Flying Comedy.

Opening the 2026 season in April, the St. Marys Community Players present the delightful farce that has captivated audiences worldwide. Written by Marc Camoletti and translated by Beverley Cross and Francis Evans, this fast-paced production chronicles the misadventures of Bernard, a swinging bachelor in 1960s Paris. Bernard’s elaborate scheme of juggling three fiancées – all airline hostesses with staggered layovers – takes a turbulent turn, threatening to send his plans crashing.

Directed by Ralph Small and produced by Stephen Brockwell and Read Paxton, BOEING BOEING features door-slamming, smart dialogue, and hilarious situations, guaranteeing nonstop laughter and entertainment.

Performance Dates:

April 24 to May 9, 2026, Town Hall Theatre, St. Marys, ON.

You’re a Good Man, Charlie Brown: A Musical for All Ages.

Happiness is great musical theatre. With charm, wit and heart, You’re A Good Man, Charlie Brown explores life through the eyes of Charlie Brown and his friends in the Peanuts gang. This revue of songs and vignettes, based on the beloved Charles Schulz comic strip, captures childhood worries, quiet hopes, and the universal desire to belong and be understood. Musical numbers include “My Blanket and Me,” “The Kite,” “The Baseball Game,” “Little Known Facts,” “Suppertime” and “Happiness.” Guaranteed to please audiences of all ages.

Performance Dates:

October 22 to November 7, Town Hall Theatre, St. Marys, ON.

Tickets for the 2026 Season are available through the St. Marys Community Players website www.stmaryscommunityplayers.ca beginning in early March or locally at Troyer’s Spices in Downtown St. Marys, 110 Queen St. E. Phone: (226) 661-8777.

Follow the St. Marys Community Players on Facebook https://www.facebook.com/StMarysCommunityPlayers and on Instagram https://www.instagram.com/st.maryscommunityplayers/

Q&A With Musician Marque Smith

December 12, 2025December 14, 2025 by Richard Young

Interviewed by Richard Young

Pianist/vocalist Marque Smith is a very busy, well-known musician in the London area. Since moving to London in 2007, he has been the musical director for plays with Musical Theatre Productions, London Community Players and Original Kids Theatre Company, to name a few. He is also a very experienced choral musician and has been a member of The Karen Schuessler Singers, The Nathaniel Dett Chorale, The Toronto Mendelssohn Choir, The Toronto Mendelssohn Youth Choir and The Canadian Children’s Opera Chorus.

He has performed with many of the city’s leading soloists, choirs and ensemble groups, including Denise Pelley and London Symphonia. He is currently the Accompanist/Band Leader of the London Gospel Collective.

Marque was the Recipient of the 2012 Queen Elizabeth II Diamond Jubilee Medal from the Governor General for dedicated service to his peers, his community and to Canada.

What follows is an edited Q&A Interview with Marque conducted by The Beat Magazine’s Publisher and Content Manager, Richard Young.

(Pictured: Marque Smith.)

Some basic stuff first: Where were you born? How long have you lived in London?

I was born in Toronto. I lived in London from February 2007 to September 2025. I moved to Port Stanley in October 2025.

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?

Yes, music was played quite a bit in my home. I studied classical piano at The Royal Conservatory of Music and jazz piano at Humber College. I sang in The Canadian Children’s Opera Chorus, The Toronto Mendelssohn Youth Choir, The Toronto Mendelssohn Choir, The Nathaniel Dett Chorale, and The Karen Schuessler Singers.

Do you remember the moment when you made the decision that music was going to be a big part of your life?

I was in my last year of high school when I decided to pursue music as a career.

How long have you been playing music professionally?

I have been playing music professionally for twenty-seven years.

Other than keyboards, do you play any other instruments?

I am a vocalist. In elementary school, I played the Baritone and in high school, I played the guitar.

(Pictured: Marque Smith.)

What are your main musical influences?

I love classical, jazz, disco, R & B, hip hop, rap, gospel and pop music.

What influence does your Christian faith have on your music?

I grew up in the church, and faith has had a huge impact on my life.

Tell me about the various groups and musicians you have played with since you started playing professionally. Who are you currently playing with?

The list is long indeed. I perform with a variety of vocalists, instrumentalists, and choirs.

Tell me about any recordings you have made in your career.

I recorded two albums with Nathaniel Dett Chorale, one album with Elizabeth Paddon, one album with Cindy Ashton and one album with Angus Sinclair.

(Pictured: Marque Smith in concert with London Symphonia, The Sounds of Home, December 6, 2025.)

Your social media posts suggest that you are a very busy musician. What projects are you currently pursuing? Do you have any gigs coming up this month or two you would like our readers to know about?

I have a concert on Saturday, December 13 in London with London Gospel Collective and one on Saturday, December 20, with Maggie Grace and Guitar Gord in Port Stanley. There will be more in 2026.

In addition to your musical endeavours, are you involved with any other arts organizations or activities in the London community?

I am a collaborative pianist at the Lester B. Pearson School for the Arts in London. I occasionally perform for The London Arts Council, as well.

Is there anything else you think our readers should know about Marque Smith the musician and Marque Smith the individual?

I am the music director at Grace United Church, Sarnia and have been since October 30, 2022. I have been happily married to my husband, Andrew Koornstra, since September 28, 2024.

To learn more about Marque Smith, visit https://www.marquesmith.com/

Follow Marque on Facebook https://www.facebook.com/marquesmithmusic

Follow Marque on Instagram https://www.instagram.com/marquesmithmusic

To learn more about London Gospel Collective, visit https://www.londongospelcollective.ca/

(Pictured: London Gospel Collective.)

Snaggle with the Ali Brothers at Storm Stayed Brewery.

December 8, 2025December 8, 2025 by Richard Young

Reviewed by J. Bruce Parker

(Photo Credit: J. Bruce Parker.)

All hail the rise of craft beer brewing! The feared rival to the big guns of Labatt and Molson, which once ruled the Canadian brewing industry for over a century, has dug deep roots throughout the province, with a handful of fine breweries taking up residence in London.

My local is Storm Stayed on Wharncliffe Road, approaching its eighth year in 2026.

Like most craft breweries, Storm Stayed engages its community with a wide variety of events, ranging from a mom and kids time to the music of opera. And do I need I advise you that there is beer available for those of a certain age?

Snaggle, a six-piece jazz fusion band from Toronto, took up residence on November 25; their second engagement at Storm Stayed within the last twelve months.

They have been defined as a “cross between Miles Davis and Rage Against The Machine” with a nod to American jazz fusion band Snarky Puppy.

In the words of band leader, keyboardist Nick Maclean, “expect performances swinging between moments of quiet clarity to cataclysmic bursts of energy, worthy of a crumbling galactic empire.”

Adding to that attack of a ‘galactic empire’ is Jay Yoo on electric guitar, Matt Gruebner on bass, and Adam Mansfield on drums. Fronting the entire musical onslaught are the Ali brothers, Brownman on trumpet and Marcus on tenor saxophone.

So, what is it like for musical siblings to perform and record together? Marcus Ali tells me, “He’s five years older than me, so I was in high school when he was in university. We played tunes around the house, but by the time I got out of high school, we were starting to gig together and eventually began getting calls to play as a ‘horn section.’ We grew up listening to the same music, so we have an instant connection.”

Marcus adds, “We are anomalies in our family. Our parents were math and science teachers. They moved to Canada from Trinidad as my Dad saw the future and wanted to work with computers. We grew up in a house that was full of music. Dad listened to a lot of classical and calypso and loved Baroque music. My mother loved Sarah Vaughn, Nancy Wilson, Joe Williams and Count Basie, so we had all of that music ringing in our ears.”

So, here’s to parents!

(Photo Credit: J. Bruce Parker.)

It was also the ether of the Canadian airwaves permeating the Ali household, specifically station CJRT FM, which offered the music of Moe Koffman and the Boss Brass. The brothers absorbed it all.

Band leader, Nick Maclean, began as a music student at Humber College. In his fourth year, he was required to create a recording project and the essence of ‘Snaggle’ was born in 2012. Over time, the band has evolved and expanded. Nick refers to the current lineup as his “dream team” wound up tight with a “ton of synergy.” And it shows!

Nick tells me, “Inspiration was from my grandfather. He wasn’t a musician, but he introduced me to jazz. He introduced me to Louis Armstrong, Fats Waller, Glenn Miller, Duke Ellington and Count Basie. My high school years were filled by listening to all that. When I got to Humber, I discovered more modern jazz bands which directly affected the sound of Snaggle like Weather Report, Brecker Brothers, electric era Miles Davis, Return to Forever and the Mahavishnu Orchestra. One of my big touch stones is Herbie Hancock.”

(Photo Credit: J. Bruce Parker.)

Now there is a musical pedigree!

Describing them as an ‘up-tempo jazz fusion band’ does not do them justice. Tight? Like a Ludwig drumhead! They do not proceed with caution, but rather digging a groove and working it like a coal mine.

Composer, arranger, producer of Browntasauras Records and trumpet player, Brownman Ali embraces the work of the electric Miles Davis era. He is a protégé of the mighty Randy Brecker, who referred to him as “One of the next great voices in the new generation of jazz improvisers.” Adding to the natural sonics of the saxophone, Brownman often incorporates the Boss ME-50, a pedal unit designed for electric guitars. With the added effects of modulation, reverb, echo and delay, his sound becomes stratospheric.

Guitarist Jay Loo does not get lost in this brass onslaught. He cuts through cleanly, given ample opportunity to stretch out his skill and musical legs on his Fender.

In the rhythm section, Matt Gruebner on five-string bass initiated several songs, bringing his melodic sound to the forefront.

Rounding out the rhythm section, drummer Adam Mansfield holds it all together. No drum solos, just great timekeeping, locking it all in.

On this tour, the music is inspired by the writings of American science fiction author, Issac Asimov. So, without hearing a note, I am a bit lost. Outside of ‘Star Trek’ and its many incarnations, I am not a huge science fiction fan. The only Asimov book that I own is his guide to the works of Shakespeare. Yes, he actually did write that.

Nick Maclean tells me he was introduced to the writings of Issac Asimov by Brownman. Being a science fiction fan, he connected immediately and eventually read all fifteen novels of Asimov’s ‘Foundation Universe.’ The huge anthology tells the future of humanity and the rise and fall of the human galactic empire.

Nick explains, “Things Asimov was writing about in the 1950s, we are starting to deal with now, especially the rise of AI. I find it all an incredible and fruitful source of inspiration for composition. So, all of the compositions that we are playing on this tour and that we will be recording are inspired by places, people, events, and ideas from those 15 novels”.

The song, ‘Twilight of Civilization,’ begins as a plaintive call from Brownman’s trumpet. It quickly grows into an aggressive pedestrian strut, backing down somewhat when brother Marcus brings in the voice of his tenor. It rumbles along, very tough, very urban, but surprisingly, very softly, reminiscent of the theme of loneliness and marginalization of American composer Aaron Copland’s ‘Quiet City.’

‘Lonely Man Robot’ seems to summon the tenderness of Chet Baker’s trumpet with Nick carefully meandering on his Rhodes keyboard in quiet contemplation.

Science fiction, like jazz, can be considered a niche genre. Both have fans which are vast and loyal but tend to scamper into the sanctity of darkness when illuminated. So maybe it makes sense to blend the two. I mulled over this notion while studying and forgetting the sequence order of my beer flight.

Their two sets were made up of entirely original material: no covers.

Snaggle, at this stage in their musical evolution and on this tour, retains the essence of jazz fusion from the 1970s and, with the help of Issac Asimov, propels it into the next century. Their sound is big, bold, engaging, and tough as nails.

For more information about Snaggle, visit https://nicholasmaclean.com/snaggle

Follow Snaggle on Facebook https://www.facebook.com/snagglemusic/

For more information about Storm Stayed Brewery, visit https://stormstayed.com/

Reviewed by J. Bruce Parker

Weekend Roundup of Selected Arts Events in the London Area, December 5-7.

December 5, 2025December 5, 2025 by Richard Young

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

YOU WANT LIVE THEATRE? WE’VE GOT LIVE THEATRE!

Silver Spotlight Theatre presents Showtune, a celebration of the words and music of Jerry Herman.

December 4 – 14 at the Grand Theatre’s Auburn Stage.

Tickets: https://www.grandtheatre.com/event/mtp-showtune

London Community Players present: Deathtrap
By Ira Levin
Directed by James Patterson
Produced by Anita Goodfellow

A thriller about thrillers—and the deadly games writers play.

Sidney Bruhl’s Broadway career is failing fast… until a student sends him the perfect script. What follows is a suspenseful, twist-filled rollercoaster of betrayal, manipulation, and murder. Who’s writing the final act—and who won’t live to see it?

Twists. Turns. Typewriters.

The most diabolically clever thriller ever staged.

This one will keep you guessing.

Nov 27-Dec 7

Tickets: Adults: $33
Students/Seniors (55+): $30
Youth (under 18): $20 (fees included)

Read Jo-Anne Bishop’s Review here: https://thebeatmagazine2025.ca/2025/12/01/twists-turns-and-theatre-tricks-a-review-of-deathtrap-at-the-palace-theatre/

https://mytickets.palacetheatre.ca/eventperformances.asp?evt=513

Miracle on 34th Street, The Play – Dec 4-14, 2025
Adapted by Mountain Community Theatre from the novel by Valentine Davies.
Based upon the Twentieth Century Fox motion picture Miracle on 34th Street.

“This is a tale that we want to believe in, that creates a world we seem to desperately desire, free of the blatant commercialism that surrounds us, where love and decency and generosity of spirit are their own rewards. What we want Christmas to be all about, really.” So writes the Santa Cruz Sentinel of this most heartwarming holiday story. By chance, Kris Kringle, an old man in a retirement home, gets a job working as Santa for Macy’s. Kris unleashes waves of goodwill with Macy’s customers and the commercial world of New York City by referring parents to other stores to find exactly the toy their child has asked for. Seen as deluded and dangerous by Macy’s vocational counsellor, who plots to have Kris shanghaied to Bellevue Psychiatric Hospital, Kris ends up in a court competency hearing. Especially at stake is one little girl’s belief in Santa. In a dramatic decision, the court confirms Kris as the true Santa, allowing Susan and countless other children to experience the joy of childhood fantasy.

Princess Ave Playhouse, 40 Princess Ave, St. Thomas, ON.

https://www.elgintheatreguild.ca/theatre-playbill.html

IF YOU GO:

What: Disney’s Frozen: The Broadway Musical, presented by The Grand Theatre
Where: Spriet Stage at the Grand Theatre
When: November 18^th to January 4^th, 2026
Tickets: Disney’s Frozen | The Grand Theatre

Read Jo-Anne Bishop’s Review here: https://thebeatmagazine2025.ca/2025/11/24/a-flurry-of-magic-frozen-melts-hearts-at-the-grand-theatre/

Original Kids Theatre Company presents Between the Lines, Jr.

December 5-7.

Between the Lines is an empowering and enchanting story for anyone who has struggled to find their place in the world. An outsider in a new town and a new school, Delilah seeks comfort in the pages of her favourite book, where she feels heard and understood by the handsome Prince Oliver. But as the lines between fantasy and reality begin to blur in extraordinary ways, Delilah realizes her dreams in the real world are worth fighting for.

https://www.originalkids.ca/

WE’VE GOT LIVE MUSIC!

Because this ain’t your Granddad’s Christmas Benefit Show!

On Sunday, December 7th, the Palasad Socialbowl will come alive with the 13th Annual 63 Monroe Toys for Tots extravaganza. This benefit concert will feature 13 of London’s premier Punk and Rock n Roll acts.

This isn’t just a show — it’s a movement. Every beat, every note, every cheer will help
support 2025’s Toys for Tots Christmas drive. Expect dazzling performances, surprise
collaborations, and an afternoon you’ll not soon forget.

Admission is one unwrapped toy or a monetary donation @ the door, so mark this day
on your social calendar, grab your friends and family and head out to the Palasad and be part of something bigger than music.

The show starts at 1pm, and the last band winds it all down by 9pm. Not only is there a non-stop afternoon of music, but the venue will also feature a large raffle table, giveaways, and more.

Here is the lineup of the talent that has volunteered their bands for this all-out rockin’ event. It’s a Who’s Who of the local scene, including the hosts, 63 Monroe, Stepsisters,
Disgusteen, Tuned Out, Limits of Approach, Dolly Mix, Stunning, Doppelgänger, Snede, Face Lift, Burnt Reynolds, All But Six, Def Bombs, and Turbo Tusk!

Stop by for an hour to cheer your favourite local act or make an afternoon of it and be home in bed by 10pm knowing you helped support a great cause.

Let’s make the 2025 edition of Toys for Tots the best yet!

For more information about the show, contact Steven R Stunning at stunningsrb@gmail.com

IF YOU GO:

What: London Symphonia presents The Sounds of Home.

When: Saturday, December 6, 2025, at 7:30pm.

Where: Metropolitan United Church, 468 Wellington Street, London, ON.

Tickets: https://www.londonsymphonia.ca/event/sounds-home

Read Daina Janitis’s Preview here: https://thebeatmagazine2025.ca/2025/12/05/london-symphonia-brings-broadway-shimmer-and-gospel-fire-into-the-concert-hall/

The Aeolian Hall presents Don Ross & Julie Malia

Friday, December 5 at 7:30pm

https://aeolianhall.ca/

Friday, December 5th at the Eastside Bar and Grill
Come rock with Bender one last time!!
9pm Start! Cover $10.

https://www.eastsidebarandgrill.ca/

This weekend, After Midnight is back at The Wortley Roadhouse with special guests Jessica Blum on vocals and Anthony Borek on Bass, Friday night, McKenna Langdon on vocals and Ry Guy from Journeymen on Bass, Saturday night. Hope to see all our favourite people on the dance floor.

FRIDAY DECEMBER 5TH
London Music Hall, SummerCamp Productions, Virgin Radio London, and Fresh Radio present SHAWN DESMAN – Back To Life Tour
One of Canada’s most iconic pop and R&B voices, Desman has a legacy of Platinum hits, #1 singles, and unforgettable performances. From winning JUNO, MMVA, and SOCAN Awards to shaping a generation of Canadian music, his impact is undeniable. Now, after a massive 2023 comeback and 2024 smash hits like Maniac and Body, he’s ready to light up the stage once again

with special guest JAMIE FINE

7PM. Licensed/All Ages Event.
Tickets on sale Friday, May 23rd 10AM at https://www.ticketmaster.ca/event/100062AD7FFA105D

London Music Hall – 185 Queens Ave – London, ON
www.londonmusichall.com

WE’VE GOT ART EXHIBITIONS!

Andrew Lewis Solo Exhibition, Notes From The Mindfield, December 4 – January 10, at TAP Centre of Creativity.

Read Beth Stewart’s Preview here: https://thebeatmagazine2025.ca/2025/12/02/andrew-lewis-finding-balance-notes-from-the-mindfield-preview/

Westland Gallery presents From The Vault, December 2 – 30. Open House Saturday, December 6, from 1:00pm to 3:00pm.

http://www.westlandgallery.com

OTHER

Christmas In The Village, Saturday, December 6, Wortley Village, London, ON.

Light up the holidays in Victoria Park, starting tonight at 6 p.m. Enjoy live local music, food trucks, and a complimentary 360° photo booth.

@OfficialFarmBoy will also be onsite, offering free hot cider samples and collecting non-perishable food donations in support of the London Food Bank.

Kids, don’t forget to stop by Santa’s Mailbox to send your holiday wish lists to the North Pole.

Special guest John Davidson, founder of Jesse’s Journey, joins us for the ceremonial flip of the switch at approximately 6:55 p.m., illuminating over 100,000 lights and filling the park with holiday magic!

Don’t miss the moment the holidays begin!

london.ca/lightingofthelights

Sat, Dec 6, 202510:00 a.m. Sun, Dec 7, 20253:00 p.m.

December 6 & 7

Join us for Christmas at the Village and learn all about how people in the 19th century enjoyed the holiday season! St. Nicholas may even be there!

London Symphonia brings Broadway shimmer and gospel fire into the concert hall

December 5, 2025December 5, 2025 by Richard Young

Previewed by Daina Janitis

Yes, I know The Beat Magazine publisher has dubbed me a local scribbler about “classical music” – but the London Symphonia concert on Saturday night doesn’t look as though it fits into that niche until you read about the organizer, the soloists, and the choir and orchestra players who will bring that stage alive with an authentic greeting of the season!

Care to glance at The Sounds of Home program?

Snow (from White Christmas) Music and lyrics by Irving Berlin. A Place Called Home (from A Christmas Carol) Music by Alan Menken. Lyrics by Lynn Ahrens. On the Street Where You Live (from My Fair Lady) Music by Frederick Loewe. Lyrics by Alan Jay Lerner. It All Fades Away (from The Bridges of Madison County) Music and lyrics by Jason Robert Brown. I Love the Way (from Something Rotten). Streets of Dublin (from A Man of No Importance), and many more classic selections from the stage and celebration.

“Classical”- I don’t know- but I DO know that this is ART MUSIC with roots in church choirs, jazz clubs, and musical theatre, carried by the colours of a live orchestra. It challenges, delights- and empathizes – and it’s brought to you by magnificent performers with roots in this community.

(Pictured: Alexandra Kane.)

Do you know Alexandra Kane? She’s a Music graduate of Western University, but also holds degrees in Communication from Fanshawe and in DEI from Cornell (I wonder if that program still exists in Trumpland?). She is a music director, singer, activist, TV producer- and you already may have witnessed her incredible work at the Grand Theatre.

If you’ve lived in this area for a while, you know Olivia Sinclair-Brisbane. Born and raised in London, Olivia began her career at the Grand Theatre in Annie at the age of 12. From Original Kids and Amabile Youth Choir to attending H.B. Beal Secondary School and participating in the Grand Theatre’s High School Project, Olivia went on to Sheridan College for Musical Theatre Performance. From there, four seasons at Stratford in Cabaret, Mamma Mia, and Something Rotten.

(Pictured: Olivia Sinclair-Brisbane and Henry Firmston.)

Henry Firmston grew up in London, where he performed in four seasons of the Grand Theatre’s High School Project (2011-2015) and for two years in Beal Musical Theatre. He’s spent the last seven seasons performing at Stratford, in shows like The Music Man, Rocky Horror, Billy Elliot, Little Shop of Horrors, Chicago, Spamalot, Annie, and Dirty Rotten Scoundrels.

(Pictured: Tiffany Deriveau.)

Tiffany Deriveau All right- not a Londoner but a Windsor-born performer of Afro-Haitian and Indo-Guyanese heritage. She has over twenty-five professional credits across stage, film, and television. She’s appeared in productions with Mirvish, Stratford, Soulpepper, Charlottetown Festival, Drayton Entertainment, and the Grand Theatre – and her screen credits are from Disney, Netflix, NBC, and MTV.

(Pictured: Trevor Patt.)

Trevor Patt is another Londoner who has been in professional theatre now for over fifteen years after his start in London with Original Kids, The Grand Theatre High School Project (‘06,’07), and Beal Music Theatre. He then went on to graduate from George Brown College’s ballet program and Sheridan College’s Music Theatre program. His versatility has amazed audiences from coast to coast and during six seasons in Stratford – Spamalot, The Rocky Horror Show, and the North American premiere of Shakespeare in Love.

And there’s a choir too – the London Gospel Collective!

Who are they? Let’s ask them:

We are a diverse, spiritual community uniting through the power of worship and gospel music.
We arrange and perform gospel songs which inspire others through messages of hope and thanksgiving. We sing to worship and connect spiritually with the City of London, particularly its Black communities. The people in the choir and the songs we sing emphasize hope and unity through faith.

Our city’s symphony, some of the brightest performing stars London has nurtured, and a cultural tapestry that will make you even prouder of being a Londoner, will be on stage at the Metropolitan Church on Saturday night. Be part of it!

IF YOU GO:

What: London Symphonia presents The Sounds of Home.

When: Saturday, December 6, 2025, at 7:30pm.

Where: Metropolitan United Church, 468 Wellington Street, London, ON.

Tickets: https://www.londonsymphonia.ca/event/sounds-home

Previewed by Daina Janitis

Daina Janitis previews the London Youth Symphony’s Old Friends and Overtures, November 29.

November 28, 2025 by Richard Young

Previewed by Daina Janitis

“In an orchestra, the whole is greater than the sum of its parts. Together, we can create something truly extraordinary.” – Yo-Yo Ma

And looking at this recent photo of the London Youth Symphony on that beautiful stage at The Met below, these words resonate.

(Pictured: London Youth Symphony.)

They bring back sweet memories: Taking my stoic 12-year-old son and his bassoon to an audition with conductor Jerry Summers over 30 years ago. Wondering how he’d get through the chosen piece, some scales on that gigantic piece of pipe, and then a piece of sight-reading. When he was accepted, there were cheers from his nerdy parents and a chocolate cake at Sebastian’s on Richmond.

And then his mom started over 30 years of volunteering for London’s youth orchestra, thankful for what orchestra playing provided for her own kids.

Oh, the Londoners in LYS whose performances continued to enrich our lives ~

String players like Alex, who went on to Montreal’s Symphony.

Andrea, who is now part of the Montreal ensemble she created: collectif9.

Susan, who left London to study at Oberlin and was principal cello in Louisiana before returning to London to teach and inspire.

Becky, who played in a Polish salt mine- and the Krakow Cathedral – but now delights audiences in Kitchener-Waterloo.

But equally inspiring- the LYS musicians who used their talents in other fields ~

Steve, who adds fire to the local community orchestra while completing his epidemiology degree.

Sharon, who started her own Suzuki school to help generations of little ones flourish.

Ana, a dedicated therapist who also plays her violin in LCO.

Mary, the oboist- member of the first LYS over 60 years ago, still sets that tuning A for the community orchestra.

So why am I indulging in personal memories as the first LYS concert of Season 2025-26 begins?

Because I find the power of the music these young people rehearse, the energy that their conductors and mentors provide their efforts, and the willingness of the audience- even non-family members – to offer them applause, one of the most powerful beacons of hope in a world that is showing the distressing speed at which values can be lost.

Only this past weekend, some of you might have seen this demonstration by some gentlemen across the Wortley Road Bridge in London.

This group announces on its website that The Second Sons is a men-only, Canadian white nationalist group. The group operates chapters throughout Canada, using gyms as meet-up spots and to train their fitness via martial arts. The group appears publicly in white masks and sunglasses, similar to the Patriot Front, and has adopted a modified version of the Red Ensign as its logo.

What would they and their “Remigration Now” banner make of the LYS kids (and their supportive families), whom you can hear this Saturday night? What would they learn from the Kims, Lees, Sanatanis, Wongs, and Smiths who create beautiful harmony and stirring rhythms with notes put together by composers around the world?

Overall, the discipline and collaboration required in classical music ensembles nurture well-rounded individuals who are socially aware, emotionally mature, and cognitively equipped, qualities that are invaluable for sustaining democracy and community life. This makes the London Youth Symphony’s first concert not only a musical event but a celebration of these deeper civic and personal benefits.

But as Daniel Barenboim reminded us, “An orchestra is not an orchestra without the musicians, but the musicians are not an orchestra without the audience.”

(Pictured: Argentine-Israeli classical pianist and conductor, Daniel Barenboim.)

Among a gazillion other accomplishments, Daniel Barenboim worked with the late Palestinian scholar to create a youth orchestra of young Israeli and Arab musicians. This ensemble was created to show that music can break down barriers once thought insurmountable. Their commitment is to showing that bridges can be built if we listen to each other’s narratives. You won’t be hearing the West-Eastern Divan Orchestra on Saturday night, but you WILL be part of building bridges and bearing witness to young people merging their right and obligation to create something exquisite for each other and for you.

(Pictured: LYS Conductor, Ben Bolt-Martin.)

And what scores will LYS Conductor Ben Bolt-Martin be bringing to life with his baton- and his dedication to London’s musicians? Some of them will be familiar to you – and I’ll even add some links to previous performances if you’d like to get your expectations ready:

There’s “Nimrod” from Enigma Variations — Elgar

Elgar’s “Enigma Variations” began almost as a private joke at the piano, when he started improvising little musical caricatures of his friends to amuse his wife after a long day of teaching and routine work. Each variation is a musical “portrait gallery,” where you can actually hear personalities, inside jokes, and even remembered conversations, yet the whole piece is wrapped around a secret hidden theme that Elgar claimed, “goes through and over the whole set, but is not played” and that he took to his grave without ever explaining. The “Nimrod” was written about a friend, but its slow, gentle start and rise to glorious sound have made it a favourite selection for funerals!

And what about Capriccio Italienne -Tchaikovsky?

Peter Ilyich’s love life was the pits at that time, but Tchaikovsky’s Capriccio Italienne was composed during that dark and turbulent time in his life, bursting with the vibrant energy of the Roman Carnival he witnessed firsthand. The piece captures the bright colours and lively folk tunes of Italy as Tchaikovsky absorbed local street music and dances, creating a joyful, almost theatrical celebration of a city that stirred something vital in his sensitive soul.

And are you ready for Academic Festival Overture – Brahms?

Will you catch its irony? He offered it as a thank-you for a new degree – an honorary doctorate- and gave the bigwigs a rousing potpourri of boisterous student drinking songs rather than a solemn academic piece. He used four drinking songs and ended with “Gaudeamus igitur,” a centuries-old student anthem meaning “Let us rejoice, therefore, while we are young,” capturing the mischievous, playful spirit of youth amid a formal academic celebration.

I‘m sure we’ve all heard this one, too – Overture to Der Freischütz – von Weber

Are you ready to take the risk of Weber’s overture to “Der Freischütz”? It stands out for how it dramatically sets the scene for the opera’s dark romantic tale of supernatural bargains and moral struggle, weaving together actual themes and motifs from the opera—especially the eerie diminished seventh chord associated with the devil figure Samiel and the lyrical hunting horn calls—into a vivid musical narrative.

Your openness of mind, your willingness to learn, and your celebration of some of London’s most inspiring young artists are gifts that you have the power to give and receive by your presence. An orchestral performance is a collaboration between the conductor, the musicians, and the audience. It is a shared experience where everyone involved becomes a part of something greater than themselves. It is a connection of souls, united by the power of music.

IF YOU GO:

What: London Youth Symphony presents Old Friends and Overtures.

When: Saturday, November 29, 7:30pm.

Where: Metropolitan United Church, 468 Wellington Street, London, ON.

Tickets: At the Door or https://lys.ticketspice.com/old-friends

Previewed by Daina Janitis

Weekend Roundup of Selected Arts Events in the London Area, November 28-30.

November 27, 2025November 27, 2025 by Richard Young

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

WE’VE GOT LIVE THEATRE!

London Community Players present: Deathtrap
By Ira Levin
Directed by James Patterson
Produced by Anita Goodfellow

A thriller about thrillers—and the deadly games writers play.

Twists. Turns. Typewriters.

The most diabolically clever thriller ever staged.

This one will keep you guessing.

Nov 27-Dec 7

Tickets: Adults: $33
Students/Seniors (55+): $30
Youth (under 18): $20
(fees included)

https://mytickets.palacetheatre.ca/eventperformances.asp?evt=513

Theatre Tillsonburg presents Ken Ludwig’s
Twas the Night Before Christmas, November 20-23, and November 27-30.

A festive comedy full of mischief, music, and holiday magic! A mouse, an elf, and a spunky young girl team up to help Santa save Christmas in this wildly entertaining holiday adventure. Packed with clever wordplay, wild characters, and heartwarming cheer, it’s the perfect outing for the whole family.

For more information and tickets, visit https://www.theatretillsonburg.com/

IF YOU GO:

Read Jo-Anne Bishop’s Review here: https://thebeatmagazine2025.ca/2025/11/24/a-flurry-of-magic-frozen-melts-hearts-at-the-grand-theatre/

Kettle Creek Players presents The Wicked Witches of Oz Pantomime this Friday, November 28th and Saturday, November 29th.

Wicked Witches of Oz is a British Panto written by Peter Nuttall with permission from Lazy Bee Scripts. It’s a hilarious take on the story of The Wizard of Oz that is fun for all ages.

135 Wellington St., St. Thomas, ON

Tickets: https://www.eventbrite.ca/e/wicked-witches-of-oz-tickets-1200504775099

Shut The Front Door: Grinch-Prov, Friday, November 28.

Picture a stage where your wildest holiday ideas come to life! From mischievous Grinches to cheerful spirits, every suggestion sparks hilarious moments. Bring your friends and family for a night of belly laughs you won’t forget!

Don’t miss out on the fun—grab your tickets early! Ready to spread some holiday cheer? Drop your quirky suggestions in the comments below! Let’s make Grinchprov unforgettable!

https://www.shutthefrontdoor.ca/

Original Kids Theatre Company presents Rodgers and Hammerstein’s Oklahoma: Youth Edition, Nov. 27-30, Spriet Family Theatre, 130 King St. (Covent Garden Market, 2nd fl), London, ON.

A high-spirited rivalry between local farmers and cowboys provides a colourful background for Curly, a charming cowboy, and Laurey, a feisty farm girl, to play out their love story. Their romantic journey, as bumpy as a surrey ride down a country road, contrasts with the comic exploits of brazen Ado Annie and hapless Will Parker in a musical adventure embracing hope, determination and the promise of a new land.

Tickets: https://www.originalkids.ca/tickets

Liam Grunté Theatre & FPT London present It’s A Wonderful Life, A Live Radio Show, November 26-29, on the Grand Theatre’s Auburn Stage.

This timeless classic about a selfless man, George Bailey, is brought to life as a live radio show.

When life gets in the way, George sacrifices his own ambitions for the good of the community. It’s Christmas Eve, and a cruel nemesis has put the reputation of George and his father’s business in jeopardy. George is in a desperate condition, and an unlikely guardian angel comes to his aid, but will it be enough to make George see that it’s really a wonderful life?

Tickets: https://www.grandtheatre.com/event/its-wonderful-life-live-radio-show

WE’VE GOT LIVE MUSIC!

The Aeolian Hall presents Emm Gryner, Friday, November 28, at 7:30pm, 795 Dundas St, London, ON

Emm Gryner is a 3-time Juno Award-nominated Canadian singer and multi-instrumentalist. She has been sought after by David Bowie and Def Leppard to sing and collaborate with them on tour and on recordings, including the new Stripped Version of “Pour Some Sugar On Me” featuring the Royal Philharmonic Orchestra. Emm also helped make the first music video in outer space when Chris Hadfield enlisted her to create a new version of “Space Oddity”, which was partially recorded aboard the International Space Station. Emm’s new album “Business & Pleasure” is a foray into yacht rock and features an all-star list of Nashville musicians who have worked with Michael McDonald, Hall & Oates, Taylor Swift and Toto. Emm is constantly crossing genres and defying the odds of what is possible in the music industry as an independent female recording artist.

https://aeolianhall.ca/

Anne Moniz & Friends at the Dawghouse Pub and Eatery, Friday, November 28, at 9:00pm. 699 Wilkins St, London, ON.

London singer-songwriter Anne Moniz (from such bands as Tell It To Sweeney and Thames Rivieras) returns to The Dawghouse Pub & Eatery for the last time in 2025! Accompanying her is multi-instrumentalist Daniel Oniszeczko.

Enjoy a full night of original acoustic-driven music featuring special guests, including indigenous Toronto artist Nyssa Komorowski.

Betamaxx Live 80s Matinee at the Richmond Tavern at 3:00pm. 370 Richmond St, London, ON

Say Anything to your pals while dancing and singing along to your favourite 80s New Wave/Post Punk/New Romantics songs!

Matinee show, 3-6pm. Day drinking on a Saturday – what could be better?

No cover.

The annual Red Scarf benefit concert returns to London Music Hall on Saturday, November 29, hosted by Queen Priyanka and featuring performances from SHEBAD.

Every year, music artists take the Red Scarf stage to ring in World AIDS Day and raise critical funds in support of the Regional HIV/AIDS Connection (RHAC). As a special celebration of RHAC’s 40th anniversary, this year’s show is double the entertainment: Hosted by international popstar and drag performer Priyanka and featuring Indie music group SHEBAD.

Learn more at www.Redscarf.ca

Doors 6:30PM. Licensed/All Ages Event.
Tickets on sale now at https://www.ticketweb.ca/…/red-scarf-hosted-by…/14646963

London Music Hall – 185 Queens Ave – London, ON
www.londonmusichall.com

FIESTA LATINA THIS 𝐅𝐑𝐈𝐃𝐀𝐘 𝐍𝐎𝐕. 𝟐𝟖𝐓𝐇 INSIDE 𝐏𝐄𝐏𝐏𝐄𝐑𝐌𝐎𝐎𝐍! LATIN ELEMENT DANCE BAND – DJ ORLANDO VALENCIA IN THE HOUSE! 10PM – GREAT FOOD – LATIN MUSIC – FREE PARKING! 1100 COMMISSIONERS RD. E. LONDON ON.

The Strands at the Eastside Bar and Grill, Friday, November 28th, 750 Hamilton Rd., London, ON
It’s a full night of Rock hits with a punk rock twist.
9pm Start. Cover $10.

Kevin’s Bacon Train at the Palasad Socialbowl, Friday, November 28, at 8:30pm. 777 Adelaide St. North, London, ON.

Kevin’s Bacon Train is a high-energy bluegrass band that blends down-home picking with a cheeky sense of fun. With driving banjo, tight harmonies, and a sound that’s equal parts front porch jam and festival mainstage, they get audiences clapping, stomping, and grinning ear to ear. Whether you’re a die-hard roots fan or just love a good time, Kevin’s Bacon Train brings the kind of infectious, foot-stompin’ joy that turns every show into a barn-burner.

The Elder Brothers at The Wortley Roadhouse, Sunday, November 30, at 3:00pm. 190 Wortley Rd, London, ON.

The Elder Brothers close out November with a matinee on Sunday, November 30! The show starts at 3pm. No Cover.

Dallas Smith and his Band at Centennial Hall, Saturday, November 29, at 7:00pm. 550 Wellington St. London, ON.

Tickets
$ 69.00 + TAX & S/C
$1.00 from every ticket will be donated to Salvation Army Toy Mountain

https://centennialhall.london.ca/

Tickets available here: https://ticketscene.ca/events/56883/

London Youth Symphony presents Old Friends and Overtures, Saturday, November 29, 7:30pm, at Metropolitan United Church.

Program:

“Nimrod” from Enigma Variations — Elgar

Capriccio Italienne -Tchaikovsky

Academic Festival Overture – Brahms

Overture to Der Freischütz – von Weber

Tickets: Adult – $15.00, Students – $5.00. Available at the door or londonyouthsymphony.net

London Pro Musica Choir presents Texture: Beauty for Dark Times, Saturday, November 29, 7:30pm, at St. James Westminster Church, 115 Askin Street, London, ON.

An a cappella concert that celebrates the music and influence of 16th-century Italian composer Giovanni Pierluigi da Palestrina (1525-1594) and Austrian composer Anton Bruckner (1824-1896).

The program features Palestrina’s Missa Papae Marcelli: an intricate, exquisite work written in defiance of a papal edict demanding that all sacred music be simple and stark. Our program will celebrate this work and incorporate works by the German composer Anton Bruckner. Bruckner lived 300 years later, yet his music rings with the old master’s influence and style. With this unadorned, a cappella program, we, like Palestrina, stand in defiant defence of the necessity of beauty in dark times.

Anton Bruckner was a devoutly religious man and composed numerous sacred works. He wrote a Te Deum, five psalm settings (including Psalm 150 in the 1890s), a Festive cantata, a Magnificat, about forty motets (among them eight settings of Tantum ergo, and three settings of both Christus factus est and Ave Maria), and at least seven Masses. There will be five selected a cappella works by Bruckner in this concert.

For more information and tickets, visit https://londonpromusica.ca/

WE’VE GOT ART EXHIBITIONS!

Jack Cocker “New Paintings” continues to November 29, 2025, at Michael Gibson Gallery, 157 Carling Street, London.

Read Beth Stewart’s Review here: https://thebeatmagazine2025.ca/2025/11/25/jack-cocker-new-paintings-at-michael-gibson-gallery/

Celebrating original music and art from the local community as we raise funds to support the ongoing work of Mission Services of London, at Valleyview Mennonite Church on Saturday, November 29, at 6:00pm. 170 Melsandra Ave, London, ON.

->Featuring several short music performances by local musicians
->Art silent auction
->Art silent auction starts at 6pm. Music starts at 7pm.
->$10 entry + donation* online or at the door (https://CreativityandCommunity.eventbrite.ca)
->Refreshments available

Music Lineup Featuring:
Adair Meehan
Sina Khosravi
Sharon Bee
Lynn Davis Bertie
Derek Martin
Rayne Vitorino Dias & David Rayo

Art Silent Auction featuring various local artists.

Anyone can donate to support this fundraiser at: https://www.paypal.com/ncp/payment/A4RF5QEZQ3LFC

All donations are to the Valleyview Mennonite Church: Missions Fund. www.valleyviewmc.ca/content/missions-fund. The Valleyview Mennonite Church Missions Fund will make a donation to Mission Services of London equivalent to the proceeds raised at this event. Tax Receipts are available for any donation provided above the $10 admission fee.

Lisa Johnson’s incredible solo exhibition, Full Circle, will be on display until November 29th at Westland Gallery

http://www.westlandgallery.ca

Read Beth Stewart’s Review here: https://thebeatmagazine2025.ca/2025/11/09/lisa-johnson-takes-your-breath-away-at-westland-gallery/

For information about Current Art Exhibitions at TAP Centre for Creativity, visit https://www.tapcreativity.org/gallery

For information about Current Art Exhibitions at Benz Gallery, visit https://www.thebenzgallery.com/