Tag: review

Twists, Turns and Theatre Tricks: A Review of Deathtrap at the Palace Theatre.

by Richard Young

Reviewed by Jo-Anne Bishop

The Palace Theatre’s presentation of Deathtrap by Ira Levin, directed by James Patterson and produced by Anita Goodfellow, offers an entertaining evening of twists, tension, and clever stage trickery, though not without a few bumps along the way. The play follows Sydney Bruhl, a once-successful playwright desperate for another hit. When a promising script lands in his hands, temptation and ambition collide in ways that blur the lines between collaboration, manipulation, and survival. It’s a clever premise that thrives on surprises, so the less said, the better. (You will find no spoilers here!)

I found myself torn on this production, caught somewhere between enjoying its strengths and feeling like something essential wasn’t quite landing. Much of Deathtrap’s charm comes from its blend of suspense and dark humour, yet the comedic elements, which should give the script its bite, didn’t always come through in the delivery. This left certain moments feeling flatter than intended.

(Pictured: David Lamari as Sydney Bruhl. Photo Credit: Ross Davdson.)

David Lamari gives a commendable performance as Sydney Bruhl. He steps into the role wholeheartedly, bringing a natural ease and believability that anchors the show. Lamari is a talented performer, and his commitment to the character stands out, even when some scenes around him falter. His delivery had great strength and presence, though at times he needed more volume.

(Pictured: Julia Askerov as Helga Ten Drop. Photo Credit: Ross Davidson.)

Julia Askerov, as the eccentric psychic Helga Ten Dorp, brings good energy to the stage and earns some of the play’s lighter moments. However, her dialogue was at times difficult to understand due to her character’s intended thick accent. In contrast to Lamari, her projection was strong, but the clarity wasn’t always there.

In fact, aside from Askerov, the cast as a whole could benefit from stronger vocal projection. There were stretches where dialogue became muddy or simply too quiet, causing important lines to get lost. Combined with occasional holes in the comedic parts of the performances, this affected believability in key moments.

(Pictured: Porter Milgrim and Sydney Bruhl. Photo Credit: Ross Davidson.)

On the technical side, the production shines. The set, designed and constructed by Eric Bernard, David Long, and Heather Meadows, is fantastic. Immersive, clever, and perfectly suited to the play’s tone. Lighting and sound, executed by Rob Coles and Mariann Sawyer, respectively, were executed perfectly, enhancing tension and atmosphere without overpowering the action. The costume designs by Aiden Thomas and Lorna McKenzie were well done and nicely suited to the characters.

Overall, Deathtrap is an enjoyable watch with moments of genuine intrigue and visual excellence. It is a solid production that entertains, even if some elements fall short. Even with some missed comedic beats and moments that could use stronger projection, the production’s solid performances and outstanding technical work make it an engaging ride. It’s a show that reminds you why live theatre is irresistible: You never quite know what’s coming next. And Deathtrap plays that game very, very well.

IF YOU GO:

What: Ira Levin’s Deathtrap

Where: The Palace Theatre Arts Commons, 710 Dundas Street, London, ON.

When: November 27th – December 7th, 2025

Tickets: Tickets | Deathtrap | The Palace Theatre Arts Commons

Reviewed by Jo-Anne Bishop

CD Review: Brent Jones – The Truth Window

by Richard Young

Reviewed by The Beat Magazine’s Ian Gifford

When I agreed to start doing reviews for The Beat Magazine, I knew that I wanted to review some new up-and-coming bands’ records in the future, but I also knew that some had been out for a while, and that I felt needed more attention. So, in the future, you can expect a mixed bag. All of the reviews will be local within a certain catchment, which basically means bands that you can expect to see live in London regularly.

As a musician and sound guy, most of these people are friends and colleagues of mine, so there will be some bias, but I am here to promote and not to tear down. When I wrote for ID magazine (Guelph) in the 1990s, I admit, I could be a scathing critic, but that is no longer part of my voice as a writer. My job is to make you aware of local music you may not have heard about yet and give you a reason to discover it for yourself. If you want to criticize after that, well, you’re on your own. The following review is for someone I consider a dear friend, if not a “brother from another mother”, Brent Jones, and his latest album, The Truth Window.

(Pictured: Brent Jones. Photo Credit Belinda J. Clements Photography)

Brent Jones is well-known in the London area as a singer-songwriter, session musician (piano), engineer, and producer. In recent years, he has transformed his family’s old barn into a unique multi-purpose venue that he shares with the community at large. Over this past year, he has been releasing and promoting his newest project, which has been touted as part 2 in an eventual trilogy of releases.

A conceptual six-song piece with a total run time of 36 minutes, The Truth Window contains themes of war, revolution, death, destruction, rebuilding, healing, and ultimately, the value of love. The recurring mentions of soldiers and battles are likely metaphorical references to the cycle of life itself, which would seem natural to the author, who spends a large part of his time on the family farm.

The lyrics throughout the album are cleverly disguised references to life experience and personal growth, throughout the good and bad times in our lives, as well as the idea that we never go through these “battles” truly alone. From the first song, “Turbulent Flow” which may describe family that grows and falls together through the seasons of our existence, to the very last strains that ask, “What if loving was the key to our survival?”, The Truth Window feels like the original revelation, down to the final resolution of a personal epiphany for the artist in question.

There are lines all over this record that read like ancient quotes from the greatest philosophers and theologians alike, for example, “The space of history will turn the lens a shade of rose” or “Don’t you know that the smell of victory is sweeter with a bloody nose?” both from “Good Soldier”. I have to wonder also if the title “Alms of Harvest” may be tied to the scriptures of Leviticus 19:9-10, which commands the leaving of the edges of your farmers’ fields to the poor and the travelers of the world and neighbouring communities (described in the texts as aliens or foreigners).

***

9 When you reap the harvest of your land, do not reap to the very edges of your field or gather the gleanings of your harvest. 10 Do not go over your vineyard a second time or pick up the grapes that have fallen. Leave them for the poor and the foreigner. I am the Lord your God.

***

The Truth Window almost feels, at times, like an autobiography for Brent. Here’s a man who has the privilege of watching the cycle of life on an annual, if not daily, basis. The song “October Surprise” feels like the most personal statement on the album when it says, “You better make it count, boy!”, as if Brent is reflecting on the gifts he’s been given and how he can give back to the universe. Just how has he given back? Well, he created Quiet Earth, which is the venue on the farm that hosts concerts and weddings, plus a wide variety of other community-minded events that give, in the songs’ refrain, “Voices to the voiceless, choices to the choiceless, [and] noises to the noiseless.”

Check out this clip about the new Rogers TV Live from Quiet Earth Series. https://www.facebook.com/share/v/17k9G6Sfyp/

We live at war with time, and it is not always about how we approach the battles as much as who we approach them with. I personally have a unique perspective on this, having been a past band member with Brent (Pete Denomme and the Cosmic Cowboys), as well as having been involved with production for shows at Quiet Earth. I’ve discovered that every single show always begins and ends with the same thing. Love.

By that I mean love of self, love of friends, love of family, love of music, love of life, but ultimately the love of community. The Truth Window encourages us to not just look out our windows at the world by itself, but also to see our own reflection as it blends in with the images we see in the passing seasons. It encourages us to not look at the barren fields in winter with a sense of mourning but with love.

The album was recorded partly in the UK at Peter Gabriel’s Real World Studios, which inspires awe and envy in most musicians I’ve ever told that to, as well as being recorded here in Canada at Brent’s home studio in Dorchester, Ontario. It was mixed and mastered by the award-winning engineer/producer Stuart Bruce (Loreena McKennitt and more) and features vocals by his life partner and collaborator, Jennifer Crook. Another notable contributor is popular Canadian singer/songwriter Emm Gryner, as well as a diverse cast of musicians from the London, Ontario area.

While this music has been publicly available for almost a year to the day of this writing, the actual vinyl LP was released this past summer (June 29th, 2025) with a theatrical and musical performance at Quiet Earth, directed by London’s John Pacheco with a four-person crew of regional actors.

Now this is where the bias comes in, I FREAKIN’ LOVE this album! From the moment Brent put the CD in my hands, I knew so much about the process to that point that I was convinced it would be a masterpiece, and in my mind, it is nothing short of that. It is never overbearing in its messaging or arrangements and production. There is enough air between the words and notes that allow you to experience your own emotions and never force feeds you on how to feel. When its last notes ring out, all I can feel is that which can never be overstated, an overwhelming sense of love.

Rating: 5 out of 5 Stars. Be sure to listen to it as a full album for full appreciation. It is a complete piece of art! Recommended if you like progressive pop like Peter Gabriel, Elbow, Tears for Fears, Kate Bush, and more.

Purchase The Truth Window here: https://quietearthca.bandcamp.com/album/the-truth-window

For more information about Quiet Earth, visit https://quietearth.ca/

Follow Brent Jones on Facebook https://www.facebook.com/thebrentjones

Reviewed by Ian Gifford.

The Play That Goes Wrong opens 2025/26 Season at the Grand Theatre

by Richard Young

Media Release, October 7, 2025

The hilarious smash-hit on Broadway and in the UK, The Play That Goes Wrong, arrives with a bang at the Grand Theatre and is already extended due to popular demand before even hitting the stage.

Dennis Garnhum, former Grand Theatre Artistic Director, is set to direct the production with a crack-up company of actors and artists that have already packed theatres throughout Western Canada. The red-carpet opening night of The Play That Goes Wrong on Friday, October 17th, officially marks the beginning of the Grand Theatre’s 2025/26 Season: You Are Here, the highly anticipated second season in the hands of Grand Theatre Artistic Director Rachel Peake. 

“Whether it’s the magical kingdom of Arendelle, magic realism, or the magical power of community, so much of our 2025/26 season at the Grand is about the magic of theatre. The Play That Goes Wrong is a love letter to just that,” shares Peake. “This show has more tricks in it than any other show. And yet, what makes it so funny and delicious and appealing is not so much those outstanding effects, but instead the very human drive to go on with the show.”

(Pictured: The Grand Theatre’s Artistic Director, Rachel Peake)

The Play is a play about a play – and that play within the play goes terribly, horribly, hysterically wrong every single night, live on stage. If you work in the theatre, it’s your nightmare on repeat. If you’re in the audience, you’re in for the laugh of a lifetime. 

“If the cast and crew let the problems stop the show and sent us all home, it would be a tragedy. But they don’t. The show goes on, and they make it through. When I first read this play, I cheered for these characters from beginning to end,” shares Garnhum. “I know these people. I love these people. They are my hard-working colleagues, whom I’ve been around my entire life. Their passion is contagious, and the play within the play, The Murder at Haversham Manor, goes down as a triumph simply because they saw it through and never give up despite the world figuratively – perhaps literally, definitely hilariously – tumbling down around them.”

Director Dennis Garnhum talks about The Play That Goes Wrong at the Grand Theatre in this video clip. https://youtu.be/Swo0-W53lCI?si=ly9PzOQh5ZbbzdKw

Even as audience members are finding their seats, the cast is already in character and buzzing throughout the theatre, frantic about the opening night of Murder at Haversham Manor. It’s 1922, and the very fictional Cornley Polytechnic Drama Society is everything except prepared.

(Pictured: Photo by Nanc Price for The Citadel Theatre’s production of The Play That Goes
Wrong (2024), in partnership with Theatre Calgary and Royal Manitoba Theatre Centre,
featuring Vanessa Leticia Jetté and Honey Pha)

Alexander Ariate plays Jonathan (who plays Charles Haversham), Izad Etemadi and Emily Meadows play Stage Crew (who play Stage Crew), Vanessa Leticia Jetté plays Sandra (who plays ‘Florence Colleymoore’), Andrew MacDonald-Smith plays Max (who plays ‘Cecil Haversham’ as well as ‘Arthur’), Jawon Mapp plays Robert (who plays ‘Thomas Colleymoore’), Bernardo Pacheco plays Trevor (Cornley Polytechnic’s lighting and sound operator), Honey Pham plays Annie (Cornley’s stage manager but also sometimes plays ‘Florence Colleymoore’ whether Sandra likes it or not), John Ullyatt plays Dennis (who plays ‘Perkins’), and Daniela Vlaskalic plays Krista (who directs the play within the play, and also plays ‘Inspector Carter’). Got that? Good! 

(Pictured: Photo by Nanc Price for The Citadel Theatre’s production of The Play That Goes
Wrong (2024), in partnership with Theatre Calgary and Royal Manitoba Theatre Centre,
featuring Andrew MacDonald-Smith, Joel Schaefer, Vanessa Leticia Jetté, and Daniela
Vlaskalic)

This Olivier Award-winning comedy offers a hilarious glimpse into the absolute worst-case scenarios that can unfold in the world of theatre. Premiering in 2012 in the UK, it went on to run over 745 performances on Broadway. Garnhum has helmed the production at the Citadel Theatre (Edmonton), Theatre Calgary, and the Royal Manitoba Theatre Centre (Winnipeg), and now plans to unleash its chaos in London at the Grand.

Garnhum is joined by Fight & Movement Director Morgan Yamada, Set Designer Beyata Hackborn, Costume Designer Joseph Abetria, Lighting Designer Kimberly Purtell, Sound Designer Dave Pierce, with Donovan Siedle, and Stage Manager Jordan Guetter.

If You Go:

What: The Play That Goes Wrong

Where: On the Spriet Stage, The Grand Theatre, 471 Richmond Street, London, ON

When: October 14 to November 2

Tickets: Single tickets range from $25 to $97 and are available at grandtheatre.com, by phone at 519.672.8800, or at the Box Office, 471 Richmond Street. 

For more information about The Grand Theatre’s 2025/26 Season, visit https://www.grandtheatre.com/

Elgin Theatre Guild delivers a heartfelt, unforgettable production with Steel Magnolias. Reviewed by Jo-Anne Bishop.

by Richard Young

Steel Magnolias Hits Like a Hammer

By Jo-Anne Bishop

“I would rather have 30 minutes of wonderful than a lifetime of nothing special.” – Shelby Eatenton-Latcherie, in Robert Harling’s Steel Magnolias

The Elgin Theatre Guild’s production of Steel Magnolias in St. Thomas delivers two and a half hours of something truly special.

Set in Truvy Jones’ beauty salon in small-town Louisiana during the 1980s—where secrets, gossip, and the occasional sweet treats are shared—Steel Magnolias is a story of unwavering bonds and enduring friendship. The set, though simple, radiates authenticity and rustic charm, immersing the audience so completely that it feels as though we are peering through the salon’s mirror where its patrons peer back at us.

A great theatre experience should educate, entertain, and inspire, guiding the audience through a journey of emotions. This production does exactly that—moving effortlessly from heartwarming laughter among friends to moments of fear, loss, and grief. It is performed with such conviction that one almost forgets they are sitting in a small theatre in downtown St. Thomas.

(Steel Magnolias Set. Photo Credit: Ross Davidson)

A Director’s Vision, A Cast’s Strength

Much credit goes to director Cindi Armer Almeida, who assembled a strong ensemble capable of carrying the weight of such a beloved play turned feature film. Each woman brings her own distinctive energy and colourful take on the characters to the role.

  • Susan Williams perfectly embodies Clairee Belcher, the quintessential Southern lady of society.
  • Sile Ferguson is endearing as the shy and slightly insecure newcomer, Annelle Dupuy-DeSoto.
  • Kim Braine-Ott delights as the sharp-tongued yet lovable Ouiser Boudreaux—a role performed with just the right mix of bite and heart.

Their performances provide a rich foundation that ensures the story never falters.

The three leads, however, are the true standouts of this production.

  • Sarah Abbot-Taylor brings Truvy to life with warmth, wit, and charm. Her facial expressions, movements, and just that absolute feeling of authenticity transport us straight to the bayou.
  • Makayla Ashenden’s Shelby is magnetic—delicate yet strong, embodying the duality of steel and magnolia with such a beauty and grace, you are completely drawn into her character.
  • Sam Sabathy gives a breathtaking performance as M’Lynn. Her emotional journey ebbs, flows, and then crescendos into a devastating second act that leaves the audience in tears. It was, quite simply, phenomenal. A word I don’t use lightly.

(Pictured: Cast and Crew of Steel Magnolias. Photo Credit: Ross Davidson)

Rarely have I seen a community theatre performance stir such a genuine emotional reaction from an audience. The believability of these performances and cohesiveness of the cast is what makes it a bona fide success.

In her Director’s Notes, Almeida writes, “It’s the perfect play to see right now given the climate of today’s headlines.” Indeed, the production resonates as a timely reminder of the healing power of laughter, love, and friendship. The need for connection is universal, and this play underscores it with compassion and truth.

Prepare to be moved. Bring your friends, family, and loved ones to Truvy’s beauty parlour, and allow yourself to be immersed in the lives of these six remarkable women. You’ll leave with a renewed appreciation for the strength of friendship and the beauty of human connection.

Bravo to the cast, crew, and director. May this production enjoy an excellent run.

If you go:

ELGIN THEATRE GUILD – Home
Where – Princess Avenue Playhouse, 40 Princess Avenue, St Thomas
Tickets: $25 plus fees
When – September 18th – 28th, 2025

Reviewed by Jo-Anne Bishop

Meet The Beat Magazine 2025 Theatre Reviewer Jo-Anne Bishop

by Richard Young

Jo-Anne will be reviewing local theatre productions for The Beat Magazine 2025. If your company would like your show reviewed, contact richardyoung@thebeatmagazine2025.ca.

Background and Experience in the Arts

My background in the Arts started with an early love for music and dance. I attended my first concert at 10 years old (Helix at the Sarnia Arena in 1983!) and began tap and modern jazz dance lessons around the same time. My love for live theatre was built through school trips to the Stratford Festival to see plays like Romeo and Juliet, The Merchant of Venice, and Macbeth, and a trip to Toronto for The Phantom of the Opera, which quickly became my all-time favourite.

I dreamed of performing for many years, but being too self-conscious to audition in high school, I sat on the sidelines and instead reviewed music and theatre for our school newspaper. In 2013, I finally pushed my fears aside and was cast in my first play, Laughter on the 23rd Floor, as Carol Wyman, the only female writer on the Max Prince show. I have since performed in productions of Birth (Jillian, 2016), Hamish (Annette, 2023) and The Curious Incident of the Dog in the Nighttime (Mrs. Alexander, 2024).

Previous Reviewing Activities

SCITS, Sarnia, Ontario – High school newspaper reviewer for Music and the Arts

London Fringe Festival, London, Ontario, 2012-2015

Independent Reviewer and Blogger (Theatre in London and The Pollyanna Papers), 2015-2016?

Why am I jumping back into the fray now?

After performing for a few years, I’ve decided to take a break from the grind of auditioning, rehearsing and performing. While I love it immensely, it’s a lot of work. Performing has given me a whole new perspective and appreciation of what goes into a production and the ability to look at reviewing with a fresh set of eyes.

Thoughts about the London arts and culture scene, especially local theatre

Hoo wee! London has such a wealth of talent, from youth to adults. Every time I see a play, I am amazed at how talented our actors, directors, producers, set/prop/costume/light/sound designers are. I don’t think causal observers realize just how much goes into making a production from the audition to the curtain call. It is a huge undertaking, and to think our theatres produce such world-class productions on some very tight budgets is astounding, especially at the community theatre level, where volunteers do everything.

Sadly, since COVID, I have witnessed a huge decline in attendance at performances, and it breaks my heart. I have also noticed a sad lack of reviews lately, which I find are necessary to give people an idea of what to expect and a reason to go to the theatre.

So, before I can put my feet on the stage again, I want to help put bodies in the seats. We need to reignite a love for theatre and the arts in this city.

If you are interested in becoming a volunteer writer for The Beat Magazine 2025, please contact Richard Young, Publisher & Content Manager, at richardyoung@thebeatmagazine2025.ca. We are seeking writers and reviewers for local music, visual arts, fiction, poetry, and prose.

LONDON FRINGE PERFORMER HIGHLIGHTS: MARIA COLONESCU & JENN WEATHERALL

by Richard Young

PERFORMER HIGHLIGHT: MARIA COLONESCU

Maria is an internationally produced, award-winning playwright, director, actor, and everything in between. She holds an MFA in Advanced Theatre Practice from the Royal Central School of Speech and Drama (University of London). Her diverse practice includes training in Butoh and somatic performance and leans into immersive, non-traditional, site-responsive theatre that puts the audience in a position to influence the experience, highlighting personal and social accountability and community building. Since moving to the Region of Waterloo in 2022, Maria has curated, produced, and directed a radio-drama series for Kitchener’s Midtown Radio (2023); co-wrote and directed an immersive, participatory, art-heist theatrical experience for the KW Art Gallery’s annual fundraiser (2024); co-founded the Treading Theatre Festival in Kitchener (2025); and premiered 9 original plays.

Maria directs and performs in her original play, The Companion. She also performs in her play, Everything I Didn’t Get to Say (In a Collection of Petals).

PERFORMER HIGHLIGHT: JENN WEATHERALL.

Jenn is an actor, playwright, artist, muralist and mother. She spent her twenties attending George Brown Theatre School and running away to NYC. In her thirties she made two beautiful babies. And in her forties she recovered from ‘adulting’ and got back to who she is at her core…an artist.

Jenn’s plays have been performed in many festivals including Darkcrop, HamilTen, She Speaks, and Unhinged. This is Jenn’s second experience within a Fringe Festival. Last year No Lilies was performed in the Guelph Fringe and received the award for outstanding performer. She recently participated in a playwrighting workshop with Daniel McIvor and is working on a piece to be performed in the Unhinged Festival of Disturbing Theatre in Waterloo in October.

She wrote No Lilies by the side of the river in St. Jacobs overnight two years ago (with many skunks lingering close by) and is excited to step back into that space again in London.

To purchase tickets to Maria and Jenn’s shows, and get more information about the London Fringe, visit www.palacetheatre.ca/london-fringe

London Fringe Shows and Performers Highlights – Jenn Weatherall & Maria Colonescu

by Richard Young

Best friends, Jenn Weatherall and Maria Colonescu, are presenting a double bill – No Lilies & Everything I Didn’t Get to Say (In a Collection of Petals), while Maria is performing one of her own, The Companion, at this year’s London Fringe.

“They are haunting, emotional pieces that explore life and death, strength and fear, words never said, loss and pain,” says Jenn. “Our shows are the only all women productions in the festival, and we are the only two female playwrights in the festival. Maria is the only female director.”

Show Highlight: The Companion at Procunier Hall

We should all be so lucky to have that one, constant companion, there for us in our most difficult moments – patient, honest, kind. Or should we? Even the things we thought we knew could change in an instant. The Companion is an intense, demanding, cerebral two-hander that will have you confront life’s big moments: terrifying and hilarious, gentle and cruel. You will be captivated by two superbly challenging performances from Maria Colonescu and Andre Furlong and leave the theatre thinking about what it all means.

Show Highlight: Everything I Didn’t Get to Say (In a Collection of Petals) at Procunier Hall

Sometimes, words fail. Sometimes, you don’t get to say the words at all. Sometimes, words are not necessary to begin with. Everything I Didn’t Get to Say (In a Collection of Petals) is a colourful journey into the past, revisiting moments that went wrong, moments that went just as they should have, and moments that only happened in an imagined alternate reality – all through the beautiful and fragrant lens of flowers and their world of meaning. A fever-dream of story-telling, poetry, and botany, all packed into 20 minutes!

Show Highlight: No Lilies – at Procunier Hall

Preparing for any big life event can be terrifying. Perhaps if we were free to strip away all the pressures and expectations put upon us by those around us, society, even ourselves…maybe then we could experience life with a purity so many of us search for. No Lilies is an exploration of just that; of finding the strength to reject everyone else’s wants and putting yourself first to encounter your life with complete transparency and truth.

This is a piece that was written as part of Flush Ink Productions’ annual “Write or Flight” program. It was performed both in Flush Ink Productions’ Unhinged Festival of Disturbing Theatre, and the Guelph Fringe Festival in which it was awarded Outstanding Performance.

To purchase tickets and get more information about the London Fringe, visit www.palacetheatre.ca/london-fringe