Tag: review

Enthusiasm and Talent Abound at MTP’s Shrek: The Musical!

by Richard Young

Reviewed by Kim Kaitell

(Pictured: Cast & Crew of Shrek: The Musical. Photo by Ross Davidson.)

Attending Musical Theatre Productions’ Shrek: The Musical, now playing on the Auburn Stage at the Grand Theatre, was honestly not something I was particularly excited about going into this particular evening. As a person with children, I’ve seen the original film countless times, and after sitting through several elementary school productions over the years, I assumed I had already experienced everything this show had to offer.

However, I always like my mind to be changed, and it was almost immediately! From the moment I walked into the sold-out preview performance, filled with audience members of all ages, the positive energy in the theatre was impossible to ignore.

Settling into reviewer mode, I first took note of the production design. The set itself was fairly simple, but the forest scenes were well executed and created a warm, inviting atmosphere. What truly stood out throughout the production was the lighting design by Joe Recchia. The lighting danced between shades of shimmering calm to reverberating sparkle and beautifully enhanced the mood of each scene without overwhelming the stage. Well done!

(Photo by Ross Davidson.)

The real strength of this production, however, lies in its ensemble. For a volunteer-driven community theatre project, the level of talent onstage was genuinely impressive. Under the choreography of Stephanie Pritchett, musical numbers such as “Story of My Life,” the hilarious tap-dancing “What’s Up, Duloc?”, the uplifting and powerful ensemble anthem “Freak Flag,” and the finale “I’m a Believer” were so polished and energetic that I often forgot I was watching an “amateur” theatre production.

(Pictured: Members of the Shrek Ensemble. Photo by Ross Davidson.)

The cast attacked every number with enthusiasm and confidence, creating an infectious sense of fun that carried throughout the evening. There were so many exceptional, individual performances from the ensemble that if I had to name one, I would have to name them all. That alone is well worth the ticket price.

Further into the show, I had expected Lord Farquaad, played by Leo Sigut, to appear shuffling about on bent knees as traditionally portrayed in many productions. This staging chose not to go that route, meaning the character initially took me a moment to recognize, and admittedly, some of the short jokes lost a bit of their impact. Still, it proved to be a far more comfortable choice for the actor, and Leo Sigut’s wonderful over-the-top performance more than compensated for the missing gag.

(Photo by Ross Davidson.)

One of the standout performances of the evening came from Dwight P Anderson as Donkey, who very nearly stole the show. His performance was high-energy, hilarious, and packed with physical comedy that kept the audience laughing throughout the night. Paired with Amelia Hilton as Dragon, the number “Forever” became one of the highlights of the production — a soul-inspired song that was funny, and surprisingly heartfelt all at once. (I should mention that Amelia’s costume is stunning!) I was also deeply touched by “I Know It’s Today,” performed by the three Fionas. In particular, young Fiona, played by Emily Molina, delivered such a clear and sweet vocal performance that it genuinely brought a tear to my eye. I sincerely hope to see more from her in future productions.

(Pictured: Rosalie Mattison as Princess Fiona. Photo by Ross Davidson.)

One final surprise of the evening came during intermission, when I discovered the music was being performed by a live band. I had assumed the score was pre-recorded because the sound was so seamless and professional. That revelation alone speaks volumes about the quality of the musicians involved.

Overall, this production of Shrek The Musical is family-friendly, energetic, and genuinely delightful entertainment. Congratulations to director Brittney-Lee Lowey and to the entire cast, crew, and musicians on a thoroughly enjoyable production. You deserved your standing ovation! I loved it and highly recommend it.

IF YOU GO:

What: Musical Theatre Productions presents Shrek: The Musical.

Where: Auburn Stage at the Grand Theatre, 471 Richmond St., London, Ontario

When: May 7 to 17, 2026

Tickets: Call the Grand Theatre Box Office by phone at (519) 672-8800, and online at https://www.grandtheatre.com.

CAST:

Adriano Burgo as Shrek
Dwight P. Anderson as Donkey
Rosalie Mattison as Princess Fiona

Leo Sigut as Lord Farquaad
Eden Eidt as Gingy and others
Cameran Shalatski as Pinocchio and others
Amelia Hilton as Dragon and others

Tevin Pritchett-White as Child Shrek and others
Emily Molina as Child Fiona and others
Tessa Pritchett-White as Teen Fiona and others

Ensemble:

Keirah Buckley (featured as the Ugly Duckling)
Matt Butler (featured as the Captain of the Guard)
Nicole Chapple (featured as the White Rabbit)
Niamh Coady (featured as the Wicked Witch and 3 Blind Mice)
Lauren DaSilva (featured as Queen Lillian and Peter Pan)
Michael Heath (featured as Pig 1)*

Mariana Hrnjak (featured as Pig 3 and Duloc Greeter)
Elvis Ibekwe (featured as Papa Bear)
Solange Kirkwood (featured as Pied Piper and Elf)
Natalia Martin (Featured as Mama Ogre and Fairy Godmother)
Lucas McHugh (featured as Papa Ogre and Grumpy)**
Celine Medeiros (featured as Mama Bear and Dragon Wing)

Olivia Power (featured as Humpty Dumpty and 3 Blind Mice)
Haven Raeburn-Gibson (featured as the Mad Hatter)
Duncan Sizeland (featured as Pig 2 and the Bishop)
Ahrielle Tilson Diaz (featured as the Sugarplum Fairy and Dragon Wing)
Ewen Van Wagner (featured as the Big Bad Wolf)

*Shrek Understudy
**Swing

CREATIVE TEAM:

Director: Brittney-Lee Lowey
Assistant Director: Emilie Forrat

Stage Manager: Aleesa Prendergast
Assistant Stage Manager: Sam Stack Couture
Assistant Stage Manager: Sam Takacs

Music Director: Jaclyn Cunneyworth
Pianist: Juan Giraldo

Choreographer: Stephany Pritchett
Set Designer: Haley Helm
Set Illustrator: Griffen Helm
Lighting Designer: Joe Recchia

Props Master: Alyssa Palma
Head of Wardrobe: Sally Buchanan
Head of Hair: Jordann Atha
Lead Makeup and SFX Artist: Rachelle Lov Goebel
Makeup Artist: Cate Connell

*Shrek is also supported by a Production Committee, consisting of members from the MTP Board of Directors and the local theatre community.

Reviewed by Kim Kaitell

Kim Kaitell is the Owner of OĀZA, an Artist, Actor, and Director.

The Importance of Being Earnest: A Riot of Colour and Wit – If You Can Keep Up!

by Richard Young

Reviewed by Jo-Anne Bishop

There’s a reason Oscar Wilde’s The Importance of Being Earnest has endured for well over a century. Premiering on Valentine’s Day in 1895 at London’s St. James Theatre, the play is a razor-sharp satire of Victorian society, skewering everything from marriage and class to the absurdity of social expectations. Wilde’s signature style—fast-paced, highly stylized, and dripping with irony—remains both its greatest strength and, at times, its greatest challenge.

As quoted in the director’s note, “rarely has the stiletto of dissident humour been driven so smilingly between the ribs of bourgeois convention.”  This line from Neil Bartlett perfectly captures Wilde’s enduring bite.

Now playing at the Grand Theatre, this production, directed by Alistair Newton, leans boldly into theatricality, delivering a visually striking and energetically performed interpretation that feels surprisingly modern and relevant in 2026. Wilde’s themes of performative identity, social façades, and the tension between authenticity and expectation still resonate today, perhaps even more in an age of social masking, highly curated personas and digital selves.

That said, this is not a production you can passively absorb.

(Photo by Dahlia Katz.)

I found myself needing time to sit with the show afterwards. The rapid-fire dialogue and heightened language, true to Wilde, can be difficult to follow, especially if you’re not already familiar with the story. There were moments where I lost the thread entirely, only to piece things together in retrospect. For audiences new to the play, a bit of homework beforehand will go a long way. If you have a short attention span or struggle with dense, fast-paced English dialogue, this is one where preparation really matters.

Visually, the production makes a striking and very bold statement. Set designer Michelle Tracey creates three distinct worlds across the acts: a lush, all-green opening (down to the piano and cigarette case), a fully yellow second act, and a vivid red-and-yellow third. The only figure fully in red is the formidable Aunt, commanding attention in a room that mirrors her dominance. It’s an ambitious and cohesive design, though at times, its intensity borders on overwhelming.

(Photo by Dahlia Katz.)

The costumes, designed by Judith Bowden, are pitch-perfect: bright, bold, and beautifully in sync with the set’s colour story. One exception is Cecily, whose costume felt slightly muted by comparison, causing her to fade visually in moments where she might otherwise shine. At the same time, it perfectly separated her character from the others, showing the contrast between the city’s pomp and the country’s quiet reserve.

(Photo by Dahlia Katz.)

The dialect work, coached by Phyllis Cohen, is strong throughout, helping anchor the heightened language in both clarity and rhythm.

Performance-wise, the cast is superb across the board. Deena Aziz brings warmth and precision to Miss Prism, while James Daly’s Algernon Moncrieff is delightfully playful. Julien Galipeau grounds John Worthing with charm, and Kaylee Harwood delivers a sharp, engaging Gwendolen Fairfax. As Lady Bracknell, Claire Jullien commands the stage with authority and wit, while Ben Sanders capably fills multiple roles, including Reverend Canon Chasuble and Lane.

Standout performances for me came from Billy Lake as Lady Stella Clinton and the Merriman—whose drag performance drew some of the biggest laughs of the evening—and Mirabella Sundar Singh as Cecily Cardew, who brought a delightful presence and nuance to the role.

Ultimately, The Importance of Being Earnest isn’t going to be for everyone, and this production doesn’t try to soften its edges. It’s fast, it’s dense, and it demands your attention. But if you’re willing to meet it on its level, it offers a rewarding, visually dazzling, and often very funny experience. And while there may not be a distinct message or lesson to learn, it makes a bold statement.

Overall, this is a vibrant, well-directed production with exceptional performances, inventive design, and a distinctly modern pulse. Just be prepared to keep up.

IF YOU GO:

What: Oscar Wilde’s The Importance of Being Earnest, Directed by Alistair Newton

Where: The Grand Theatre, 471 Richmond St, London, Ontario

When: March 24th to April 12th, 2026.

Tickets: $25-97, available at the Box Office or online at The Importance of Being Earnest | The Grand Theatre

Reviewed by Jo-Anne Bishop

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/, and 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.

A Killer Performance Anchors a Sharp “Prescription: Murder”

by Richard Young

Reviewed by Jo-Anne Bishop

(Pictured: Cast of Prescription: Murder, Tameka Brown, Eve Cohen, Andre Cormier, David Pasquino, Sam Didi, and Makayla Ashenden. Photo Credit: Ross Davidson.)

Murder is rarely this polished – or this fun to watch.

On the Auburn Stage at the Grand Theatre in London, Ontario, Prescription: Murder wastes no time pulling its audience into a sleek, slow-burning game of cat and mouse. Running March 19–29 and directed by Stephen Mitchell, this black box production leans into intimacy and largely thrives because of it.

Originally written by William Link and Richard Levinson, the play serves as the foundation for the iconic television detective Columbo. The story centres on a brilliant and calculating psychiatrist who believes he has devised the perfect crime, only to find himself gradually entangled in a battle of wits with the seemingly unassuming Lieutenant Columbo. What unfolds is less a traditional whodunit and more a tense psychological chess match, where the outcome feels inevitable, but the journey is where all the intrigue lies.

(Pictured: David Pasquino as Lieutenant Columbo. Photo Credit: Ross Davdson.)

The ensemble is tight and reliable across the board. Makayla Ashenden brings a grounded vulnerability to Susan Hudson, while Tameka Brown and Eve Cohen offer strong, steady support as Miss Petrie and Claire Flemming. Sam Didi moves seamlessly through dual roles, and David Pasquino’s Lieutenant Columbo is understated, patient, and quietly probing—exactly what the role demands.

But let’s be honest: this is André Cormier’s show.

(Pictured: Andre Cormier as Dr. Roy Flemming. Photo Credit: Ross Davidson.)

As Dr. Roy Flemming, Cormier delivers a performance that is sharp, controlled, and magnetic. He walks a perfect line between charm and menace, with only the slightest of line slips in an otherwise near-flawless turn. What stands out most is his precision. Every look and every pause feels intentional. His seething, barely contained irritation with Columbo simmers just beneath the surface, and it’s riveting to watch. You don’t just see the character unravel; you feel it.

The staging makes smart use of the black box space, carving out distinct environments—the doctor’s office, reception area, apartment, and Columbo’s workspace—without overcomplicating things. A few of the scene changes occasionally drag a beat too long, but they’re supported by effective lighting and sound that keep the tension alive.

(Pictured: Tameka Brown as Miss Petrie, Andre Cormier as Dr. Roy Flemming, and Eve Cohen as Claire Flemming. Photo Credit: Ross Davdson.)

Costuming and attention to detail further ground the production in authenticity. Each character is clearly defined through wardrobe, but it’s Lieutenant Columbo who benefits most from these thoughtful choices. David Pasquino appears perfectly dishevelled with mussed hair, a slightly rumpled coat, and even an untied shoe that subtly reinforces the character’s offbeat, absent-minded persona. It’s a small but effective touch, and one that adds texture and believability without feeling trite or overstated.

(Pictured: Andre Cormier as Dr. Roy Flemming and David Pasquino as Lt. Columbo. Photo Credit: Ross Davdson.)

There are a few minor cracks in the illusion. Some set pieces wobble when doors are slammed, which briefly pulls focus. But these moments are small and quickly forgotten. Overall, this Prescription: Murder is lean, engaging, and anchored by a standout central performance. It’s a confident piece of theatre that knows exactly what it’s doing—and for fans of classic detective drama, it absolutely delivers.

IF YOU GO:

What: DJP Productions presents Prescription: Murder by William Link and Richard Levinson

When: March 19-29, 2026

Where: Auburn Stage, Grand Theatre, 471 Richmond St, London Ontario.

Tickets: $31.70-$36.70  Prescription: Murder | The Grand Theatre

Reviewed by Jo-Anne Bishop.

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.

Mrs. Krishnan’s Party Cooks Up Community at The Grand

by Richard Young

Reviewed by Charlotte MacDonald

(Mrs. Krishnan’s Party. Photo: Dahlia Katz.)

Walking into Mrs. Krishnan’s Party at The Grand Theatre’s Auburn Stage, I had no idea what to expect.

After being handed a piece of paper captioned “Wallflower,” I was greeted by a vibrantly clothed man, grinning from ear to ear, welcoming audience members and directing us to our seats.

Inside the theatre, chairs were set up around the perimeter of the room, all facing inwards to a table with a single countertop burner in the centre, and a platform draped in patterned sheets stood toward the back, where actors could enter and exit. Hanging from the ceiling and around the walls were garlands of red flowers, and boxes, presumably containing inventory overflowing from Mrs. Krishnan’s shop, gathered around the edges of the room.

From the stage set up alone, I knew this wasn’t going to be a typical performance – and I was right.

To start the show was the same colourfully dressed man from earlier, played by Justin Rogers, performing as James (or self-proclaimed DJ Jimmy J), Mrs. Krishnan’s boisterous and energetic boarder.

(Pictured: Justin Rogers as DJ Jimmy J and audience members. Photo: Dahlia Katz.)

He explained to the audience that it was a day of celebration and that we were invited to join in the festivities of the annual Hindu harvest festival, Onam. The catch? Mrs. Krishnan doesn’t know that all 100+ of us are in the back of her shop and ready for a party.

Within minutes, James had brightly coloured scarves passed around for every audience member to wear, quickly painting the room in vibrant oranges, yellows, greens and pinks. He then began to play loud, energetic music, inviting people to clap, get on their feet, put their hands in the air and start the party.

It dawned on me like the sun that I had unknowingly placed myself at the epicentre of internal conflict for every introverted arts lover: interactive theatre.

Safe to say, as an introvert, I was terrified of what I had just gotten myself into. On the other hand, as a theatre fan with a job to accomplish, I knew what I had to do, and so, despite my natural aversion to high-intensity social settings, I swallowed my fear and surrendered.

The story is set into motion by the eponymous Mrs. Krishnan, an Indian immigrant mother and widow who runs Krishnan’s Dairy, and awaits her son’s return home to celebrate Onam, played by Kalyani Nagarajan. She makes her entrance with a literal bang, as she stumbles in the dark offstage after James turns the lights off in an attempt to surprise her with the abundance of strangers gathered in the backroom of her shop.

(Pictured: Kalyani Nagarajan as Mrs. Krishnan. Photo: Ankita Singh.)

After the audience yells “surprise!” Mrs. Krishnan is in serious shock at the sight of all of us, appearing timid, reserved and mildly furious with her boarder. While her strict, regimented demeanour remains present throughout much of the show, it isn’t long before her quirky, unapologetic and playful side begins to emerge as she grows more comfortable with the visitors in her shop.

A key component of this performance is its reliance on audience interaction. Both Rogers and Nagarajan constantly defer to the audience to decorate the unfolding story, and at times even invite them on stage to assist in cooking the Dahl for the party. Among these audience members of my show were Tom, a six-foot-four man who took it upon himself to help Mrs. Krishnan open the canned tomatoes — prompting her to repeatedly complain that James should be more like him — Kevin from the back row, whose name resulted in loud cries of “KEVIN!” from Mrs. Krishnan in a playful Home Alone reference and, my personal favourite, the little boy sweeping the fallen rice off the floor while laughing at every moment.

(Pictured: Audience Members, Mrs. Krishan’s Party. Photo: Dahlia Katz.)

While I knew this was a theatre performance, at times it felt more like watching a stand-up comedy set from performers who had mastered the art of crowd work, effortlessly rolling with every joke and unexpected moment. What made it even more unique was the knowledge that no two performances would ever unfold in quite the same way.

As artistic director of The Grand, Rachel Peake explains, “Immersive theatre removes the division between audience and stage — calling on the audience to meet the experience with all five senses, and clearly articulating that each performance is unique, influenced by the particular confluence of people on any given day.”

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

The constant humour present throughout the performance also made the more serious moments land with greater weight by contrast. I appreciated that the story allowed for its characters to be more than simply funny, revealing them as people searching for meaning in a world where happiness is not always easy to find.

This becomes even more layered when the reality of cultural displacement is considered, making Mrs. Krishnan representative of more than just herself.

In an interview with me after the performance, Nagarajan explained, “She is every migrant struggling to find their place in their community, battling with her son, battling with this idea of duty versus choice and freedom…I think that’s why a lot of the Indian community here identifies with her. They go like, ‘I know who that person is, and I want to call my mum,’ or ‘I am that mum.’”

Once the show concluded, to celebrate the party and the community forged over the last 80 minutes, the actors served the dahl made throughout the performance to the audience.

In the end, as apprehensive as I was in the beginning, I’m glad I stayed to feel part of a performance meant to bring people of different backgrounds together in a shared celebration. Saturated in humour, doused in conflict, and marinated in community, Mrs. Krishnan’s Party was a reminder that even in the midst of chaos, we can choose to celebrate anyway.

What: The Grand Theatre presents Mrs. Krishnan’s Party.

When: February 25 – March 7, 2026.

March 5, 2026 | 7:30pm

March 6, 2026 | 8:00pm

March 7, 2026 | 2:00pm

March 7, 2026 | 8:00pm

Where: Grand Theatre, 471 Richmond Street, London, ON.

Tickets: Tickets can be purchased online at grandtheatre.com, by phoning the Box Office at 519.672.8800, or by visiting the Box Office in person at 471 Richmond Street (weekdays from 9:00 a.m. to 5:00 p.m., and Saturdays from 11:00 a.m. to 3:00 p.m.).

Reviewed by Charlotte MacDonald

Charlotte MacDonald is a Creative Writing and History student at Western University. She currently writes about theatre, pop culture, and campus life for The Western Gazette, works as a Digital Intern at The Walrus, and hosts a radio show at Radio Western. Growing up in Toronto, theatre has always been a staple part of Charlotte’s life, and she has come to greatly enjoy engaging and contributing to the theatre community through her writing.

“It’s a Privilege to Pee!” Brilliant and Thought-Provoking: Urinetown Shines at the Palace Theatre

by Richard Young

By Jo-Anne Bishop

(Cast and Crew of Urinetown: The Musical. Photo Credit: Ross Davidson)

Community theatre can sometimes surprise you. Occasionally, it can even rival (or surpass!) professional productions in artistry, ambition, and execution. That was unquestionably the case with this remarkable staging of Urinetown: The Musical at the Palace Theatre.

Directed by Sydney Brockway, produced by Ceris Thomas, and featuring an orchestra under the leadership of Steven Morley, this production demonstrated a level of talent that felt genuinely world-class, and all the more impressive given its community theatre setting.

For those unfamiliar with the show, Urinetown is far more than its intentionally provocative title suggests. The musical is a sharp political satire that explores themes of corporate greed, environmental crisis, class inequality, and the consequences of unchecked capitalism. Set in a dystopian future where water scarcity has led to the privatization of public amenities — including toilets — the story examines power, resistance, and the moral ambiguities of revolution. At the same time, it quite cleverly parodies the conventions of musical theatre itself by breaking the fourth wall and inviting audiences to question not only the characters’ motives, but their own assumptions about justice and heroism.

(Pictured: Jesslyn Hodgson as Hope Cladwell, Sean Brennan as Caldwell B. Cladwell, and Ensemble members. Photo Credit: Ross Davidson.)

Balancing humour with social commentary is no easy task, yet this production navigated both with intelligence and confidence. Notably, the company also extended these themes beyond the stage through direct outreach to unhoused members of the surrounding community. An effort that meaningfully deepened the production’s social resonance.

(Pictured: Laura Williams as Penelope Pennywise, Henry Truong as Bobby Strong, and Allison Gold as Ma Strong. Photo Credit: Ross Davidson.)

The performances were uniformly exceptional. Kate Sepi delivered a commanding and charismatic Officer Lockstock, serving as both narrator and participant with clarity, presence, and authority. Henry Truong, as Bobby Strong, brought both emotional sincerity and vocal strength to the role, grounding the story’s central conflict with authenticity. Jesslyn Hodgson as Hope Cladwell possessed a vocal quality that elevated every musical moment she touched. Sean Brennan delivered a captivating and hilarious Caldwell B. Cladwell, creating a villain whose presence was magnetic and layered. His performance (for me) stood comfortably alongside work seen on much larger and better-funded stages. Rae Ryder as Little Sally offered memorable nuance and charm, embodying the show’s self-aware humour with skill.

(Pictured: Rae Ryder as Little Sally and Kate Sepi as Officer Lockstock. Photo Credit: Ross Davidson.)

A particularly extraordinary moment behind the scenes became one of the evening’s most impressive achievements: Penelope Pennywise, normally played by Laura Williams, was unexpectedly performed on opening night by director Sydney Brockway herself due to illness. Had there not been a notice in the lobby advising of the opening night change, audiences would never have known. It was a nearly seamless, truly confident, and fully realized performance, and a testament to Brockway’s professionalism and depth of preparation. However, it is my understanding that, as commendable as Sydney’s performance was, Laura’s performance is one not to be missed, which is why I will be making a return trip to see Penelope Pennywise in her other form, once Laura is cleared to return.

(Pictured: Sydney Brockway, Urinetown Director/Choreographer. Photo Credit: Ross Davidson.)

Equally impressive was the ensemble. There was not a weak link in the company, and truly, there are no small roles in this production. Each cast member is to be commended for delivering an exceptional performance, owning every line and every beat. The choreography was executed with precision, energy, and commitment, and the cast functioned as a cohesive storytelling unit throughout. At various points in the evening, nearly every ensemble member captured attention, which is a hallmark of strong direction and engaged performers.

(Pictured: Urinetown Ensemble Members. Photo Credit: Ross Davidson.)

The design elements further strengthened the production. Costumes by the team of Tannis Daoust, Chloe Scripnick, and Chatham Vy were thoughtfully conceived, particularly in their use of colour to distinguish social groups: the impoverished citizens versus the corporate faction. The costume choices enhanced the visual storytelling clearly and effectively. Combined with the set, props, lighting, and musical direction, the overall aesthetic achieved a level of polish that elevated the entire production.

(Pictured: Foreground Jesslyn Hodgson as Hope Cladwell and Henry Truong as Bobby Strong. Photo Credit: Ross Davidson.)

What elevates this production even further is the company’s commitment to connecting the show’s themes with the lived realities of the surrounding community. Members of the cast shared that during the rehearsal process, they felt a responsibility to recognize and engage with unhoused individuals living in the neighbourhood around the theatre. They responded not only with awareness but with action, providing food and basic necessities during the rehearsals and the run of the production. This effort was also acknowledged in a cast note included in the program, which read:

“Urinetown the Musical is about access, power, and what happens when basic human needs are controlled by systems rather than compassion. Producing this show in a neighbourhood where these questions are not abstract, but lived, reminds us that theatre doesn’t exist in a vacuum. We acknowledge the people in our community who are navigating housing insecurity, poverty, and barriers to care, and we affirm their dignity and humanity. We invite audiences to laugh, think, and leave asking bigger questions about how communities choose to care for one another.”

(Photo Credit: Ross Davidson.)

This initiative demonstrated a meaningful alignment between art and empathy, reinforcing the social relevance of the production beyond the stage itself. And this, for me, is the longstanding purpose of the arts. To merge art and real life, and to showcase the stories that make us human.

If there were any critique to be offered, it would be that the orchestra occasionally overpowered the vocals in certain moments. However, this was a relatively minor issue within an otherwise outstanding musical presentation.

Ultimately, this production of Urinetown exemplifies what community theatre can accomplish when passion, talent, and leadership align. It was bold, intelligent, and thoroughly entertaining. It is a production that not only delighted audience members but also invited them to reflect on timely social questions. Productions of this calibre are something any arts community should be proud to claim. This show deserves full audiences for the rest of its run. Please, plan to see this production and tell your friends.

As always, please support the arts. Keep storytelling alive.

IF YOU GO:

What: Urinetown: The Musical with Music and Lyrics by Mark Hollman, Book and Lyrics by Greg Kotis

When: February 19th to March 1st, 2026

Where: The David Long Stage at the Palace Theatre, 710 Dundas Street, London, Ontario.

Tickets: $23 (students) – $38  Tickets | Urinetown: The Musical | The Palace Theatre Arts Commons

Reviewed by Jo-Anne Bishop

A closer look at Closer at the Procunier Hall, February 5 to 15.

by Richard Young

Previewed by J. Bruce Parker

In a recent conversation I had with London playwright, Jason Rip, he stated that he writes plays for “the precious few who prefer their theatre to be hard-hitting social commentary instead of song and dance.”

Actor/director Dave Semple mentioned to me in an interview last year that he likes “stories that are dark and have a good depth of substance to them.”

So, what is theatre to a viewing audience?

Should its goal be to enlighten or enrich? Do you prefer leaving a theatrical performance with a smile and a sense of contentment rather than feeling troubled by what you just saw on stage? What are the limits of theatrical performances? What should be performed and spoken on stage?

Dave Semple is directing Patrick Marber’s Closer, which will be performed on the Procunier Hall stage at the Palace Theatre from February 5 to 15. Marber’s play offers a lens into the rawness of the human psyche as it defines love, trust, and betrayal.

Getting a whiff of the oncoming production, The London Free Press warned the viewing audience that the play, “may feature nude actors and scenes depicting sexuality, spurring the addition of an intimacy coach to the crew.” Is press like this a help or a hindrance?

I recently had the opportunity to view a rehearsal and talk with the cast and crew.

Dave Semple, with over forty years of experience as a drama teacher, actor, and director, explained why he wanted to undertake such a project.

“I don’t think there are always happy endings in lives and relationships, and I wanted to direct a play which was representative of something real, not the usual perfect relationships and happy endings that we usually see in theatre.”

He adds, ‘Despite the characters’ flaws and how they treat each other, what we want you to discover is that there are moments of redemption for all of them. We tried to build that into the story. The play is about the mistakes we make in relationships. Everyone says that they are looking for love, but ‘love’ for everyone is different.”

(Pictured: Sarah Taylor and Dave Semple. Photo Credit: J. Bruce Parker.)

Semple is assisted by Sarah Taylor, a teacher and actress who was brought in as an “Intimacy Director” for the production.

I must admit, this role in a theatre production is new to me, so a quick Google search helped define it. Better yet, I asked Sarah to interpret her role.

“The role of Intimacy Director has been around for some time, but certainly more prominent than it used to be. It is someone who handles sensitive stage moments; things that may need finesse or support. The director sees the big picture, but the Intimacy Director partners with the director to be the bridge between them and the actors,” she says. “We have to look at the actor’s comfort and what the director wants the actor to do in terms of intimacy, understanding the actors’ boundaries and finding a way to honour both. I can be the voice of the actor and still have a relationship with the director to make sure that their vision is maintained.”

I asked Sarah what she wants the audience to walk away with at the play’s end.

“I want the audience to experience vulnerability,” says Sarah. “There is a vulnerability in this play that sees humanity in a 360-degree view. I really believe this is something important for the audience to engage with.”

(Pictured: Set of Closer. Photo Credit: Palace Theatre.)

The production is laid out on a sparse set. Just a black curtain as a backdrop and a few chairs centre stage. With only four actors performing, dialogue has to propel the story deeply and compellingly.

Semple has carefully assembled his cast with the likes of Alex Pinter (Larry), Meghan Brown (Anna), Noah Englmann (Dan), and Scarlett Allen (Alice).

(Pictured: Cast of Closer – Alex Pinter, Noah Englmann, Scarlett Allen, and Meghan Brown. Photo Credit:J. Bruce Parker.)

I asked each actor to define their character:

Alex (Larry) – “My character is generally an honest person, but I think he is driven. Larry wants to have good, constant sex, but he mistakes sex for love.”

Meghan (Anna) – “Anna is someone who thinks she has her life together and thinks she knows what she want but she tends to self-sabotage. She is not comfortable with being comfortable, especially with love, and this is where desire takes over.”

Noah (Dan) – “His incessant need for the truth gets in the way of love. At the end of the play, I don’t think Dan believes in love. In my presentation of Dan, he doesn’t question his belief in love at the end of the play. He keeps seeing the pattern happening over and over, and he is starting to waver in his belief in love.”

Scarlett (Alice) – “I am empathic towards Alice. The story is about people looking for connections, and this is all she wants, and in searching for it, she is always pushing people away. She tries to make herself into something people want, so she totally makes herself up. She likes to create a persona, and that is probably why she becomes a stripper.”

Closer brings together four people whose lives collide, intertwine and subsequently collapse. The mood is edgy, with dialogue that is muscular, tough, and brutal. There is a blurred line between love and lust, and sex is used as currency as well as a form of deception and vengeance.

Larry tells us, “What’s so great about the truth? Try lying for a change. It’s the currency of the world.”

Alice reiterates by saying, “Lying is the most fun a girl can have without taking her clothes off.”  

There is humour in this story, but it’s brief and fragmented and never diffuses the ongoing tension between the characters.

Closer holds up a mirror to the audience in portraying the bold, honest and unsavoury aspects of relationships. It is the right fit for Procunier Hall and the right fit for those who appreciate a more visceral form of theatre.

IF YOU GO:

What: Patrick Marber’s Closer, directed by Dave Semple.

Where: Procunier Hall at the Palace Theatre, 710 Dundas St., London, ON.

When: February 5-15, 2026.

Tickets: Adults: $33, Students/Seniors (55+): $30, Preview: $22 (fees included). https://mytickets.palacetheatre.ca/eventperformances.asp?evt=525

Note: Contains explicit sexual content, strong language, and mature themes. THIS SHOW IS RECOMMENDED FOR 18+ ONLY.

(Closer Cast. Photo Credit: Palace Theatre.)

Previewed by J. Bruce Parker

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