Tag: reviews

When Shakespeare Doesn’t Know Best: Something Rotten Returns to Stratford Festival

by Richard Young

Reviewed by Mary Alderson Entertain This Thought. (Reprinted with the permission of the author.)

(Pictured: Mark Uhre as Nick Bottom. Photo Credit: Photo by Ann Baggley.)

Something Rotten! is the perfect show for the Stratford Festival. It mocks Shakespeare and musicals, ridiculing them both equally, proving there’s something for everyone. Despite poking fun at musicals, the dancing and singing are amazing. This show is truly one you should not miss.

I can’t explain the plot here; I don’t want to spoil your fun. I’ll give you the Coles notes version:  Brothers Nick and Nigel Bottom are playwrights, just like Shakespeare. But they haven’t quite reached his level, and he’s getting all the glory. So, Nick goes to Nostradamus, who foresees the future and tells Nick that Shakespeare’s next big hit will be about a – uh – an omelette. (Nostradamus has trouble seeing the future accurately. Sometimes words like Hamlet and Omelette can get a little mixed up.) But he was quite clear about the Danish part. Well, Nick wants to beat Shakespeare to the punch by producing a new show about breakfast – eggs and Danishes. And to really show up Shakespeare, he decides to make a musical, something Shakespeare’s never done!

(Pictured: Mark Uhre as Nick Bottom and Steve Ross as Shylock. Photo by Ann Baggley.)

The humour in Something Rotten! reminds me of our beloved Canadian comedians Wayne and Schuster, taking a familiar classic and making it just plain silly. Credit goes to the writing team of the two Kirkpatricks and O’Farrell. As well, credit goes to Donna Feore, director and choreographer of this wildly hilarious show with outstanding dance.

Mark Uhre is brilliantly hilarious as Nick Bottom. He is proof that Shakespeare never had an original thought – Shakespeare uses his name in Midsummer Night’s Dream!  Urhe is wrought with frustration as everyone adores Shakespeare. As his brother Nigel Bottom, Henry Firmston is an adorable sidekick. He doesn’t quite share Nick’s hatred of Shakespeare.

Dan Chameroy plays Thomas Nostradamus, the soothsayer who is only halfway reliable. Chameroy, a long-time Stratford favourite, is unrecognizable as Nostradamus, but his comedic talent shines through. Jeff Lillico is perfect as the swaggering and conceited Shakespeare, stealing ideas left and right. I will never be able to call Shakespeare “The Bard” again, without stifling a laugh.

(Dan Chameroy as Thomas Nostredamus. Photography by Ann Baggley.)

Starr Domingue adds to the comedy as Nick Bottom’s wife, Bea, who has to pretend to be a man to get a job. Steve Ross is hilarious as Shylock, and Olivia Sinclair-Brisbane plays Portia, the Puritan girl in love with Nigel Bottom, much to her father’s dismay. Her father, Brother Jeremiah, played by Juan Chioran, has many lines of double entendre.  His words belie his Puritan ways with risqué meanings, to the audience’s delight. Special shout-out goes to Jeremy Carver-James for his lute-playing ability. He opens the show as a minstrel, singing about what’s to come.

The real stars of this show are the singer/dancers in the big numbers. I can’t reveal the amazing costumes here; it would spoil your fun. Suffice to say, they dance their feet off and belt out the show tunes. Twice on opening night, there were showstopping numbers. The entire audience was on their feet, giving these dancers two standing ovations mid-show. The choreography and staging is truly remarkable. The entire cast got loud and long-standing ovations at the conclusion.

If you’re a lover of Shakespeare, you will get a kick out of this zany musical. If you’re also a lover of musicals, you will love this show. Through the course of the evening, there are funny references to every musical ever made.

If you haven’t seen Something Rotten, you must go. If you did see it two years ago, I know you will want to go again. Get your tickets now because they will sell out. Even if it’s extended, those seats will sell fast.

Something Rotten! continues in repertory until October 31 at the Festival Theatre, Stratford. Tickets are available at the Stratford Festival at 1-800-567-1600, or check www.stratfordfestival.ca

Something Rotten!
Book and music by Karey Kirkpatrick, Music by Wayne Kirkpatrick, Book by John O’Farrell
Directed and choreographed by Donna Feore
Musical Direction by Laura Burton
Performed by Mark Uhre, Henry Firmston, Jeff Lillico, Dan Chamroy, Olivia Sinclair-Brisbane, Jeremy Carver-James, Nehassaiu deGannes, Steve Ross, Starr Domingue, et al.
Festival Theatre, Stratford
May 29 to October 31, 2026


Reviewed by Mary Alderson

For more Reviews, visit Entertain This Thought – Ontario Theatre Reviews

The Battle of the Saints and the Sinners: Guys and Dolls at the Stratford Festival

by Richard Young

Reviewed by Mary Alderson Entertain This Thought. (Reprinted with the permission of the author.)

(Pictured: Devon Michael Brown with members of the company. Photo: Ann Baggley.)

The Saints are the people of the Save-Our-Souls Mission, a Salvation-Army-like group, who parade the streets of New York with their meagre marching band, trying to bring lost souls back to their Mission, for a Bible-thumping soul-saving meeting.

The Sinners are the guys: gamblers, who roll the dice and try to find a location to hold their next craps game. As well, there is another group of sinners, the dolls: women who dance in skimpy clothes at the Hot Box Club.

We don’t doubt the sincerity of the Mission folks for a minute. But soon we learn that the sinners have a strong ethical code, too. The guys never welch on a marker, meaning they never try to sneak out of keeping a promise or repaying a debt. As well, the dolls want to live moral lives. Their leader, Miss Adelaide, wants nothing more than to end her 14-year engagement with Nathan Detroit, get married and have children.

This is a good old-fashioned musical with everything. There is a great plot with lots of laughs and even some romance, there are great songs and wonderful singing with rich, powerful voices, and there is the most amazing dancing you’ve ever seen. This well-cast production is now on stage at Stratford Festival Theatre, running until November 1, and if the opening night audience is any indication, it will be extended by repeat customers wanting more.

About 22 years ago, when I first started writing reviews, I was often asked to critique community theatre shows. I had just returned from a trip to Broadway when I wrote about a very good community theatre production, and I was quite kind to them. However, the starring amateur actor insisted that their production “could stand up to anything on Broadway.”  When I inadvertently grinned at that comment, assuming he was joking, he took offence.

It’s a long way to New York City from Stratford in southwestern Ontario. But Guys and Dolls, now on stage at the Stratford Festival, has completely closed that gap. If you have never seen a big-time musical on Broadway, head over to Stratford to see Guys and Dolls. This is better than Broadway.

(Pictured: Members of the company. Photo: David Hou.)

As I tried to explain to the amateur star, Broadway shows have the whole package. The orchestrations are perfect, and the music surrounds and fills the audience. The lighting, costumes, and sets draw you in. And the talent – acting, singing and dancing – is perfect.

Director Donna Feore, as she did in 2017, has constructed the whole package, filling it with expertise and energy. And the audience on opening night was appreciative. The show was stopped with a long and loud standing ovation for the powerful dance number.

Among the saints and sinners are two couples — gambling organizer Nathan Detroit who’s had the long-term engagement to Hot Box Dancer Miss Adelaide, and Sky Masterson, a lucky gambler, who takes missionary Sarah to Cuba on a bet. The story unfolds as the two unlikely couples come together.

Jennifer Rider-Shaw leads a strong cast as Miss Adelaide. Her comedic talents, combined with her powerful singing voice, command the audience’s attention whenever she’s on the stage. She has the New York accent down pat. Her “Adelaide’s Lament” has the audience amused. Later, she sings “Take Back Your Mink” with the Hot Box girls.  Mark Uhre as Nathan Detroit keeps the audience laughing as the loveable rogue. In some productions, one has the impression that Miss Adelaide only wants to get married for the sake of marriage. But with this couple, the audience is convinced that they really love each other.

(Pictured: Olivia Sinclair-Brisbane and Jennifer Ryder-Shaw. Photo: Dan Hou.)

Olivia Sinclair-Brisbane as Sarah Brown looks the missionary very much with her innocent face and sweet smile. Dan Chameroy gives us a Sky Masterson who is equally charming and deceptive. He makes you believe that he reluctantly fell in love with Sarah. Chameroy sings “Luck Be a Lady”, reminiscent of Frank Sinatra.

Steve Ross as Nicely-Nicely Johnson and Gabriel Antonacci as Benny Southstreet are the hilarious sidekicks. Ross’s gospel solo at the Mission, “Sit Down, You’re Rockin’ the Boat” is rollicking good fun. Stephen Patterson as Brother Abernathy, the Mission leader, sings a beautiful rendition of “More I Cannot Wish for You” that brings tears to your eyes.  Juan Chioran as Big Jule, the tough-guy gambler, adds to the urgency of finding a gambling hide-out.

Special shout-out to Nehassaiu deGannes as Lieutenant Brannigan, for her performance at the beginning of the show. She aims her weapon and fires a bullet straight into a ringing telephone, causing its demise. Her no-nonsense approach puts the fear in everyone. No one in the full-to-the-rafters theatre is going to let their phones ring during the show.

The high-energy dancing and intricate choreography with jumps, flips and spins is what you’ll remember from Guys and Dolls, especially when the guys roll the dice in “The Crapshooters Dance”. With these guys moving all over, one doesn’t know where to look!  There is also amazing dancing in the exciting Havana scene, and the women shine as high-kicking Hot Box girls.  In this Broadway-calibre production, you will actually see what a showstopper is.

So, what happens when the lives of saints and sinners collide?  You need to hurry and buy your tickets for Guys and Dolls to learn the answer. It will sell out fast, even if it’s extended.

Guys and Dolls continues in repertory until November 1 at the Festival Theatre, Stratford. Tickets are available at the Stratford Festival at 1-800-567-1600, or check www.stratfordfestival.ca

Photo: Devon Michael Brown as Rusty Charlie with members of the company, Guys and Dolls. Stratford Festival 2026. Photo: Ann Baggley.

Guys and Dolls
Story and Characters by Damon Runyon
Music and Lyrics by Frank Loesser
Book by Jo Swerling and Abe Burrows
Directed and choreographed by Donna Feore
Musical Direction by Franklin Brasz
Performed by Jennifer Rider-Shaw, Mark Uhre, Olivia Sinclair-Brisbane, Dan Chameroy, Steve Ross, Stephen Patterosn, Nehassaiu deGannes, et al.
Festival Theatre, Stratford
May 26 to November 1, 2026


Reviewed by Mary Alderson

For more Reviews, visit Entertain This Thought – Ontario Theatre Reviews

Guys and Dolls – A Must See at the Stratford Festival

by Richard Young

Reviewed by Richard Young

(Pictured: Members of the Guys and Dolls company. Photo: David Hou.)

Full Disclosure: I’ve always been a sucker for full-scale Broadway musicals. And, before the “Drama Police” show up in my Facebook Comments, I appreciate drama and “serious issues plays” just as much as the next guy. But there’s something about musicals that attracts me to them every time.

From the opening chords of its first production number to the final bows of its outstanding Cast, the Tony Award-winning production of Guys and Dolls, now playing in previews at the Stratford Festival, is a spectacle that theatre-goers do not want to miss, if for no other reason than to allow them to escape the harrowing front-page news of 2026.

Let’s start with the stellar veteran Cast.

I would gladly pay to hear Stratford veteran actor Dan Chameroy read a phone book. His portrayal of Sky Masterson, a notoriously lucky gambler willing to bet on just about anything, is brilliant. Add to that Olivia Sinclair-Brisbane, the focus of his unrequited love, as the pious and beautiful Sergeant Sarah Brown of the Save-a-Soul Mission, and you have a winning combination.

The play’s other love story between small-time gambler Nathan Detroit, played masterfully by Mark Urhe, who runs a floating craps game in need of a location, and his long-suffering fiancée of fourteen years, Miss Adelaide, played by Jennifer Ryder-Shaw, is equally appealing.

(Pictured: Olivia Sinclair-Brisbane and Jennifer Ryder-Shaw. Photo: Dan Hou.)

The supporting cast of stereotypical small-time grifters adds an extra dimension to the story and further encourages the audience to suspend their disbelief. Characters with names like Nicely-Nicely Johnson (Steve Ross), Benny Southstreet (Gabriel Antonacci), Rusty Charlie (Devon Michael-Brown), Harry the Horse (Henry Firmston) and Big Julie (Juan Chioran) come and go on the stage with great aplomb.

(Pictured: Members of the company. Photo: David Hou.)

The ensemble actors shine in the show’s outstanding production numbers, choreographed by Stratford veteran, director Donna Feore. Stunning dance moves, accentuated by impossible gymnastic feats, leave the audience gasping for air.

The play’s costumes and sets are a joy to behold, as is expected of Stratford Festival productions. The men are dressed in garish vintage 1940s pinstripe suits, while the women look like they walked off the screen of a classic Hollywood film noir.

Sets range from a dingy New York City streetscape, a Havana nightclub, a lively cabaret, a mission, and a NYC sewer! Set changes are done quickly and seamlessly.

(Pictured: Members of the company. Photo: David Hou.)

And the music!

Under the baton of Music Director, Franklin Brasz, the cast and pit orchestra perform songs that have become part of the Great American Songbook, including If I Were a Bell, A Bushel and A Peck, Guys and Dolls, and, of course, Luck Be A Lady.

At the preview performance I attended on Saturday, May 23, audience members could hardly wait to jump to their feet to give the cast a well-deserved standing ovation amidst shouts of Bravo.

(Pictured: Devon Michael Brown with members of the company. Photo: Ann Baggley.)

To be sure, if you are a fan of musical theatre (and even if you aren’t), you don’t want to miss this outstanding production.

As a rule, the Stratford Festival presents two major musical productions each season. Last season’s box office smash, Something Rotten, returns to the Festival stage for a command performance. Featuring many of the cast members of Guys and Dolls, it’s definitely a show you want to see if you missed it last year.

Reviewed by Richard Young, Publisher & Content Manager of The Beat Magazine 2025.

Marriage is a very good thing, but it’s not easy: I Do! I Do! at the Victoria Playhouse

by Richard Young

Reviewed by Marilu Murphy

Note: This Review first appeared on the website Entertain This Thought, and it is reprinted with the permission of the publisher and reviewer. For more Reviews, visit https://www.entertainthisthought.com/

I was very much looking forward to seeing this theatre production, knowing that the only two actors were Michael Vanhevel and Sarah Higgins. Both are brimming with talent and very captivating on stage.  Michael and Sarah are husband and wife in I Do! I Do!, a classic musical about a wedding in 1890 and then spanning the next 50 years.

I Do! I Do! is now on stage at the Victoria Playhouse, Petrolia.

The stage is set with a four-poster bed, a chair and a fainting couch. On each side wall, there is a “His” and “Hers” matching cupboard and drawers.  He has the desk on his side of the stage, and she has the dressing table and mirror on her side of the stage.

(Pictured: Michael Vanhevel as Michael and Sarah Higgins as Agnes.  Photo by Diane O’Dell.)

The opening scene is the 1890 wedding between a man and a very inexperienced and naive bride. The music, singing and harmonizing is flawless until Vanhevel’s mic started having a few issues. His voice became somewhat muffled. It wasn’t long, however, before the technicians had corrected the problem. The show must go on, and it did with Agnes, the dutiful wife, paying close attention and acting upon her husband Michael’s every whim, until… he becomes much more successful.

He is not the same man as he was when Agnes married him. As in any marriage, the relationship grows and changes. Michael and Agnes have a family, Agnes cares for the children, and Michael has his career. Like a tug of war throughout life, there is hardship and heartache, giving and taking, even talk of infidelity and divorce. Agnes and Michael show the audience the pain and suffering during the hard times, but it’s with humour, and acting that is so captivating. Sarah’s depiction of a disgruntled housewife is hilarious. Her sound effects and facial expressions are priceless. Michael is the husband that you’d like to kick in the butt. His performance as a conceited, self-centred husband is believable, and I was totally caught up in the story.  There are bright and relaxed times in the marriage as well, with lots of humour and singing. I could hear the oohs and ahhs in the audience as they watched each scene. They are as captivated as I am with the professionalism, fine acting and tremendous singing.

Michael Vanhevel and Sarah Higgins brought the house down with a spectacular display of singing, dancing and acting. Vanhevel is, of course, a regular at Victoria Playhouse and always popular with his smooth singing.  Sarah starred in Dear Jack, Dear Louise at VPP last season, where she endeared herself to the audience. We will be happy to see more of both these performers. The audience thoroughly enjoyed every minute of I Do! I Do! and showed their appreciation with a standing ovation.

This production of I Do! I Do!  Is a must-see. I am not the only one who felt this way about this theatre performance. I overheard others in the audience saying that they wanted to see it again.

I Do! I Do! is playing at the Victoria Playhouse in Petrolia from May 12 to May 29 at 2 PM, and on May 29, there is a showing at 7:30 PM with a cabaret following the performance. You can order tickets online at https://thevpp.ca/ or call the Box Office at 1-800-717-7694 or 519-882-1221.

Photo:  Michael Vanhevel as Michael and Sarah Higgins as Agnes.  Photo by Diane O’Dell.

IF YOU GO:

I Do! I Do!
Books and Lyrics by Tom Jones
Music by Harvey Schmidt
Director/Choreographer:  David Hogan
Musical Director:  Mark Payne
Starring Sarah Higgins and Michael Vanhevel
Music: Evan Chamber (percussion), Charlie Kramer (bass), Nathan Nykor (keys)
Victoria Playhouse, Petrolia
May 12 to May 29, 2026

Reviewed by Marilu Murphy

For more Reviews, visit https://www.entertainthisthought.com/

Dysfunction Done Right in The Family Creetin

by Richard Young

Reviewed by Jo-Anne Bishop.

(Pictured: Cast & Crew of The Family Creetin. Photo by Ross Davidson)

Every so often, a local production comes along that makes you rethink your expectations entirely. The Family Creetin, presented by Banished by the King Productions, is one of them.

I’ll admit it, I went in cautiously. Locally written shows can be hit or miss, and sometimes the humour leans too heavily on inside jokes. Not here. Patrick Brennan has written something that feels bigger than that—and funnier, too.

The setup is classic: a group of siblings gathered in an English country house, all carrying a ton of baggage and very little patience for one another. From there, things unravel quickly (in the best way). The comedy comes from character, not gimmicks, and it lands because it feels familiar. If you’ve ever survived a tense family gathering, you are in on the joke.

It’s not without its bumps. A lot is going on, and at times the play can feel like a ping-pong match, your head constantly turning to keep up with the action. A bit of tightening would sharpen some of the bigger moments. That said, Brennan’s direction keeps things impressively controlled. The pacing is tight where it needs to be, and even when the script edges toward chaos (which it does – a lot!), the staging keeps it from tipping over. There’s a clear sense that this is a play that has evolved over time, and if this is the result of that evolution, it’s very much in the right direction.

(Photo by Ross Davidson)

The production makes smart use of the black box space in Procunier Hall at the Palace Theatre. The set is simple, tasteful, and exactly what it needs to be, no more, no less. It fits the space beautifully while leaving plenty of room for the performances to breathe. But if I’m to be honest, this is a show that feels ready for a larger stage; it has the legs for it.

And it’s the performances that really carry it. This is a strong cast across the board, and more importantly, they work as a true ensemble—feeding off each other, building momentum, and clearly enjoying the ride. That sense of connection translates directly to the audience.

A big part of what elevates the production is the physicality and facial work. Reactions are sharp, expressions are doing just as much work as the dialogue, and it adds an extra layer of comedy that keeps scenes lively even in quieter moments. The casting feels particularly well matched—these actors fit their roles in a way that makes the dynamics feel natural and fully lived-in.

(Photo by Ross Davidson.)

Dylan Rock as Frederic is a standout, with a strong physical presence and consistently engaging reactions. Ben Kennes’s Reginald is equally memorable, bringing excellent timing and expression that make every moment count. And Kevin Avram nearly walks away with the show as Bertrand. His portrayal of the perpetually drunk brother is fully committed and genuinely hilarious, especially with his repeated, perfectly timed “Oh mother” lines, which somehow get funnier every time. His final moment ties everything together beautifully.

The sisters—Sophie Thompson (Victoria) and Sue Harrington (Gloria)—land some big laughs with their sharp back-and-forth, while Jennifer Groulx’s Sybil provides a sweet, grounding counterbalance to the chaos. Rachel Sherret’s prim, all-knowing Mary (who has a quote for everything) is crisply timed and consistently funny, and Nicole McTeer nails the Hollywood starlet as Ginger.

(Photo by Ross Davidson.)

Luis Marin turns up the heat as Latin lover Raul, while Dustin Didham’s Nigel—a sooty, slightly suspect chimney sweep—adds another comic layer. Ryan Starkweather’s Roger, the curious banker, doubles as narrator, punctuating the action with a clicker that freezes the stage in well-executed tableaux—timing the cast delivers to hilarious effect. Rounding out the ensemble is Patrick Hoffer as Archibald, the family patriarch with a watchful eye.

Costumes by Tanis Daoust suit the period nicely, and the technical team—stage manager Jeremy Hewitson, assistant stage manager Eric Curtis, sound by Doug Deschenes, and lighting by Mark Mooney—keep everything running smoothly behind the scenes.

(Photo by Ross Davidson.)

What’s most impressive is how easily this play connects. It doesn’t feel small or niche. It feels like something with real staying power. You could see it on a bigger stage, in a longer run, or picked up by other companies around the globe—without missing a beat.

Bottom line:

A sharp, funny, and well-played ensemble comedy that proves local theatre can punch well above its weight. It is busy at times, but consistently entertaining, and the kind of show that makes you hope someone is already planning the encore.

IF YOU GO:

What: The Family Creetin, written by Patrick Brennan and presented by Banished by the King Productions

When: April 16th to 25th, 2026

Where: Procunier Hall, Palace Theatre, 710 Dundas Street, London, Ontario

Tickets:  Adults: $33 * Students/Seniors (55+): $30 * Youth (under 18): $20 Tickets | The Family Creetin | The Palace Theatre Arts Commons

*This is a wheelchair accessible facility.

Check out The Beat Magazine’s Q&A Interview with the play’s author and director, Patrick Brennan, at: Q&A Interview with Patrick Brennan, Author and Director of The Family Creetin. – The Beat Magazine 2025

Reviewed by Jo-Anne Bishop.

Harris Cashes Out, While the Audience Cashes in… On laughs!

by Richard Young

Reviewed by Jo-Anne Bishop

(Cast and Crew of Harris Cashes Out! Photo by Ross Davidson.)

In the intimate black box setting of Procunier Hall at the Palace Theatre, Harris Cashes Out offers a light comedy with a bittersweet premise and a few strong performances. Written by playwright Londos D’Arrigo and directed by Julianna Goertzen, the play centres on Harris Wellborn, a once-hopeful composer and writer whose brush with theatrical success came – and went – decades ago. Forty years after a musical of his closed almost as soon as it opened, Harris now scrapes by in a run-down apartment, relying on the reluctant generosity of his domineering sister, Maggie. His quiet existence is disrupted when Maggie enlists the help of an eccentric neighbour, Kim, and her scheming boyfriend sees an opportunity to profit from Harris’s long-ago brush with fame. 

(Pictured: Tim Bourgard as Harris Wellborn. Photo: Ross Davidson.)

Tim Bourgard brings a grounded presence to the titular character, Harris. His performance leans quite comfortably into the character’s weary charm, and his comedic timing often lands well with the audience. Bourgard creates a believable portrait of a man who has spent years lingering with his thoughts of what might have been and pining for a time gone by.

(Jasmine Gunkel as Kim Sutton. Photo: Ross Davidson.)

Jasmine Gunkel as the eccentric neighbour, Kim, and Vivien King-Sherwood as the meddling sister, Maggie, each give commendable performances. But the standout performance of the evening comes from Sam Didi as Jason, whose energy and sharp delivery help elevate several scenes. Whenever Jason enters the stage, the rhythm of the show noticeably tightens, providing some of the play’s most engaging moments.

(Pictured: Sam Didi as Jason Sernach. Photo: Ross Davidson.)

And while the cast performs well together overall, occasionally the chemistry and pacing felt inconsistent.  At times, the production struggled to maintain momentum, particularly during a few awkward scene transitions that momentarily disrupted the flow of the story. Scene continuity in those awkward moments would improve with music or lighting.

(Pictured: Vivien King-Sherwood as Maggie Bellows. Photo: Ross Davdson.)

Technically, the production suits the scale of Procunier Hall’s black box space. The costuming is particularly effective, helping define the characters clearly without overwhelming the intimate setting. The simplicity works in the show’s favour and keeps the focus squarely on the actors and the dialogue.

One of the evening’s highlights came before the show even began: the playwright himself was in attendance, a treat that added a special sense of occasion for the audience.

(Pictured: Playwright Londos D’Arrigo.)

While Harris Cashes Out! delivers some enjoyable comedic moments and a few memorable performances, the script itself feels uneven. The play builds toward a resolution that ultimately lands somewhat softly, leaving the ending feeling less satisfying than the setup might promise. Still, there is charm in this small-scale production. It may not be a show that completely wows you or wins you over, but it offers an evening of theatre with enough humour and heart to make the experience worthwhile—even if it never quite cashes in on its full potential.

IF YOU GO:

What: Harris Cashes Out by Londos D’Arrigo, Directed by Julianna Goertzen

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

When: March 5 – 15, 2026

Tickets: Adults: $33, Students/Seniors (55+): $30, Youth (under 18): $20, Preview: $22      2025-2026 Shows – Palace Theatre

Harris Cashes Out! Reviewed by Jo-Anne Bishop.

Piaf/Dietrich Brings Two Icons Back to Life at The Grand

by Richard Young

Reviewed by Charlotte MacDonald

(Pictured: Deborah Hay as Edith Piaf and Terra C. MacLeod as Marlene Dietrich. Photo: Dahlia Katz.)

Two singers born fifteen years and 1,000 kilometres apart walk into the same dressing room in New York. The result? A friendship that transcends history.  

Set in 1948, in the glittering post-war world of New York’s international stage, The Grand Theatre’s Production of Piaf/Dietrich follows the unlikely and enduring friendship that formed between French chanteuse Édith Piaf and German screen legend Marlene Dietrich.

While the glamour and star power of Hollywood’s golden era tend to fascinate many, Piaf/Dietrich pulls back the velvet curtain and invites the audience backstage to discover who these legendary women were when the spotlight faded. 

The performance opens with Marlene Dietrich, played by Terra C. MacLeod, back in Germany for the first time in 30 years after resisting Hitler and his regime, preparing for a show in her dressing room. Sixty kilometres away, Édith Piaf, played by Deborah Hay, is also preparing for a performance of her own. When each woman’s name is mentioned to the other, it quickly becomes clear that something between them has gone sour as both wince at the mere sound of the other’s name.

As they step onto their respective stages, only a few towns apart, they both begin to sing La Vie en Rose. Édith performs drunkenly while Marlene faces hecklers, and both begin to falter. This parallel performance signals a palpable link connecting the two women’s lives, leaving the audience to wonder: what happened?

(Pictured: Deborah Hay as Edith Piaf. Photo: Dahlia Katz.)

Before we find out, the story takes us back to the beginning.

Originally titled Spatz und Engel (The Angel and the Sparrow), the show was co-written by German author and director Daniel Große Boymann and Austrian playwright Thomas Kahry. It premiered in Vienna in 2013, where it ran for six seasons before touring Germany, Switzerland, and Czechoslovakia. The production was later translated by Sam Madwar and adapted by Canadian playwright Erin Shields. 

After the story jumped back in time through a seamless transition, the stark contrast in Hay’s performance as Piaf is immediately striking. The fragile, exhausted singer struggling through her performance transforms into a youthful, giddy young woman, still untouched by fame. This younger Edith feels worlds away from the woman we saw only moments earlier, demonstrating Hay’s range and setting the stage for the story that will eventually bring us back to that moment.

When Marlene returns to the stage, singing “Boys in the Backroom,” Edith remains in the background, starstruck, listening to the song on the radio. MacLeod’s portrayal of Marlene is strong, confident and charming, moving through her numbers with a kind of grace and ease that only a seasoned entertainer could. This layered approach to staging and dialogue continues throughout the production, creating a sense of immersion that felt almost cinematic.

(Pictured: Terra C. MacLeod as Marlene Dietrich. Photo: Dahlia Katz.)

The atmosphere throughout the show was further supported by lines of marquee lights framing the set and a live band in suits positioned on either side of the stage, reminiscent of a vintage cabaret. This constant presence on stage suggested that even in moments away from performing, that world lingered in the background, inseparable from who these women were.

One of the most naturally compelling elements of this story is the instant and profound bond that is formed between the two protagonists, despite how differently they appear in the world. Marlene is glamorous, poised and relentlessly professional, carrying a quiet sadness she would never let anyone see, whereas Édith is unapologetically emotional, sometimes volatile and blessed with a fiery passion capable of setting any stage ablaze. 

“Often, we are drawn by our own admiration of that which we ourselves are not. It is in this mix that our story emerges,” says the show’s director and The Grand’s artistic director, Rachel Peake. 

(Pictured: Rachel Peake, director of Piaf/Dietrich, and Grand Theatre Artistic Director.)

Beneath the glamour of show business that surrounds this production is a story unafraid to confront the difficult moments that shaped these women’s lives. Exploring real themes of substance abuse, regret, fear, and loss, the narrative moves beyond entertainment into something unmistakably intimate.

For any theatre lover, and sometimes even for those who are not, finding yourself suddenly brimming with emotion at the simplest of moments is hardly unfamiliar. A twinkle in a chanteuse’s eye as she looks out at a devoted audience, or an actor’s moment of complete surrender to their character, can be enough to crack open even the most tightly guarded heart.

In Piaf/Dietrich, the performers did more than simply act with raw intensity; they seemed to fully embody their characters, connecting with the untouchable age of days gone by, dazzling the audience into misty-eyed awe as the performance unfolded before them.

(Pictured: Deborah Hay as Edith Piaf and Terra C. MacLeod as Marlene Dietrich. Photo: Dahlia Katz.)

At one point in the performance, as Hay was singing Mon Dieu, I closed my eyes and pretended Édith Piaf herself had been reincarnated and was serenading me. As it turns out, the man sitting beside me had done the same thing. While Édith Piaf may live only in old vinyl records and Spotify playlists, it felt like a privilege to come as close as this to hearing her alive again.

So, if you’re still wondering how I felt about going to see Piaf/Dietrich at The Grand Theatre, in the words of French chanteuse Édith Piaf — Non, je ne regrette rien.

IF YOU GO:

What: The Grand Theatre presents Piaf/Dietrich: A Legendary Affair.

When: February 17 – March 7, 2026.

March 4, 2026 | 1:00pm

March 4, 2026 | 7:30pm

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.

CD Review, Maggie’s Wake – Close to Home

by Richard Young

Reviewed by Ian Gifford

It’s December in Canada, and Mother Nature has already announced in no uncertain terms that she intends for this one to be a white Christmas. This also means the ubiquitous Christmas albums will be hitting shelves and streaming platforms with more of the same old carols that you’ve been hearing since you were a little kid, without much variation in the sound. London, Ontario’s Maggie’s Wake have made a statement of their own with the release of Close to Home, a seven-song holiday-themed EP, with three never-before-heard, original Christmas tunes.

Maggie’s Wake is a bit of a super group, (forgive me if you’ve read me saying that once or twice before), including two of Canada’s finest fiddle players in Tara Dunphy (The Rizdales and solo) and Lindsay Schindler (Rant Maggie Rant and Trent Severn) rounded out by the rhythm section of Andrew Kosty on upright bass and Kenneth Palmer on guitar. Kenneth was also the EP’s engineer/mixer with production by Tara and Lindsay.

(Pictured: Maggie’s Wake.)

The seven songs include a gorgeous cover of Gordon Lightfoot’s “Song For A Winter’s Night”, a handful of traditional/original Christmas/winter songs arranged for fiddles, guitar, and bass, as well as flute and tin whistle by Tara, plus three original Christmas songs written by Tara Dunphy. If you have not been exposed to the music of Maggie’s Wake thus far, you should know that these are four serious players! Their chemistry as a band is highly evident within the first notes of the warmly endearing “Ontario”. It’s a song that describes some of the best parts of being an Ontarian, like making snow angels and coming in to hot chocolate and maybe a “mini sticks” game in the basement or maybe a proper game of shinny when dad gets the frozen pond lit up.

“It’s dark before dinner but now we can play, I’m Wendell Clark and you’re Gilmour today!” – from “Ontario” by Tara Dunphy.

The beauty of Maggie’s Wake is their ability to jump around genres from traditional Celtic sounds to country, folk, and jazz. The latter is evident in the second Tara penned piece, “It ain’t Christmas without You” which sounds like it would be right at home on a Stéphane Grapelli album with its bouncy blend of Hot Club Jazz and Western swing vibes. The Line “they can deck the halls and trim the tree, but I’ll tell Santa when I’m on his knee, that it ain’t Christmas without you” is typical of the playful and clever lyricism that a veteran songwriter like Dunphy is capable of, as evident in the darkly romantic pieces she has written for her Honky Tonk band, The Rizdales.

(Pictured: The Rizdales. Photo by Paul Latorre.)

Interwoven throughout the EP are traditional song sets expertly arranged by Lindsay Schindler and the fellas, and they have that same sort of playful feel as opposed to old recordings of pieces like “God Rest Ye Merry Gentleman”, “The First Noel”, or “Oh Holy Night” that can often come off as staid and stuffy. The quality of the musicianship within this ensemble cannot be overstated! Two of the instrumental pieces were written by Lindsay Schindler, “Into the Shadows”

which is part of the “God Rest Ye…” set, and the beautiful title piece, “Close to Home”.

Listen to “Close to Home” https://youtu.be/yyd_1BDPbJ8?si=uEH5qOfY14wE4HtB

Rounding out the seven-song effort is another Tara Dunphy original, “Christmas is Coming (for you!)” which is probably one of the sweetest, yet cheerfully cynical new Christmas songs I’ve heard in many decades. It describes the stresses of the holiday season as being a holiday hyped by marketing execs and gives a nod to Christmas Music and decorations coming out before Hallowe’en has even passed. Like all the classic stories of the “bah humbug” attitudes of the protagonist, this song resolves into the realization that what it’s all really for is that moment when you get to step back and see that it was all about your love of family and friends and community.

Throughout the album, Tara sings naturally and almost effortlessly with a very controlled and clear voice. I’d hate to embarrass her by stating this, but she almost reminds me of Anne Murray in that she can take a song in any genre and make it her own, just from the distinctiveness of her voice. Don’t get me wrong on that; she sounds 100% like Tara Dunphy, and when blended with Lindsay’s rock-solid harmonies, this album has some of the finest singing this country has ever produced. There is a pretty good reason why they were bestowed with the Canadian Folk Music Award for Best New/Emerging artists in 2025.

This is my first real exposure to Maggie’s Wake, other than some YouTube videos and such that I have seen posted online. To say I am in awe of their talents is a huge understatement. Everything about this group and this release is very refreshing and somewhat wholesome, and is music you can share amongst friends and family, and also music that I hope reaches the ears of folks right across this vast country of ours. These pieces have what it takes to stand the test of time, so I encourage you to follow the links and check it out for yourself.

I have to give this 5 out of 5 snowflakes!

To learn more about Maggie’s Wake, visit https://www.maggieswake.com/

Follow Maggie’s Wake on Facebook https://www.facebook.com/maggieswake and Instagram https://www.instagram.com/maggieswake/

Please check out their Patreon-style page, where they are trying to raise funds for a trip to Ireland for the whole group, for a showcase in Belfast in the Spring of 2026. This is a chance for this hidden Canadian gem to gain exposure throughout the world!

https://buymeacoffee.com/maggieswake

Reviewed by Ian Gifford

Snaggle with the Ali Brothers at Storm Stayed Brewery.

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

Stunning – Fukk you Rock n Roll, I love you.

by Richard Young

Reviewed by Ian Gifford.

Every single city around Canada has people/bands that you can consider “Canadian Rock Royalty”. Sarnia has MaxWebster/Kim Mitchell, Hamilton has Tom Wilson/Junkhouse and Teenage Head, Toronto has RUSH/Rheostatics/Triumph, Vancouver has Bryan Adams/54-40/Bif Naked, and London has Demics, Helix and 63 Monroe! As mentioned in previous reviews, I am a local sound engineer, so I have gotten to work with just about every local musician at some point, and the one artist that has always left me awestruck was Scott Bentley, aka “Steven R Stunning” of ’63 Monroe.

Mr. Bentley was the former manager and/or owner of three great London Venues, Key West, Big Bobs and the Electric Banana (the latter being where I got to see Seattle band “Hole” and meet Courtney Love et al) and he was also the creator of the “What’s the Poop Awards” which at best was a tongue in cheek look at the “best” London had to offer in entertainment. Every time I worked with ’63 Monroe, I was impressed by Steve Stunning’s towering presence, sometimes partially dressed in drag; they were the reigning kings (queens?) of Glam Punk, born of the 70s with one foot always firmly planted there.

(Pictured: Scott Bentley, aka “Steven R Stunning” of ’63 Monroe.)

So now in 2025, I was asked to review the LP by Scott Bentley’s latest project, “Stunning”. At first glance, it’s a supergroup of London area musicians including the aforementioned S.R.S., plus rock solid drummer Brad Lavard (Twin Fin, ’63 Monroe), the low-slingin bassist extraordinaire Oscar Macedo (Rizdales, Rumblebees, Burnt Reynolds) and on guitar duties there’s Tim Thompson (Ugly Stepsisters, ’63 Monroe, Aces Wild) and Paul Sguazzin (Freekshow, Before the Damned), with all joining in on vocals throughout.

On deeper exploration of their debut album “Fukk you Rock n Roll, I love you”, this album is a total love letter to the late 70s groups that revolutionized music at the time. All over this record are little nods to power pop, punk rock, glam rock, and then some straight garage rock, paying tribute indirectly to bands like Iggy and The Stooges (who actually gets a mention in one song), Sex Pistols, Ramones, Cheap Trick, MC5, The Cars and New York Dolls with an added tribute to the King of Rock and Roll himself, Elvis A Presley (“Elvis” on side 3)!

This album is super fun. It’s something I could hear the cast from “That 70’s Show” spinning in the basement after getting colossally stoned and ordering too much pizza! A bunch of kids sitting on the floor, records scattered about and the scrapes and scratches on one cover from where the last hash joint was twisted up, with everybody looking and feeling cool. But this is not the 70s, and the musicians on this album are far from being kids, most of them having raised kids now, though it doesn’t slow down their ability or willingness to ROCK THE F*** OUT!

The musicianship is phenomenal, and Steven R Stunning himself, the band’s namesake, has not lost a bit in his voice over the years. As I mentioned earlier, he towers as a “6’3” mean ole rocknroll (sic) machine” and carries a larger than life presence on the stage. I’ve seen all of these guys somewhere at some time in the past, and I know them to be monster players in whatever units they were in. As Stunning, they bring together all of the best parts of their time in the other bands and add it to what may be akin to a big old rock and roll melting pot.

I like all of these songs; they are mostly fun romps to party to, though some with serious themes of revolution and making change in the world. A standout for me is Loaded and Lonely, which features the voice of Tara (aka Mrs Stunning) dropping the line “Whatever!” which oozes with sarcastic sass! It’s essentially a pop-punk version of Billie Eilish’s now-iconic “DUH!”. Because I know Tara and knew her voice, I accidentally spit out my drink laughing when I first heard it. It’s a fun song overall.

Two cover songs also made their way onto this album in the form of the Ginger Wildheart & Courtney Love collab called “Honour” and UK’s “The Subways” banger “Rock n Roll Queen”.

The other big highlight for me is the excellent album closer and title track “Fukk You Rock n Roll, I love you”. The song is pretty much about kids with a dream to make rock and roll an integral part of their lives, doing whatever is necessary to be around it. It’s a tribute to all of the shows thrown together with several bands to share the wealth of an audience, the little venues that dared to welcome punk rock onto their stages for the first time, the vans that took them from city to city breaking down constantly, the fans that showed up and made it all worthwhile and even a little shot at the classic grumpy sound guy character. That’s all neatly packed into this one little song.

Listen to “Fukk You Rock n Roll, I love you” here: https://youtu.be/u2TxpKzkXN8?si=G1H8rNZSPIyk0q4U

This album is a solid offering at 18 tracks over 2 LPs, one of which is a picture disc of a Pepperoni pizza! Just over an hour of total play time, which is best listened to very loud!

This Rock and Roll adventure gets 5 out of 5 on the pizza slice scale. To quote Steven R. from “Night Eater”: “Live fast, Rock Hard and don’t let those bastards grind you down!”

Follow Steven R Stunning on Facebook https://www.facebook.com/steven.r.stunning

Follow Steven R Stunning on Instagram https://www.instagram.com/stunningsrb/

NOTE: 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.

Reviewed by Ian Gifford