Tag: reviews

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 Rocky Horror Show: A Wild, Fearless, and Fabulous Ride.

by Richard Young

Reviewed by The Beat Magazine’s Jo-Anne Bishop.

(Pictured: Shaidon Woods in full costume and makeup as Dr. Frank-N-Furter, and other cast members in The Rocky Horror Show. Photo Credit: Ross Davidson)

The Infuse Productions/Palace Theatre co-production of The Rocky Horror Show is a bold, electrifying spectacle that bursts with energy, confidence, and campy fun from start to finish. Under the inspired direction of Mel Stewart (in her directorial debut, no less) the show hits every outrageous note with style and precision. Stewart’s leadership brings cohesion to the chaos, celebrating the spirit of the cult classic while adding a fresh, local flair that absolutely dazzles.

The choreography throughout is nothing short of outstanding. Crisp, creative, and packed with personality. Every movement feels deliberate and dynamic, perfectly suited to the show’s eccentric energy.

David Long’s minimalist set design is both practical and imaginative. Built to accommodate a live band on stage, it provides the perfect backdrop without ever detracting from the vibrant costumes or the incredible performances that command the audience’s attention.

(Pictured: Betamaxx)

The live band, Betamaxx, deserves special mention. Their tight, polished sound drives the entire show with precision and power. Every cue lands perfectly, every riff energizes the room. Positioned on stage, they manage to be a visible part of the world without ever intruding on the action, which is a testament to both their musicianship and the thoughtful staging.

(Pictured: The Rocky Horror Show Cast Members. Photo Credit: Ross Davidson)

Casting for this production is simply spot-on. Each performer seems born for their role. Shaidon Woods (Frank N. Furter) and Brendon Ainscow (Rocky) lead spectacularly, heating up the theatre with their charisma and—let’s call a spade a spade—incredibly toned physiques.

(Pictured: Jared Brown as Brad and McKenna Langdon as Janet. Photo Credit: Ross Davidson)

Jared Brown (Brad), McKenna Langdon (Janet), Sarah Dennison (Columbia), Aidan Coutts (Riff Raff), and Jenn Marino (Magenta) all deliver outstanding performances, with vocal talent well above typical community theatre calibre. Their voices soar. Sometimes sultry, sometimes raw, always captivating. And of course, the chorus rounds out the cast wonderfully, never missing a beat.

(Pictured: Jenn Marino as Magenta. Photo Credit: Ross Davidson)

Part of what makes The Rocky Horror Show such an unforgettable experience is its infamous audience participation. At the Palace, this tradition is embraced wholeheartedly. It’s wild, raucous, and loud—perhaps too loud for some tastes—but it’s an essential part of the cult phenomenon. As one audience member aptly shouted, “It’s just a jump to the left!” Indeed, the crowd is as much a part of the show as the cast.

At times, Jeff Werkmeister’s performance as the Narrator was momentarily drowned out by the audience’s enthusiasm, but he handled it with wit and ease, working the crowd masterfully and keeping the energy high. His effortless breaking of the fourth wall mirrored Frank N. Furter’s gleeful command of the same device, pulling the audience ever deeper into the madness.

(Pictured: Jeff Werkmeister as The Narrator. Photo Credit: Ross Davidson)

The bravery of the cast cannot go unmentioned. This is a show that demands vulnerability, often performed in little more than underwear, yet the actors deliver with total confidence. Their comfort and commitment make their performances all the more believable, powerful, and liberating to watch.

Overall, The Rocky Horror Show at the Palace Theatre is a fantastic, fearless production that’s both outrageous and artful. It’s community theatre at its most daring, bursting with talent, energy, and unapologetic fun. Whether you’re a longtime “Rocky” fan or a first-timer, you’re in for a wild ride. And a word of advice, if you’re a newcomer: wear pearls—you may need to clutch them.

If You Go:

What: The Rocky Horror Show
Where: Palace Theatre Arts Commons, 710 Dundas St, London, Ontario
When: Thursday, October 30 – 7:30 pm, Friday, October 31 – 7:30 pm, Saturday, November 1 – 2:00 pm and 7:30 pm, Sunday, November 2 – 2:00 pm
Tickets: Palace Theatre Arts Commons | London ON Community Theatre
Adults: $38 – Deluxe ticket with party supplies – $43
Students/Seniors (55+): $36 – Deluxe ticket with party supplies – $41
Youth (under 18): $23 – Deluxe ticket with party supplies – $28

For more information about Infuse Productions, visit https://www.infuseldn.ca/infuse-productions

For more information about the Palace Theatre, visit https://palacetheatre.ca/

Reviewed by Jo-Anne Bishop.

Jo-Anne Bishop Reviews The Play That Goes Wrong — A Perfectly Executed Disaster at The Grand Theatre

by Richard Young

by Jo-Anne Bishop

(Pictured: Jawon Mapp as Robert, Alexander Ariate as Jonathan, Honey Pham as Annie behind, Daniela Vlaskalic as Krista, and Vanessa Leticia Jetté as Sandra. Photo Credit: Dahlia Katz.)

If you’re looking for a night of non-stop laughter, look no further than the Grand Theatre’s season opener, The Play That Goes Wrong, written by Henry Lewis, Henry Shields, and Jonathan Sayer. This hilarious and brilliantly executed slapstick comedy feels like Saturday Night Live meets Monty Python — equal parts clever and chaotic, with just the right dose of British absurdity.

A play within a play, the action unfolds as the fictional Comley Polytechnic Dramatic Society presents their production of Murder at Haversham Manor (a loving nod to Agatha Christie’s The Mousetrap). Predictably, everything that can go wrong does, and spectacularly so. But in this case, everything that goes “wrong” lands perfectly right.

The set itself is a marvel: an architectural masterpiece designed to fall apart piece by piece in all the right ways. Watching walls collapse, doors jam, and props rebel against their actors is pure theatrical magic. It’s impossible not to marvel at the precision with which chaos unfolds. A symphony of slapstick timing and technical mastery. Under the sharp direction of Dennis Garnhum, with outstanding set design by Beyata Hackborn, every collapse, cue, and calamity is executed with clockwork precision. The set becomes a character of its own, and one that quite literally brings the house down.

(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)

The cast delivers standout performances across the board; each actor fully committed to their characters-within-characters and the glorious mayhem that ensues. Timing is everything in a show like this, and they all nail it. Still, if gold stars were being handed out, John Ullyatt (Dennis, aka the butler Perkins) and Andrew MacDonald-Smith (Max, aka Cecil Haversham) would take top honours. Their impeccable comic timing, physicality, and effortless charm make every scene they touch an absolute highlight. Max’s frequent breaking of the fourth wall adds to the fun, delivering endearing and consistently comical moments that delight the audience.

That said, The Play That Goes Wrong is truly an ensemble triumph. Daniela Vlaskalic (Krista/Director/Inspector Carter), Alexander Ariate (Jonathan/Charles Haversham), Vanessa Leticia Jetté (Sandra/Florence Colleymoore), Jawon Mapp (Robert/Thomas Colleymoore), and Honey Pham (Annie/Stage Manager) all deliver spectacular performances as the hapless cast struggling to keep the play afloat. Their commitment to the chaos — from bungled lines to hilariously choreographed fight scenes — keeps the audience in stitches. Bernardo Pacheco (Trevor), Emily Meadows, and Izad Etemadi (Stage Crew) round out the cast perfectly, adding an extra layer of comic brilliance.

The Play That Goes Wrong is a joyful disaster done right: a masterclass in controlled chaos that will leave your cheeks sore from laughing. You’ll find yourself rooting for this endearingly incompetent troupe right to the final curtain — and thankful they didn’t “just call it a day” when everything started to fall apart. Whether you’re a theatre buff or simply in need of a good laugh, don’t miss this one. It’s proof that sometimes, when everything goes wrong, theatre can go so wonderfully right.

What: The Play That Goes Wrong

Where: The Spriet Stage at The Grand Theatre, 471 Richmond Street, London, Ontario

When: October 14th to November 2nd.

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.

The Grand Theatre is grateful to offer Canada Life Pay-What-You-Can pricing, presented on Sunday, October 19 at 2:00 p.m., as well as an Open Captioned Performance on Saturday, October 25 at 2:00 p.m.

Runtime: Approximately 2 hours and 10 minutes, including intermission

Reviewed by Jo-Anne Bishop

Introducing Silver Spotlight Theatre: London’s Community Theatre Branch For Those 55+

by Richard Young

This is the nineteenth in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile Silver Spotlight Theatre.

Q. When was your company founded? By whom and why? 

Although the initial seeds for a senior’s theatre group were planted before the pandemic, it came to life in 2022. Art Fidler approached Rick Smith, who was then president of London’s Musical Theatre Productions, to see if MTP would take the idea under its wing. A seniors’ grant was obtained from the provincial government, and Silver Spotlight Theatre came into being.

Locally, there are a number of theatre groups that provide opportunities for both children and older youth. Many other companies tend to skew younger in their demographics, and the number of (particularly on-stage) opportunities tends to decrease as performers age. Silver Spotlight was created to provide additional opportunities to older performers who weren’t ready to be put out to pasture.

(Pictured: Silver Spotlight Theatre co-founders, Art Fidler and Rick Smith. Photo Credit: Jim Cressman)

Q. Is your company best described as professional or not-for-profit community theatre?  

As a branch of Musical Theatre Productions, SST is a not-for-profit community theatre group. All members of the Silver Spotlight community are impassioned volunteers who are committed to providing opportunities for seniors to bring musical theatre to London.

Q. What venue(s) do you use to stage your productions? 

To date, all of the SST productions have taken place in the Auburn Stage at the Grand Theatre. We work within the framework of MTP’s season planning process to select the shows we will produce as well as the venue.

Q. Does your company have a Mission or Statement of Purpose? 

We don’t have a formal statement of purpose, but our primary goal is to provide opportunities for seniors to get involved in all aspects of community theatre, both on- and backstage. Additionally, we’re not looking just to attract people with previous theatrical experience, but also people who have no background in theatre but wished they’d had the opportunity to participate when they were younger and thought those opportunities had passed them by. Several performers in SST’s first production, Babes in Arms, had never been on stage before. Everyone who has become involved with Silver Spotlight has enthusiastically embraced the concept of a seniors’ theatre group.

Q. Does your company have a Board of Directors and paid Staff? 

As a branch of MTP, Silver Spotlight does not have its own Board of Directors, but several members of the Silver Spotlight community serve on the MTP Board. We also have a small advisory group of SST members who provide guidance on future plans for the group.

Q. Tell me about your 2025-2026 Season. Does it have any underlying theme? 

Presently, SST only stages one production per season. As participation in the group increases and the number of participants rises, we may look at mounting additional shows.

about it.

Q. What show will you be staging this fall (September to December)? Tell me a little bit about it.

We will be staging Showtune from December 4-14, 2025, at the Auburn Stage. Showtune is a musical revue that celebrates the music and lyrics of Jerry Herman, one of the most prolific Broadway composers of all time. A casual observer may not recognize the name Jerry Herman, but everyone has heard the songs from some of his most famous works, including Mame, Hello, Dolly!, and La Cage aux Folles. Herman was awarded the Tony Award for Lifetime Achievement in the Theatre in 2009 and was a recipient of the 2010 Kennedy Center Honors. Auditions for Showtune have taken place, and we are well into rehearsals for the show.

Q. Do you have any thoughts about the London area theatre community and your part in it? 

The local theatre community is incredibly vibrant, and London residents are fortunate to have numerous choices. From musicals to dramas to comedies, well-known titles to locally-written plays, children to youth to adults, everyone should find something that appeals to them. Silver Spotlight provides additional opportunities to senior performers, many of whom have been involved in the local theatre scene for decades and all of whom feel they still have something to offer to the community.

For more information about Silver Spotlight Theatre, visit https://www.mtplondon.ca/silver-spotlight

Tom Dunphy – Everything Was New Reviewed by Ian Gifford

by Richard Young

Released April 2025
Reviewed by Ian Gifford 09/27/2025

It’s been a while since I’ve penned an album review, but sometimes you just need the right album to come along to inspire the writing bug, and Tom Dunphy’s debut solo release, Everything Was New, is one such album. I’ve been thinking about it since I first dropped the needle and decided that it’s something that should be shared.

As one half of the husband and wife writing duo for London’s favourite Honky Tonk band, The Rizdales, Tom is no stranger to writing a great song. This collection features five fresh Tom Dunphy originals, as well as some reworked tracks and a single cover song. The album is a stripped-back classic country record with songs that sound like they could have been written by Marty, Merle, Hank, or Willie themselves, but with Tom’s unique vocal styling. Tom covers the acoustic guitar and upright bass duties deftly, with the added talents of Toronto session stars, Steve Briggs on electric guitar and Burke Carroll on lap steel (both of the Brothers Cosmoline/BeBop Cowboys).

This overall tone is in stark contrast to the rocking Rizdales sounds we are used to, but is reminiscent of the early writers that inspired that sound. The no drums approach, coupled with the lightly strummed acoustic guitar and twangy colourings of the Telecaster and the steel, takes you back to the early days of the Grand Ole Opry and the records that were getting the artists there! It feels like Tom could have been born in a different era, yet he writes with contemporary themes and issues at heart.

Highlights for me are the first single, the lively “You Make me Shake” or “September is Gone” which provides some vivid images of the autumn and the striking line “They say new life begins with the spring, ours will begin with the fall”; and the rework of Tom’s old band’s single The Juke Joint Johnny’s’ – “Leaving Train” which has had new life breathed into it by both Steve and Burke’s contributions.

This album is true country music that reaches the same passion and emotions as its American predecessors. While it contains the expected themes of breakups and beer drinking, it’s never hokey or kitschy, it’s just a good listen from front to back, of some well written and well executed tunes, where even the lone cover (“Song to a Dead Man” by T-Bone Burnett), which the album is named after a line of, doesn’t seem out of place.

If I had to give it a Star Rating, it would be 5 Stars, because I simply can’t find anything wrong with it. It’s a record I could play over and over again and be transported to some old diner in Nashville at 3:00 am, with the jukebox gently humming in the corner.

Follow on Facebook https://www.facebook.com/tdandthecoldhardfacts

Follow on Facebook https://www.rizdales.com/tomdunphy

Reviewed by Ian Gifford (Photo Credit: Paul LaTorre)

The Front Page: SCOOPED Reviewed by Jo-Anne Bishop

by Richard Young

By Jo-Anne Bishop, The Beat Magazine 2025

The Palace Theatre opened its 2025–2026 season last night with a bold, gender-bending adaptation of the 1928 classic The Front Page, written by Ben Hecht and Charles MacArthur. Set in the 1920s, the play unfolds in the press room of Chicago’s Criminal Courts Building, which overlooks the gallows at Cook County Jail where an execution is scheduled for the following day.

Director Dinah Watts spent months reshaping the piece, removing offensive language, cutting certain characters, and casting women in the traditionally male roles. The result, The Front Page: Scooped, is a slightly gentler interpretation of what Watts has called a “dated, offensive” and “terrible, old play.”

On the technical side, the production shone brightly. David Long’s set design, brought to life by Heather Meadows and her crew, captured the messy, frenetic spirit of a 1920s newsroom with papers scattered, shelves disorganized, and period-appropriate furnishings. Costumes reflected the era well, even if a few fits felt off, while lighting and sound provided a consistent sense of atmosphere and polish.

(Pictured: The Cast & Crew of The FrontPage: SCOOPED. Photo by Ross Davidson)

The performances themselves offered a mix of strengths and challenges. The play’s hallmark rapid-fire dialogue sometimes tipped into an overly frantic pace, making it harder for the audience to catch every clever line. At times, the energy felt more like shouting than sharp wit, which dulled some of the humor. With just a touch more pacing and clarity, the comedy might have landed with even greater impact.

(Pictured: Peggy (Mara Fraccaro) and Hildy (Danika Tipping) Photo by Ross Davidson)

That said, there were many highlights. Danika Tipping (Hildy), Sarah Rice (Endicott), Lisa Eastick (Murphy), Judy Cormier (Pincus), and Martha Zimmerman Ross (Walter) each delivered memorable turns. David O’Garr provided delightful comic relief as “Mother”/Mrs. Grant, while Catharine Sullivan offered a standout performance as Mollie Malloy—authentic, layered, and engaging. At times, the ensemble’s choice to lean into exaggerated mannerisms when portraying male characters distracted from the storytelling, but the commitment to character was never in question.

(Pictured: Louie (Chandie East) addresses the Press Room reporters. Photo by Ross Davidson)

The two acts also carried different energies. The first flew by in a blur of chaos, leaving little time to fully connect with the characters. The second act found a steadier rhythm, allowing the humor to breathe and the performances to shine more naturally. Still, the play’s darker themes—corruption in politics, the media, and the looming execution—are a tricky fit for comedy, even in a reworked form. Ultimately, The Front Page: Scooped was a production full of ambition and craft. Its technical achievements were undeniable, and while its delivery sometimes felt overwhelming, the cast’s dedication and the creative vision behind the adaptation gave the audience plenty to reflect on. Add in the Palace’s welcoming touches—a live jazz ensemble in Procunier Hall before the show, a signature cocktail at intermission, and the theatre’s warm atmosphere—and the evening made for a memorable start to the season

(Pictured: David O’Garr provided delightful comic relief as “Mother”/Mrs. Grant. Photo by Ross Davidson)

What: The Front Page: SCOOPED

When: September 25th – October 5th, 2025

Where: The Palace Theatre Arts Commons, 710 Dundas Street

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

For more information, visit https://palacetheatre.ca/

Reviewed by Jo-Anne Bishop

Here are some additional photographs taken by the talented Ross Davidson:

(Photo by Ross Davidson)
(Photo by Ross Davidson)
(Photo by Ross Davidson)
(Photo by Ross Davidson)
(Photo by Ross Davidson)
(Photo by Ross Davidson)
(Photo by Ross Davidson)



Introducing Odesa Company

by Richard Young

This is the fourteenth in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile Odesa Company.

Q. When was your company founded? By whom and why?

Odesa Company was founded in November 2022 by Adam Smalley, Chris Smalley, and Scott Smalley. We long wished to run a theatre company, and our inaugural 2023 co-production of Dracula with London Community Players presented a great opportunity to do so.

Q. Is your company best described as professional or not-for-profit community theatre? Or both?

We’re a non-professional, volunteer-driven independent theatre company.

(Pictured: Scott and Chris Smalley, founders of Odesa Company)

Q. What venue(s) do you use to stage your productions?

For our 2025 season, we’ve booked the Auburn Stage at the Grand Theatre (Shakespeare’s Oz), as well as the Princess Ave. Playhouse in St. Thomas (Misery).

Q. Does your company have a Mission or Statement of Purpose?

Absolutely!

MISSION STATEMENT At Odesa Company, we believe theatre should be daring, collaborative, and deeply human. We create bold, high-quality productions, interactive experiences, and educational initiatives that invite artists and audiences of all ages to engage and imagine. We support skills development that applies both on stage and in life, and we treat our people with respect, transparency, and care. We foster a culture of integrity and inclusion, grounded in the belief that diversity strengthens both our art and our society.

VISION STATEMENT Odesa Company exists to make theatre that connects people through storytelling, meaningful collaboration, and shared creative experiences. We aim to be a place where artists feel valued, audiences feel engaged, and everyone involved walks away inspired to come back and do it again. As we grow, we’re building a creative home where innovation, care, and community shape not just our shows, but the future of how theatre is made.

Q. Does your company have a Board of Directors and paid staff?

We have a Board of Directors that operates as volunteers; we are almost entirely volunteer-driven, including the ownership group and leadership team. Having said that, we have been actively exploring and executing on compensation opportunities for our team where possible, and it is our plan to get to a point in our development where honorariums, profit-sharing, and contract work are widespread and normalized within the organization.

Q. Tell me about your 2025-2026 Season. Does it have any underlying theme?

At this point in Odesa’s development, we’re committed to establishing our brand of theatre, which is characterized by shows that have a high attention to detail around performance and technical elements; some of our shows are fun, fantastical and don’t take themselves too seriously (StageQuest), while others pick away at the darker side of humanity and dig at the emotions of the audience (Dracula, The Elephant Man).

For our 2025 season, our July production of Shakespeare’s Oz joined StageQuest as one of our more fantastical adventures, while Misery, based on the novel by Stephen King and running from October 23-26, will join Dracula and The Elephant Man as one of our darker, more serious plays.

Q. What show(s) will you be staging this fall (September to December)? Tell me a little bit about each. Misery, written by William Goldman and based on the novel by Stephen King, will be performed at the Princess Avenue. Playhouse in St. Thomas from October 23 – 26. Tickets are on sale now at www.odesa.company/tickets.

Q. Do you have any thoughts about the London area theatre community and your part in it?

We’ve only been in business for the last couple of years, and in that time, we’ve had the privilege of working with so many amazing people, with very few exceptions. Odesa Company positions itself as an option for artists to create exciting theatre, and we have a strong desire to be leaders in the community, with a commitment to creating positive experiences for our artists, patrons, and community partners.

For more information about Odesa Company and to purchase tickets, visit https://odesa.company/

Follow on Facebook https://www.facebook.com/odesa.company/photos

Follow on Instagram https://www.instagram.com/odesa.company/

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

by Richard Young

Steel Magnolias Hits Like a Hammer

By Jo-Anne Bishop

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

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

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

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

(Steel Magnolias Set. Photo Credit: Ross Davidson)

A Director’s Vision, A Cast’s Strength

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

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

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

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

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

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

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

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

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

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

If you go:

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

Reviewed by Jo-Anne Bishop

Meet The Beat Magazine 2025 Theatre Reviewer Jo-Anne Bishop

by Richard Young

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

Background and Experience in the Arts

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

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

Previous Reviewing Activities

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

London Fringe Festival, London, Ontario, 2012-2015

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

Why am I jumping back into the fray now?

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

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

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

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

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

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

Introducing DJP Productions: An Interview with David J. Pasquino.

by Richard Young

This is the second in a series of Q&A Interviews with representatives of London area theatre companies and groups. Today, we profile David J. Pasquino and DJP Productions.

Q. When was your company founded? By whom and why?

DJP Productions was founded by David J Pasquino in April 2025, for the sole purpose of putting on Prescription: Murder. I discovered it a couple of years ago when I read that Pat Sajak was going to play the role of Dr. Roy Flemming in the play at a community theatre in Hawaii (it was on at the Hawaii Theatre, July 31 to August 10, 2025). Much to my surprise, the play, written in 1962, was the very first Columbo story and was adapted into a TV special in 1968. I grew up watching Columbo and could not pass up the opportunity to play him, so I had to figure out a way to get this play on a stage in London, and producing it seemed to be the best way to do all of this.

Q. Is your company best described as professional or not-for-profit community theatre? Or both?

Not-for-profit community theatre.

Q. What venue(s) do you use to stage your productions?

Prescription: Murder will be onstage at the Auburn Stage at the Grand Theatre.

Q. Does your company have a Mission or Statement of Purpose?

DJP could be my initials, or maybe it could stand for Discover Joy and Passion? Either way, this inaugural production is an expression of my love of theatre, and for the theatre community in London – something I discovered 12 years ago that I never knew was missing from my life. I hope people coming to the show experience that Joy and Passion as well.

Q. Does your company have a Board of Directors and paid staff?

No.

Q. Tell me about your 2025-2026 Season. Does it have any underlying theme?

I don’t know if one show can be called a season, but the purpose is to bring the original Columbo story to the stage and the people of London, Ontario.

Q. What show(s) will you be staging this fall (September to December)? Tell me a little bit about each.

Unfortunately, nothing in that time frame, but Prescription: Murder will be on March 19 – 29, 2026.

Q. Do you have any thoughts about the London area theatre community and your place in it?

I have been a part of the London theatre community since my first show, To Kill a Mockingbird, in March 2013, and have acted in over twenty plays since then. This is my first time producing a show (I am also acting in it), and I am a little anxious because I obviously want this to be a success and to have people (cast, crew, and audience) enjoy it. I will have to see how this goes before I commit to producing other shows, but there is at least one other one play I have always wanted to put on. Who knows, maybe I will catch the producing bug, and DJP Productions will put on regular shows! I owe a debt of gratitude to all of the directors, producers, stage managers, crew, and actors that I’ve had the good fortune to work with; they welcomed me with open arms and have become very important to me in the last decade, and maybe this is one way I can pay a bit of that debt.

Follow David on Facebook for updates about Prescription: Murder: https://www.facebook.com/David.Pasquino