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

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

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

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

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

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

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

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

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

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

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

Twists. Turns. Typewriters.

The most diabolically clever thriller ever staged.

This one will keep you guessing.

Nov 27-Dec 7

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

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

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

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

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

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

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

IF YOU GO:

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

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

Original Kids Theatre Company presents Between the Lines, Jr.

December 5-7.

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

https://www.originalkids.ca/

WE’VE GOT LIVE MUSIC!

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

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

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

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

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

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

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

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

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

IF YOU GO:

What: London Symphonia presents The Sounds of Home.

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

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

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

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

The Aeolian Hall presents Don Ross & Julie Malia

Friday, December 5 at 7:30pm

https://aeolianhall.ca/

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

https://www.eastsidebarandgrill.ca/

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

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

with special guest JAMIE FINE

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

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

 WE’VE GOT ART EXHIBITIONS!

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

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

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

http://www.westlandgallery.com

OTHER

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

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

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

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

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

Don’t miss the moment the holidays begin!

london.ca/lightingofthelights

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

December 6 & 7

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

A Flurry of Magic: Frozen Melts Hearts at the Grand Theatre.

Reviewed by Jo-Anne Bishop

(Photo by Dahlia Katz)

The Grand Theatre’s production of Disney’s Frozen: The Broadway Musical is nothing short of magical. A dazzling, heart-warming spectacle that captivated everyone in the audience, from the youngest fans seeing their heroes come to life to the adults who found themselves swept up in the enchantment.

Cory Sincennes’ set and costume design is a triumph of imagination and stagecraft. Using layered curtains, striking silhouettes, and dynamic lighting, Sincennes creates a constantly shifting world that feels both storybook and cinematic. The special effects, particularly those used to portray Elsa’s powers, were breathtaking, earning genuine gasps and cheers throughout the performance.

(Pictured: Kelly Holiff as Elsa. Photo by Dahlia Katz.)

Chariz Faulmino (Anna) and Kelly Holiff (Elsa) lead the cast with powerhouse performances that honour the beloved characters while adding emotional depth and nuance. Their younger counterparts, Harmony Holder as Young Anna and Kylie Prouty as Young Elsa, shine with remarkable poise and authenticity, laying a strong emotional foundation for the story. (NOTE: Harmony Holder and Kylie Prouty alternate with Oakan Oyafuso and Alba Evora Weiler in the roles of Young Anna and Young Elsa.)

Mark Sinongco is fabulous as Kristoff, bringing warmth, sincerity, and just the right amount of rugged charm to the beloved ice harvester. Izad Etemadi’s brilliant puppetry brings Olaf to life with humour and heart, while Richard Lee Hsi’s physicality makes Sven feel truly larger than life. Lee Siegel is an undeniable crowd-pleaser as Oaken, and his lead in the Act II opener “Hygge” had the entire house roaring with laughter. The number was clearly a fan favourite, kicking off the second act with a joyous, cheeky burst of energy.

(Director Rachel Peake talks about Disney’s Frozen: The Broadway Musical in this video clip.)

Under the inspired direction of Rachel Peake, the production flows with clarity, humour, and heart. Ainsley Hillyard’s choreography infuses each number with vibrant energy, and the ensemble executes every step and vocal line with grace, precision, and infectious enthusiasm.

Adding to the magic was the audience itself: tiny Annas and Elsas sparkling in their costumes, singing along with their favourite songs, their excitement lighting up the theatre. And it wasn’t just the children. Many adults joined in softly singing the iconic melodies, proving that Frozen’s charm spans generations.

(Pictured: Frozen. Photo by Dahlia Katz.)

The Grand Theatre’s Frozen is a spectacular journey that celebrates the power of love, courage, and sisterhood. It’s visually stunning, musically thrilling, and emotionally resonant. A production that truly brings the magic of Arendelle to London.

In the spirit of love and generosity, the Grand Theatre is also collecting monetary donations for the London Food Bank. Audience members are encouraged to bring their loonies, toonies, or any amount they wish to contribute to warm hearts—and bellies—during this season of giving. Donations can be made in cash, by card, or by scanning a QR code in the lobby. Please give generously.

IF YOU GO:

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

Watch the Official Trailer for Disney’s Frozen:

Disney’s Frozen: The Broadway Musical reviewed by Jo-Anne Bishop

The Life and Times of Dave Semple: Renaissance Man.

by J Bruce Parker

(Photo by Liam Semple)

If you know Wortley Village resident Dave Semple, his quality of generosity first comes to mind. The retired drama teacher with over thirty-five years of experience as an actor and director has offered free workshops for aspiring thespians. As a guitar luthier, he has built and given away several guitars to those he felt needed them, as well as taking the time to teach the instrument to seniors.

Dave is a prominent and familiar presence in local theatre, and both his love of the stage and music have become the focus of his post-retirement life.

Dave was born in Quebec to a young and struggling mother and was put up for adoption when he was five months old. His adoptive parents moved about, and Dave found himself in the city of Rouyn Noranda, a mining town, dedicated to the recreations of hockey, snowmobiling, and ice fishing.

(Photo by Ross Davidson.)

Dave felt that he really didn’t fit in. “I had a little music room with a piano and a couple of guitars, and that’s where I escaped,” he says. He noodled about on the piano and eventually took lessons, but again, could not fit in with the role of a piano student.

“My teacher realized that I was struggling to learn to read music, so she started to train my ear. I couldn’t sight-read but she recognized that I had a really good ear, and maybe she could train that instead. It influenced me in how I became a teacher, as her philosophy to meet the student where they are became my philosophy as a teacher.”

Dave eventually crossed the border into Ontario, where he enrolled at the University of Windsor in a Bachelor of Fine Arts program. He considered the idea of theatre as a career but did not pursue it. “I never wanted to be an actor full-time as the idea of always looking for work scared the crap out of me,” he says.

He had a friend working at the University of Western Ontario who was able to cast him in Romeo and Juliet as the character Tybalt. “They needed someone to do the sword-fighting scenes, and I had learned combat choreography at university. I had also done some fencing,” Dave recalls.

(Photo by J Bruce Parker.)

With this success, he realized he liked the idea of teaching, and it appealed to him as a choice for a working career. Dave taught Drama at Strathroy Collegiate for four years before transferring to Oakridge Secondary School. It was here he met James Patterson, head of the Drama Department, who would be part of his career in theatre for the next thirty years.

After leaving Oakridge, Dave taught Drama and English at Saunders Secondary School for nine years, leading up to his retirement in 2022.

Dave’s wellspring of creativity has produced two novels, four books of poetry, one poetic novella, and two books of ‘Words of Wisdom.’ As a singer/songwriter, he has released five CDs, but his musical artistry was stifled for a time when “The pandemic kicked that out of me,” he says.

Three years out of the pandemic, Dave is rethinking and creating again.

(Photo by J Bruce Parker.)

His work as a guitar luthier began when he could not find an electric guitar with specific woods and electronic features that he wanted. It was his father who taught him carpentry and electronics, which aided in his task. He found the parts online and built his own. This hobby grew over the last seven years when local guitarists would seek him out for repairs or to customize their own instruments. Eventually, orders came in for specific body designs, woods, and electronics, and ‘Phoenix Guitar Works’ was born. Dave tells me, “The name came from a few crashes and burns in my life.”

After his retirement, Dave found a new energy and discovered that “time is now finite.” This energy inspired him to audition for leading roles in two productions at the Palace Theatre: The Black Bonspiel of Wullie MacCrimmon and The Donnellys, which was directed by his long-time friend James Patterson. He was eventually doing back-to-back rehearsals. Dave moved from the sinister but charismatic character of the devil in ‘Black Bonspiel,’ to the patriarch of the infamous family from Lucan.

“I like dramas more than comedies,” he tells me. “I like stories that are dark and have a good depth of substance to them.”

(Photo by Ross Davidson.)

Peter Colley’s play about the brutal massacre of a family in Lucan in 1880 was previously performed in London at the Grand Theatre in 1974. It portrays Johanna and James Donnelly as victims of this horrendous crime. Other accounts of this event have been less sympathetic to the couple. “We wanted to bring out that they were a loving couple and that they were trying to make the best world, despite all the strikes against them. We wanted to make them likeable and relatable,” says Dave.

Last year, Dave was cast in local playwright Jason Rip’s Man Up, a piece of theatre produced and directed by John Pacheco, which was performed at the Manor Park Memorial Hall for five sold-out performances. Divided into eighteen scenes, the production explored the definition of masculinity and the associated high rate of male suicide.

In a television interview about Man Up, Dave expressed, “Since COVID, I think theatre has gotten really safe with light and fluffy productions to bring audiences back in. You go to the theatre to escape or connect. With this play, every night when I go home, it stirs up feelings and thoughts, and I want to have discussions with people. And this is what is important about this play in particular.” He adds, “In thirty years of teaching, I lost eight students to suicide.”

Dave has directed nineteen plays, and he enjoys moving back and forth from directing to acting. “It depends on my frame of mind if I want to direct or act. But acting is more work as you have to memorize.” Laughing, he adds, “I have a hard time liking young actors. I like the ones who are my age and older.” 

It is tough for him to single out a favorite actor, but Gene Hackman comes to mind when he is persuaded for an answer.

It is no surprise that this talented craftsman recently created and performed Stories and Songs, a fundraising event for the Palace Theatre on November 6. Dave is a voice of his community, and his voice regaled friends and fans with his music and personal reflections.

His performance at the Palace’s Procunier Hall was perfect for an intimate evening. A comfortable parlour chair, an antique table displaying the visual memories of his songs, underscored with soft lighting. He picked from four guitars, regarding all as his ‘friends,’ and explaining the history of each.

His three-hour marathon performance with a brief intermission was culled from his vast creative work and warm and generous heart. He emptied his pockets of childhood memories in song and spoken word, often in a cathartic voice, directing us to his beginnings as a five-month-old child being given up for adoption. Love, acceptance, and family become important themes in his music.

His presentation was interactive as he requested ‘Dad Jokes’ regarding his remembrance and relationship with his own adoptive father, as well as inquiring about a recent moment of ‘joy’ from his audience. And joy is something we need more of these days.

(Photo by J Bruce Parker)

Gathering a few young people to sit at his feet, in a most grandfatherly and comedic manner, Dave told an anecdote of something antiquated and nearly extinct: the vinyl record.

His final song was not his, but of his friend, musician Jake Leveque, a musical force of this city who passed away in 2024.

Following Dave Semple down his road of memory is often a very familiar journey, as his memories can be relatable. He examines his humanity, which allows us to reflect on our own. You listen closely, and his voice in song becomes your voice.

Originally, Stories & Songs was to be a one-off event, but it was met with such a measure of success, several performances are now booked at the Palace Theatre in the Spring of 2026.

Dave Semple is now directing Closer, a play by British playwright Patrick Marber, in a production which will run from February 5 to 15 at Procunier Hall at the Palace Theatre.

To hear Dave Semple’s music, visit https://www.reverbnation.com/davesemple

Follow Dave on Facebook: https://www.facebook.com/profile.php?id=100032083767062

By J Bruce Parker

London’s Emerging Talent Shines in Theatre Aezir’s Production of Dating Games

Reviewed by Jo-Anne Bishop

(Photo Credit: Helen Wrack-Adams)

Theatre Aezir’s latest production, Dating Games by Garth Wingfield, offers a sharp and entertaining look at the unpredictable world of dating and modern relationships. Produced by Elizabeth Durand and directed by five emerging talents, this vibrant and polished staging proves that collaboration and fresh perspective can deliver an invigorating night of theatre.

Running a brisk seventy-five minutes, the show is a dynamic blend of styles and tones that somehow interweave with ease. Each vignette stands on its own while contributing to a cohesive whole, a testament to the directors’ shared vision and the power of creative synergy.

Under the collective guidance of its five directors and their mentors, the production maintains a remarkable sense of unity. The vignettes shift from playful to poignant, all anchored by Wingfield’s clever, relatable writing. The minimalist set design serves the piece beautifully, enabling fluid transitions and keeping the spotlight firmly where it belongs – on the script and stellar performances.

(Photo Credit: Helen Wrack-Adams.)

And what performances they are.

James Callaghan, Chiedza Gondoza, Haley Gordon, Aidan Robertson, Billie Gould, Danika Goss, Matthew Lazaris-Brunner, Ryan Memarzadeh, and Mike Wisniowski form a stellar ensemble. Each actor brings charisma, honesty, and razor-sharp comedic timing to the stage. While the entire cast impresses, a few moments shine especially bright for their precision and emotional nuance.

One such standout is “Mary Just Broke Up With This Guy,” featuring top-notch performances from Haley Gordon and Aidan Robertson. Robertson, in particular, delivers a variety of characters with such wit and timing that you’ll wish this ‘playlet’ ran just a little longer.

Witty, tightly executed, and full of heart, Dating Games highlights Theatre Aezir’s flair for fresh, thoughtful programming and affirms the promise of London’s next generation of theatre-makers. It’s a smart, engaging production that reminds us, kind of like love itself, that live performance is always worth the risk.

(Photo Credit: Helen Wrack-Adams)

If You Go:

What: Dating Games presented by Theatre Aezir
Where: First Baptist Church, 568 Richmond St, London, Ontario
When: November 6-16th, 2025, Evenings at 8:00pm • Matinees at 4:00pm
Tickets: $30, available Dating Games – Bad dates. Good theatre.

For more information about Theatre Aezir, visit https://theatreaezir.com/

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

Follow on Instagram https://www.instagram.com/theatreaezir/

Reviewed by Jo-Anne Bishop

Ronnie Burkett’s Wonderful Joe is topical, heartfelt and heart-wrenching

Reviewed by J Bruce Parker

(Pictured: Joe Pickle and Mister the Dog. Photo Ian Jackson, Epic Photography.)

Puppetry seems to be a lost art. If you remember The Friendly Giant or Howdy Doody, we are about the same age. And, of course, Puppeteer Jim Henson created a cultural legacy with his Muppets, which still live on.

A marionette takes the skill of the puppet to the next level, creating the lifeblood of the character with deft movements of their hand and fingers on their stringed or wired figure. This form of theatre has been around since the Middle Ages.

Ronnie Burkett is an award-winning Canadian puppeteer, hailing from Medicine Hat. His career was inspired at the age of seven by the puppet scene of the Lonely Goatherd in the film The Sound of Music. Again, if you recall that, we are about the same age. Burkett’s puppetry work is not new to the Grand Theatre, as previous productions of The Daisy Theatre (2017) and Little Dickens (2023) were sold-out events.

He now brings the poignant Wonderful Joe to the Grand Theatre’s Auburn Stage with a glorious score and soundscape by John Alcorn

The story explores the all-too-common urban practices of “renoviction” and gentrification. It happens to the folks in a high-rise and is viewed through the eyes of Joe Pickle and his listless dog, Mister. Joe consoles his neighbours, who, like him, will soon hit the streets as well as those who work the street. He is an endearing soul, wrapped in a veneer of positivity, and seizes the opportunity to take us on a walkabout through the fictitious Eileen Avenue.

(Pictured: Ronnie Burkette and the marionette leaning rail as playboard. Photo – Ian Jackson, Epic Photography.)

Joe foresees his beloved block, the home of various drag queens and sex workers, becoming “white and boring and clean and neutral.” He sees the beauty in this derelict neighbourhood and the goodness and worth of its inhabitants.

The denizens of Eileen Avenue all have a story to tell, told in a wickedly paced repartee. There is pathos as well as humour as we are witnesses to the local residents attempting to find identity and acceptance. It is all too real and very touching, and quite easy to relate to the struggle of Burkett’s characters.

Burkett conjures up bizarre yet hilarious meetings of Jesus, Santa Claus, and the Tooth Fairy in a gay bar, all struggling with who they are and what is expected of them.

(Pictured: Sonny, Joe, and Mister. Photo – Ian Jackson, Epic Photography.)

We end with Joe on a bench in a parkette, consoling a young, troubled schoolgirl. It is here that Joe reveals his own tragic youth, his creative ways of coping, and his dreams.

Ronnie Burkett’s dark production is honest, gritty, and convincing to the point where one often loses track of the man on the stage pulling all the strings.

Wonderful Joe is both heartfelt and heart-wrenching in defining the ability to cope in current times and transcend beyond your past.

Credits:

John Alcorn – Music Production, Arrangements, Vocals, Keyboards, and Digital Programming

Kevin Humphrey – Lighting Design

Terri Gillis – Production Manager/Artistic Associate

Crystal Salverda – Stage Manager/Technical Director

John Lambert – Associate Producer

Ronnie Burkett – Marionette and Costume Design

Kim Crossley – Costumes

Puppet Studio – Alexander Mantia, Aidan Sparks, Angela Talbot, Dina Meschkuleit, with Martin Herbert, Andy Hayward, Shanna Miller, Justin Mezzapelli, and Brigitte Sampogna

Camellia Koo – Shoes

Greg Ballora (after Luman Coad) – Marionette Controls

Marcus Jamin – Marionette Stringing

Robbie Buttinski – Majordomo

Scenic Construction by Shop Dogs, Montreal 

Daniel Barkley – Scenic Painting

Aidan Sparks – Model and Drafting

Featured vocals – Coco Love Alcorn

Mixing and mastering – Jeff Wolpert, Desert Fish Studios

If You Go:

What: Ronnie Burkette’s Wonderful Joe

When: November 4 to November 23

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

Tickets: Single tickets are $48, and Auburn Series Subscriptions offer a 25% discount ($71.44 for both Wonderful Joe and Mrs Krishnan’s Party). Tickets and subscriptions are available at grandtheatre.com, by phone at 519.672.8800, or at the Box Office, 471 Richmond Street.

Reviewed by J Bruce Parker

CD Review: Brent Jones – The Truth Window

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.

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 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+

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