Tag: theatre

Can Habitual Lying Kill You? – Death of a Salesman at the Stratford Festival

by Richard Young

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

(Tom McCamus as Willy Loman and Lucy Peacock as Linda Loman, Death of a Salesman. Stratford Festival 2026. Photo by David Hou.)

Willy Loman always thought of himself as an excellent salesman. He was going to climb to the top, get a new territory, and make more money. Years go by, and nothing changes, but he continues to lie to himself and his family about how well he is doing. It’s the lack of reality, the lack of truth, and the fact that he isn’t reaching the American Dream that leads to his eventual but actually unavoidable death.

This gut-wrenching story, probably Arthur Miller’s best play, is now on stage at the Avon Theatre in Stratford. Written in 1948, the hissing sound of that American Dream deflating still resonates. In fact, it’s loudly disappearing in 2026, making it an apt choice for this season.

Death of a Salesman is the story of Willy Loman, a man who takes great pride in his sales abilities. He brags constantly that he is well-liked and has the largest territory, exaggerating his income. He also has great hopes for his son Biff, who was a high school football star, and could have gone to university on scholarship if he hadn’t failed math. He still believes that Biff and his brother, Hap, will do great things and come into their own.

(Tom McCamus as Willy Loman. Photo: David Hou.)

In reality, Willy is a failure at his job and gets fired, and both sons are ne’er-do-wells. Biff is a drifter who has spent time in jail for theft, and Hap is a philanderer who has a menial job. But Willy has bragged and fantasized for so long, he now believes his own glorified lies. Then aging takes its toll. As reality sets in, he hallucinates, talking out loud to his own brother about what could have been, reliving affairs he had with women on the road, and talking to his sons as if they were back in high school. He tells the boys to steal from the construction site next door and cheat on their school exams, then wonders where they went wrong. Sadly, his wife, Linda, goes along with his lies, yet he treats her badly.

The dialogue is brilliantly written; a condemnation of the so-called American Dream. One can’t help but think of Donald Trump, when he says, ‘Make American Great Again’, is this picture of life in 1949, where he wants to take America? The good old days just weren’t that good. One also thinks of Willy Loman as Trump: someone who has lied and embellished the truth so often that he actually believes his own B.S.

Tom McCamus is perfect as Willy Loman. Of course, McCamus is brilliant in any role he takes on. But he handles this role so well, moving from Willy’s fits of mania where he thinks he’s going to win over his boss to get a better territory, slamming down to the depths of depression when reality hits, and becoming suicidal. McCamus is so convincing when Willy spirals out of control, seeing events from his past and losing track of reality.

Lucy Peacock is also perfection as his wife, Linda Loman, putting up with his mood swings and protecting him when life slaps him in the face. There is some cheeky casting with McCamus’s real-life wife, Chick Reid, playing the other Woman, in a flashback scene when son Biff catches them together.

Biff is played flawlessly by Joe Perry, who wants so much to please his father and earn his father’s praise, yet he’s old enough to see the reality of their pointless lives. The younger son, Hap, is played very well by Josh Johnston. He makes us fear that he is going to become just like his father. The supporting cast members are impeccable, all adding to the futility of Willy’s life.

(Joe Perry as Biff Loman and Lucy Peacock as Linda Loman. Photo: David Hou.)

This is an excellent production of Death of a Salesman, designed to make you think. You leave the theatre feeling lost and discouraged. But this is tempered by the quality of the script, and you can marvel at how it has withstood the test of time. And of course, you can appreciate the intense, excellent quality acting you just saw on the stage.

Death of a Salesman continues in repertory until October 24 at the Avon Theatre, Stratford. Tickets are available at the Stratford Festival at 1-800-567-1600, or check www.stratfordfestival.ca

Death of a Salesman
By Arthur Miller
Directed by Dean Gabourie
Composer and Music Curator Michael Louis Johnson
Director of Music Franklin Brasz
Performed by Tom McCamus, Lucy Peacock, Joe Perry, Josh Johnston, Raymond Strachan, Chick Reid, Matthew Kabwe, David W. Keeley, Irene Poole, Sean Arbuckle, Krystin Pellerin, Nadine Villasin, Devin MacKinnon.
Avon Theatre, Stratford
May 28 to October 24, 2026


Reviewed by Mary Alderson

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

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

by Richard Young

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Reviewed by Mary Alderson

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

Come From Away Will Bring You Home!

by Richard Young

Reviewed by Charlotte MacDonald.

“You are here,” and I was somewhere between pride and applause.

Bringing to life a true story of Canadian kindness and resilience in the aftermath of the devastating tragedy of 9/11, The Grand Theatre’s non-replica production of the Tony and Olivier Award-winning musical Come From Away, reimagined by Canadian director Julie Tomaino, is sure to steal your heart and leave you with a renewed sense of what it means to be Canadian.

The play opens by introducing the audience to the calm, quaint town of Gander, Newfoundland, and its cast of dynamic, unmistakably Canadian characters. Though described through modest landmarks, including a two-person police department, a local TV station and a hockey rink, the town feels small on paper, yet rich with personality on stage. Claude, played by Darrin Baker, the outgoing mayor, Beulah, played by Darlene Spencer, a devoted Royal Canadian Legion volunteer, and Bonnie, played by Denise Oucharek, the local SPCA manager, help bring the community to life on stage. Through natural dialogue, warm banter, and (of course) Newfoundland accents, it becomes clear within moments that these characters are what make Gander far greater than its size.

(Photo: Dahlia Katz.)

As the play enters into a rhythm, the characters move through their day, describing their routines as if reading from diary entries aloud. Everything unfolds as it always does, just another ordinary day in Gander. As an audience member, though, anticipation builds waiting for the moment the news breaks. There on the edge of the world in quiet Gander, it is clear nothing much seems to go on…queue one of the biggest catastrophes of the 21st century.

Suddenly, as news spreads of the attack on their neighbouring country, the locals are facing the order for thirty-eight planes to be diverted to their low-traffic airport. Overwhelmed by the prospect of thousands of people from around the world landing in their small town, with no word on how long they will be staying, the locals quickly spring into action to prepare for the fast-approaching and frenzied arrival ahead. In a flash of lightning, 7,000 displaced passengers begin to arrive on the doorstep of this small Canadian town, doubling its population overnight.

Filled with music and complex characters, Come From Away shows the world the power of kindness in times of tragedy. As a Canadian, you can’t help but feel pride for the glowing examples set for us by our own people, as they show more compassion than was ever asked of them and deeply alter the trajectory of thousands of people’s lives for the better, without ever expecting anything in return.

(Photo: Dahlia Katz.)

The cast remained fixed at 12 tightly knit actors, weaving in and out of each other’s stories as they played dozens of distinct characters, with many actors doubling or tripling their roles. Most frequently, the cast would switch back and forth between playing the locals of Gander and the “plane people” who have “come from away.” With the most minor costume changes, you would expect this back and forth to be confusing, and yet each actor’s rendition of their character was so distinct that following along felt completely intuitive. This was probably one of the most impressive aspects of the production to me, as the cast seamlessly transitioned between very distinct characters in a way that felt so natural and clear that you automatically knew who was who.

A standout in this regard to me was Izad Etemadi, a cast member who played two very distinct “plane people.” One of his characters was Kevin T., an eccentric and humorous gay man who had arrived in Gander with his partner Kevin J., played by Alex Wierzbicki (yes, they are both named Kevin). His other character was a quiet, serious, and aloof Muslim man who spent most of his time alone and distancing himself from the others. These two roles contrasted in performance so greatly that I did not even notice until a third of the way into the performance that the same actor played them. Etemadi’s performance as a Muslim man also brought forward serious topics of racial and religious discrimination, representing the realities many would have faced during this period.

(Photo: Dahlia Katz.)

Something I enjoyed about this performance was how it had constant contradictions. The play did not try to frame this as a perfectly happy and heroic story where kindness completely erased the horror and made it all okay. Instead, it allowed for nuance, showing that multiple experiences can be had at a single time. Rather than representing a linear story, it had a range of emotions where fear turned into gratitude and happiness bled to guilt as people grappled with the rawness of their emotions in the face of complex tragedy.

Touching on topics of loss, grief and identity, Come From Away’s message continues to ring through to today as people continue to grapple with these experiences. A beautifully true Canadian story, it reminds us that the only antidote to inhumanity is humanity itself.

Reviewed by Charlotte MacDonald.

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

Inner Elder packs a punch at Port Stanley Festival Theatre

by Richard Young

by Richard Young

(Pictured: Michelle Thrush, creator and performer, Inner Elder.)

To be sure, there is lots of great local theatre playing in the London area this weekend. Come From Away closes out its extended run at the Grand Theatre on Sunday, while London Community Players’ sold-out run of Mamma Mia! continues at the Palace Theatre, and the Elgin Theatre Guild’s final show of 2026/27, The Foursome by Norm Foster, has three performances on Friday, Saturday and Sunday.

Not to be overlooked, however, is Inner Elder, a real-life autobiographical one-person show, performed by Canadian actress and Cree Indigenous activist, Gemini Award-winning Michelle Thrush, on stage now at the Port Stanley Festival Theatre for three remaining performances, Friday at 7:30 pm and Saturday at 2:00 pm and 7:30 pm.

Premiering in 2018, Inner Elder is a structured monologue during which author Michelle Thrush recounts her personal life and experiences, combining pathos, hardships, and some good-natured laughs along the way.

I saw Inner Elder’s opening night on Thursday and can attest to the show’s poignancy and the tour de force performance of its author.

Running a tightly packed 60 minutes in length, Inner Elder takes the audience through Thrush’s life as a young child and teenager, “raising” two alcoholic parents and struggling to find her identity as a First Nations person in a predominantly white society. Looking for role models on television shows like Little House on the Prairie and Bewitched, she is disappointed to find no one who looks like her. Her public schooling offers her no respite, where Thrush experiences racism firsthand.

The pivotal point in Thrush’s life comes in her early 20s, when she decides to pursue acting as the best way to find her identity and assert herself as a “brown girl” in a white world. As she states during the play, she has never looked back.

Set within a simple set of impressionistic trees, Thrush transforms herself from a young girl into an elderly grandmother through the use of very basic props and costume changes. Indeed, it is her inner monologue that propels the story more than anything else.

The play brings tears of sorrow and laughter to the audience’s eyes as we share Thrush’s ups and downs. We share her inner jokes and asides, all the while knowing she is laying bare her soul onstage.

If you’re looking for something a little different, I highly recommend the short drive to catch Inner Elder during its short run at the Port Stanley Festival Theatre

IF YOU GO:

What: PSFT presents Inner Elder.

When: May 27-30, 2026.

Where: Port Stanley Festival Theatre, 302 Bridge St., Port Stanley, ON.

Tickets: At psft.ca or call the box office at 519-782-4353.

Inner Elder, written and performed by award-winning Cree artist Michelle Thrush, kicks off PSFT 2026 Summer Season.

by Richard Young

Prepared with files from PSFT

(Pictured: Michelle Thrush. Photo Credit: Ben Laird.)

The Port Stanley Festival Theatre  2026 Summer Season kicks off on Wednesday, May 27, with Inner Elder, written and performed by award-winning Cree artist Michelle Thrush.

Inner Elder is an intimate story that will open your heart and put a smile on your face.

Award-winning Cree artist Michelle Thrush weaves real-life memories with laughter and grace. A one-woman show that takes the audience on a poignant journey full of unexpected twists and turns.

A young Indigenous girl growing up in Alberta navigates a world shaped by hardship, humour, and the guiding presence of her grandmothers. When life feels darkest, her superhero Kookum—armed with magic moccasins—appears to light the way.

After each performance, audiences are invited to meet Michelle – a rare one-of-a-kind experience only at PSFT.

Michelle Thrush is well known for her roles in TV and film. She is a multi-award-winning actress, and she is a recipient of the Lieutenant Governor’s Distinguished Artist of Alberta Award. Joining her are Dianne Goodman, Company Manager and Neil Fleming, Producer/Technical Director.

“Thrush’s ability to make the audience laugh with silly antics, while keeping the show’s message of resilience and self-empowerment at the forefront, is a testament to her ability as an actor. Through it all, Thrush unabashedly allows spectators to witness her vulnerability; in fact, she wears it like a badge of honour. And why not? The adversity that shaped Thrush’s life forced her to forge ahead and become the impressive artist that stands before us.” – NAC Indigenous- Courtney Castelino, BroadwayWorld.com

IF YOU GO:

What: PSFT presents Inner Elder.

When: May 27-30, 2026.

Where: Port Stanley Festival Theatre, 302 Bridge St., Port Stanley, ON.

Tickets: At psft.ca or call the box office at 519-782-4353.

For more information about the Port Stanley Festival’s 2026 Summer Season, visit 2026 Summer Theatre Season Archives – Port Stanley Festival Theatre

Follow PSFT on Facebook and Instagram.



The Beat Magazine Q&A Interview with Toni Wilson, Director of Mamma Mia!

by Richard Young

What follows is a Q&A Interview with Toni Wilson, Director of Mamma Mia playing at the Palace Theatre from May 28 to June 7 . The Interview was conducted by The Beat Magazine’s Publisher & Content Manager, Richard Young.

Q. Tell me about Mamma Mia! – backstory, author, performance history, etc.

Mamma Mia is a story of love, family, and friendship built around the musical hits of ABBA. It takes us to a beautiful Greek island where we can escape the complicated world in which we live – we all need a little glitter and joy once in a while.

Mamma Mia is based on the songs of ABBA, a Swedish pop/dance group active from 1971 to 1982 and one of the most popular international pop groups of all time.

Mamma Mia is a jukebox musical written by British playwright Catherine Johnson, based on songs recorded by Swedish group ABBA and composed by members Benny Andersson and Björn Ulvaeus.

In 1997, Judy Craymer commissioned Catherine Johnson to write the book for the musical. In 1998, Phyllida Lloyd became the director of the show, with choreography by Anthony Van Laast.

Mamma Mia premiered at the Prince Edward Theatre in the London West End on April 6, 1999 then staged at the Royal Alexandra Theatre in Toronto on May 23, 2000, followed by a Broadway production on October 18, 2001

(Photo: Ross Davidson.)

Q. What prompted LPL to select Mamma Mia! for its Spring production?

LCP was looking for a big-name show to complete their 2025/2026 season, and both Jeff Holbrough, Music Director,  and I have been waiting for the opportunity to bring Mamma Mia to community theatre. It has great music, engaging characters and lots of dancing, and we knew it would be a whole lot of fun.

(Pictured: Keyboards Annette Gilbert, Music Director Jeff Holbrough, and Director Toni Wilson.)

Q. Could you provide a brief plot synopsis?

Sophie is preparing to marry her fiancé, Sky, on a beautiful Greek island where her mother, Donna, runs a small hotel. Wanting her father to walk her down the aisle but unsure who he is, Sophie secretly reads her mother’s diary from the summer she was conceived 20 years ago and invites her possible dads to her wedding. The men, Sam, Harry and Bill, arrive, unaware of the real reason they were invited to the wedding. At the same time, Donna’s former 1970’s rock bandmates, Tanya and Rosie, arrive to support their friend Donna and her daughter Sophie. Donna is thrown into a state of panic when she discovers that her old flames have arrived for the wedding, and Sophie begins to question her marriage to Sky. In the end, all is resolved, and the play ends with a wonderful Greek island wedding.

Q. Mamma Mia! Is an obvious crowd favourite and it has been staged several times by different troupes in the London area in recent years. What sets this production apart from the others?

Mamma Mia has been a crowd favourite for many years.

The cast of 35 is comprised of two generations of people from the ages of 20 to 75.  They offer so many different perspectives on an age-old story of love and marriage. After spending so much time together, we have become our own family and are loving every minute of it.

This production incorporates a large ensemble that provides a backdrop to the story with their wonderful vocals, their creative movement throughout the story and their ongoing interest in the lives of the main characters. The cast will have a hard time saying goodbye on closing night.

(Photo: Ross Davidson.)

Q. I understand the show is officially SOLD OUT before it begins. How do you account for this?

Mamma Mia sold out well before the run of the show, and this is why.

People want to be entertained, people want to hear good music that they recognize, people want to be part of a big cast that has fun, people want to suspend their disbelief and dream of a world like the one we create in Mamma Mia – full of smiles, glitter, dance and music. People want to dream…….so ABBA, thank you for the music.

(Pictured: Director Toni Wilson and Choreographer Laura Wood.)

Q. Can you comment on the Cast – Leads and Ensemble?

I am the luckiest director – over 100 people from our London Community and beyond auditioned for this show. They all wanted to be part of the magic of Mamma Mia.

All of my leads are very strong and perfect for the parts they play. They came to rehearsal with a very professional attitude, knowing their lines and music early in the process and have set a precedent for all of the cast members. They are also kind and generous in their work with each other and with the ensemble, and appreciate the crew that makes them look so very good.

I love them all very much.

Q. How would you describe the sets, props and costumes of the play?

David Long is my set designer, and he is a gift to the Palace Theatre. He is creative, hard-working and has brought my vision of Mamma Mia to life with a beautiful set. You will feel as if you are on a Greek Island and part of the story.

Both my costumes and properties teams have collaborated and worked together with our artistic team to elevate the vision of Mamma Mia – a bright, colourful summertime feel. Sending heartfelt thanks your way.

Lighting and sound are also an integral part of the success of a big musical production. I have listened to their suggestions and trust their expertise to bring Mamma Mia to life. The technical pieces of the show add so much depth to the performances.

(Photo: Ross Davidson.)

Q. What can audiences expect from Mamma Mia?

Mamma Mia is going to grab you from the moment the curtain opens until the end when you join in with the singing and dancing during the encore. Be ready to be entertained and leave the theatre feeling like a dancing queen.

Q. Is there anything else you think readers should know about the show?

Mamma Mia has been a wonderful experience from beginning to end. Having my vision come to life depends upon the collaboration of both the cast and crew so that everyone respects the contributions we all make in the creation of a musical theatre production. The people I have brought together for this project, both cast and crew, have been outstanding in developing positive relationships with one another. Their collective effort to do their very best for the good of the show amazes me, and I am grateful.

I think we have created a once-in-a-lifetime experience for both the cast and crew of Mamma Mia and for our sold-out audiences. We are living the dream together.

(Photo: Ross Davidson.)

ARTISTIC TEAM: MAMMA MIA!

Director: Toni Wilson

Producers: Cathy Weaver and Mike Jewison

Music Director: Jeff Holbrough

Choreographer: Laura Wood

Stage Manager: Anita Goodfellow

CAST: MAMMA MIA!

Melissa Metler: Donna Sheridan

Sophie Sheridan: Jordyn Taylor

Rosie Mulligan: Angela Southern

Tanya Cresham-Leigh: Bronwyn Powell

Sam Carmichael: Jim Noonan

Harry Bright: David Bogaert

Bill Austen: Sam Shoebottom

Sky: A. J. MacDonald

Ali: Kate Deman

Lisa: Emma Vanderkuyl

Pepper: Ethan Couchman

Eddie: Tate Stadnisky

Father Alexandrios: Jim Brock

ENSEMBLE: MAMMA MIA!

Michelle Brock

Lisa Shelton

Sue Bruyns

Karen MacDonald

Janice Van Dasler

Megan Dow

Janet Bueckert

Hayley Kell

Lauren Brooks

Megan Gilliland

Isabel Dalimore

Kaity Adam

Jesse Grant

Rob Carver

Basil Gracious

Frank Delle Donne

Liam Sweezey

Gabriel Sizeland

Iain Guild

IF YOU GO:

What: London Community Players present Mamma Mia!

When: May 28 to June 7, 2026.

Where: Main Stage, The Palace Theatre, 710 Dundas St., London, ON.

Tickets: SOLD OUT

Interview conducted by Richard Young, Publisher and Content Manager, The Beat Magazine 2025.

Guys and Dolls – A Must See at the Stratford Festival

by Richard Young

Reviewed by Richard Young

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

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

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

Let’s start with the stellar veteran Cast.

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

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

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

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

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

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

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

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

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

And the music!

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

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

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

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

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

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

Theatre Aezir presents The Kept Brother, May 23.

by Richard Young

With files provided by Theatre Aezir.

(Pictured: London author and playwright Paul Cavanagh.)

The Kept Brother is a theatrical play written by the London, Ontario-based author and playwright Paul Cavanagh. It was developed as part of the Cascade Playwrights’ Lab Showcase at the city’s Grand Theatre, where excerpts from the work were read on the Auburn Stage.

Theatre Aezir invites you to join the cast and playwright of The Kept Brother for its first full reading on Saturday, May 23, at First Baptist Church.

The Plot Thickens

Ever feel like your family is a little… intense? Come meet Deacon. He lives in his sister Carly’s basement, keeps to himself, and has one tiny, awkward quirk: he knows exactly when the people around him are going to kick the bucket.

Life in the suburbs is quiet until Great-Aunt Véronique drops by with some heavy baggage and a shared secret. When Deacon’s “sixth sense” starts ringing alarm bells for his sister Carly, the family hits a breaking point. Is Deacon gifted, or is he just losing it? It’s a story of sibling loyalty, hidden histories, and a final twist that might just change how you see “family intuition” forever.

The Cast:

Deacon – Jackson Balint (recently Richard Dreyfuss in The Shark Is Broken)

Carly – Jessica Perreira (The Phoenix Lottery, Marion Bridge)

Corbin – Ryan Memarzadeh (Dating Games)

Ever – Locksley Thorne (Debut with Theatre Aezir)

Veronique – Elizabeth Durand (Artistic Director)

911 Dispatcher – Don Millar (Member of the Board of Directors)

IF YOU GO:

What: First Full Reading of Paul Cavanagh’s The Kept Brother.

When: Saturday, May 23rd @ 2:30 PM

Where: First Baptist Church, 568 Richmond St., London, ON. Please use the Clarence Street entrance.

Cost: Absolutely Free

How to Snag a Spot:  RSVP via email to: tickets@theatreaezir.com (Include your name and the number of seats you’d like to reserve.) Space is limited, so don’t leave your attendance to fate.

To learn more about Theatre Aezir, visit Theatre Aezir – London, Ontario Theatre Company

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

by Richard Young

Reviewed by Marilu Murphy

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

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

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

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

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

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

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

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

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

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

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

IF YOU GO:

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

Reviewed by Marilu Murphy

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

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

by Richard Young

Reviewed by Kim Kaitell

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

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

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

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

(Photo by Ross Davidson.)

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

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

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

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

(Photo by Ross Davidson.)

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

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

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

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

IF YOU GO:

What: Musical Theatre Productions presents Shrek: The Musical.

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

When: May 7 to 17, 2026

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

CAST:

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

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

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

Ensemble:

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

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

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

*Shrek Understudy
**Swing

CREATIVE TEAM:

Director: Brittney-Lee Lowey
Assistant Director: Emilie Forrat

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

Music Director: Jaclyn Cunneyworth
Pianist: Juan Giraldo

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

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

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

Reviewed by Kim Kaitell

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