Tag: theatre

School of Rock announced as 2026 Grand Theatre High School Project

by Richard Young

Prepared with files provided by the Grand Theatre

The Grand Theatre is thrilled to announce that School of Rock will be the 2026 Grand Theatre High School Project. In a company first, London and area’s most talented young artists will be rocking out on stage, playing live music – in addition to the familiar performance and production roles typically part of a Grand Theatre High School Project production. Applications to join the student company are now open and close on March 30, 2026.

Based on the 2003 hit movie starring Jack Black (Tenacious D, A Minecraft Movie) and written by Mike White (The White Lotus, School of Rock), the production features all of the movie’s contagious anthems as well as fourteen new original songs by none other than Andrew Lloyd Webber (Jesus Christ Superstar, Cats, The Phantom of the Opera).

“School of Rock is a fun, high-energy show and a chance for high school students to be playing instruments right on the stage, which is an exciting first for the Grand Theatre High School Project,” shares Rachel Peake, Grand Theatre Artistic Director. “It’s a show about the strength of young people and about how your individuality – your weirdness – is your strength.”

(Pictured: Rachel Peake, Grand Theatre Artistic Director. Photo Credit: Dahlia Katz.)

The Grand Theatre High School Project returns for its 28th year, providing London and area high school students with education and training in the working environment of a professional theatre, at no cost to the participants. From September 22 through October 3, 2026, the Spriet Stage will transform into the super rockin’ world of Dewey Finn – and London’s talented teens will be his star pupils playing music live on stage, creating and running various production elements that bring the show to life.

School of Rock tells the story of Dewey Finn, a wannabe rockstar with no band, no job, and if he can’t make rent, no place to live – and possibly no best friend. Ready to try anything, he poses as a substitute teacher and takes a gig teaching fifth grade at Horace Green Prep. Demerits and grades aren’t his thing, but the noble quest to win a local Battle of the Bands brings this unlikely band of students and teacher together for the sake of rock glory – and extra credit.

To helm this year’s High School Project, award-winning Director Lezlie Wade returns to the Grand Theatre to bring this league of would-be rock legends to greatness. Wade previously directed Dream a Little Dream at the Grand Theatre in 2014/15, and has directed at the Stratford Festival, Shaw Festival, Theatre Aquarius, Musical Stage Co., and beyond. Her production of Spamalot ranks as one of the longest-running shows in Stratford Festival history.

(Pictured: Lezlie Wade, Director, School of Rock.)

“With the help of a down-on-his-luck guitarist, School of Rock is the inspirational musical that transforms a class of straight-A students into a mind-blowing rock band, unlocking their inner rebels,” shares Wade.

Wade is joined by Matthew Atkins as Music Director, who audiences will recognize as the Artistic Director of the London Gospel Collective and as the Music Director of Disney’s Newsies at the Grand Theatre last year.

(Pictured: Matthew Atkins, Music Director, School of Rock.)

Choreographer Julius Sermonia (Broadway, Stratford, Shaw) also joins the production, in a much-anticipated return to the Grand Theatre (Beauty and the Beast, Pig, Charlie and the Chocolate Factory, and last season’s smash-hit Waitress).

(Pictured: Julius Sermonia, Choreographer, School of Rock.)

The Grand Theatre is looking for students to join the show’s company in acting, singing, music, and production roles. Students interested in production roles may apply to work in one of several areas, including stage management, props, wardrobe, scenic art, carpentry, sound, and marketing. The program has historically created opportunities for up to 80 student participants.

(Pictured: Lyla Worrall, Solarah Rose, and Hayden Baertsoen from Disney’s Newsies, September 2025. Photo Credit: Jordan Peter.)

HOW TO GET INVOLVED

The Grand Theatre invites London and area high school students to apply for the 2026 Grand Theatre High School Project. The project is open to any high school student from the London region who will be enrolled in high school in the fall of 2026 or participating in homeschooling.

For more information on how to apply to be part of the 2026 Grand Theatre High School Project, visit https://www.grandtheatre.com/participate-high-school-project.

Applications will close at 9 a.m. on March 30, 2026. Interested students are encouraged to apply now or register for a free information session to learn more.

Closer: Love Laid Bare at Procunier Hall

by Richard Young

by Jo-Anne Bishop

(Pictured: Cast & Crew of Closer. Photo Credit: Ross Davidson.)

There are moments early in Closer when you may find yourself wondering where it’s all going. Patrick Marber’s provocative examination of love, desire, and emotional brutality opens at a measured pace, and I’ll admit that at first, I wasn’t convinced. The stripped-down staging and deliberate slowness made me question whether this production would land for me at all. But somewhere around the midpoint of the first act, something shifted, and from there on, I was completely engrossed.

Directed by Dave Semple and produced by Andrea Bennett, Closer unfolds in the small black box space at the Palace Theatre’s Procunier Hall, placing the audience uncomfortably close to the emotional wreckage on stage. Starring Noah Englmann as Dan, Scarlett Allen as Alice, Alex Pinter as Larry, and Meghan Brown as Anna, the production strips away nearly everything except the actors themselves and ultimately proves it doesn’t need anything more.

(Pictured: Closer Cast – Scarlett Allen, Noah Englmann, Meghan Brown, and Alex Pinter. Photo Credit: Ross Davidson.)

The performances across the board are deeply believable, but special recognition must go to the two female roles. Scarlett Allen gives a brave, uncompromising performance as Alice. Allen gives herself fully to the role, including moments of near-total nudity that could easily feel gratuitous or awkward in lesser hands. Instead, she owns the space with absolute confidence. Never hesitant, never insecure. Her fearlessness makes Alice feel raw, real, and emotionally dangerous, which is exactly what the role demands.

(Pictured: Scarlett Allen as Alice. Photo Credit: Ross Davidson.)

Meghan Brown’s Anna is equally compelling, offering a performance layered with vulnerability, restraint, and quiet devastation. I found myself hanging on her every word and movement, forgetting for a moment that this was a play and not a moment of voyeurism. Together, Allen and Brown anchor the production with emotional authenticity, elevating every scene they’re in. While Englmann and Pinter deliver strong, grounded performances as Dan and Larry, it’s the women who truly drive the emotional core of the play.

(Pictured: Meghan Brown as Anna. Photo Credit: Ross Davidson.)

Closer is, at its heart, an unflinching look at relationships and the many contradictions of love. I grew up on the verse “love is patient, love is kind,” but this play reminds us that love can also be messy, cruel, obsessive, and brutal. Marber doesn’t soften any of it, and this production leans fully into those truths. Love here is exposed for all its ugliness and beauty, its tenderness and violence, and the result in this production is as uncomfortable as it is compelling.

The program describes the show as “stripped down, grown up, and not for the faint of heart,” with a strong viewer discretion warning—and that description is absolutely accurate. This is not a play for anyone inclined to clutch their pearls. If explicit language, sexual frankness, or emotional cruelty make you uncomfortable, this likely isn’t the show for you. But if you’re willing to sit with a little bit of discomfort, Closer will reward you with a powerful exploration of love, loss, and heartbreak.

One of my initial hesitations was the minimalist staging. There are no traditional props and only sound effects and physical suggestion. At first, I found myself distracted, wondering why actual props weren’t used at all. But as the play progressed, it became clear: they don’t need them. The actors are the props. Their physicality, timing, and emotional commitment are so precise that you stop noticing what’s missing. Your focus narrows entirely to the characters and their unravelling relationships, which is exactly where it should be.

(Pictured: Set of Closer. Photo Credit: Ross Davidson.)

By the end of the two-hour production, the bare stage feels not like a limitation but a strength. The production is perfectly staged and brilliantly acted, proving that when performances are this strong, nothing else is necessary.

Despite my early doubts, I left thoroughly impressed and genuinely moved. Closer is challenging, bold, and beautifully performed. If you’re looking for theatre that doesn’t shy away from taking emotional risks, do yourself a favour and catch this production before it closes on February 15th.

IF YOU GO:

What: Closer, by Patrick Marber

When: February 5th-15th, 2026

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

Tickets: $30-33, 2024-2025 Shows – Palace Theatre  RECOMMENDED 18+

Reviewed by Jo-Anne Bishop

Big Laughs, Honest Moments, and Stories We All Recognize: St. Marys Community Players 2026 Season

by Richard Young

Prepared with Files from the St. Marys Community Players.

St. Marys Community Players have announced their 2026 Season Lineup: Marc Camoletti’s BOEING BOEING and the beloved Peanuts Musical You’re a Good Man, Charlie Brown.

“Our 52nd season lineup of productions will offer a vibrant pairing of plays that celebrates the full spectrum of theatrical joy—combining the dizzying precision of a classic farce with the warmth, wit, and gentle introspection of a beloved musical,” says Greg George, the company’s Marketing and Communications coordinator.

BOEING BOEING: A High-Flying Comedy.

Opening the 2026 season in April, the St. Marys Community Players present the delightful farce that has captivated audiences worldwide. Written by Marc Camoletti and translated by Beverley Cross and Francis Evans, this fast-paced production chronicles the misadventures of Bernard, a swinging bachelor in 1960s Paris. Bernard’s elaborate scheme of juggling three fiancées – all airline hostesses with staggered layovers – takes a turbulent turn, threatening to send his plans crashing.

Directed by Ralph Small and produced by Stephen Brockwell and Read Paxton, BOEING BOEING features door-slamming, smart dialogue, and hilarious situations, guaranteeing nonstop laughter and entertainment.

Performance Dates:

April 24 to May 9, 2026, Town Hall Theatre, St. Marys, ON.

You’re a Good Man, Charlie Brown: A Musical for All Ages.

Happiness is great musical theatre. With charm, wit and heart, You’re A Good Man, Charlie Brown explores life through the eyes of Charlie Brown and his friends in the Peanuts gang. This revue of songs and vignettes, based on the beloved Charles Schulz comic strip, captures childhood worries, quiet hopes, and the universal desire to belong and be understood. Musical numbers include “My Blanket and Me,” “The Kite,” “The Baseball Game,” “Little Known Facts,” “Suppertime” and “Happiness.” Guaranteed to please audiences of all ages.

Performance Dates: 

October 22 to November 7, Town Hall Theatre, St. Marys, ON.

Tickets for the 2026 Season are available through the St. Marys Community Players website www.stmaryscommunityplayers.ca beginning in early March or locally at Troyer’s Spices in Downtown St. Marys, 110 Queen St. E. Phone: (226) 661-8777.

Follow the St. Marys Community Players on Facebook https://www.facebook.com/StMarysCommunityPlayers and on Instagram https://www.instagram.com/st.maryscommunityplayers/

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

by Richard Young

Previewed by J. Bruce Parker

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

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

So, what is theatre to a viewing audience?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I asked each actor to define their character:

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

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

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

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

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

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

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

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

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

IF YOU GO:

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

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

When: February 5-15, 2026.

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

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

(Closer Cast. Photo Credit: Palace Theatre.)

Previewed by J. Bruce Parker

Finding Connection in Primary Trust at the Grand Theatre

by Richard Young

Reviewed by Jo-Anne Bishop

The Grand Theatre’s production of Primary Trust, written by Pulitzer Prize–winning playwright Eboni Booth, is one of those plays that sneaks up on you – and it just might be my favourite play so far this season. Directed by Cherissa Richards, Primary Trust is funny, tender, and deeply touching, exploring themes of loneliness, loss, and hope without feeling heavy-handed. What begins as a modest, intimate story – complete with Kenneth directly addressing the audience – slowly evolves into something much larger and more emotionally resonant.

(Pictured: Durae McFarlane as Kenneth. Photo: Dahlia Katz.)

Durae McFarlane portrays Kenneth with such honesty and openness that he immediately had me leaning in. His story takes you on a full emotional journey, moving effortlessly between humour, vulnerability, and moments of genuine sadness. I found myself completely absorbed, hanging on his every word, and by the end of the show, wishing for nothing more than to give him a hug. Kenneth’s experience feels deeply personal, yet widely relatable, which is where this play finds much of its power.

(Pictured: Peter N. Bailey, Durae McFarlane, Ryan Hollyman, and Khadijah Roberts-Abdullah. Photo: Dahlia Katz.)

The supporting cast adds warmth, texture, and balance throughout the production. Peter N. Bailey brings calm reassurance as Kenneth’s best friend, Bert, while Ryan Hollyman offers humour and charm as Clay/Sam/Bartender, transitioning seamlessly between each personality. Khadijah Roberts-Abdullah is engaging and natural as Corinna, providing moments of humour, compassion and emotional grounding. Lawrence Libor, as the musician, weaves well-timed music into the storytelling organically enhancing emotional shifts without drawing attention away from the narrative. The performances feel believable and connected, carrying the audience through laughter, reflection, and quiet heartbreak. Around me, the crowd responded thoughtfully – laughing often, sitting at times in contemplative silence, and clearly moved by Kenneth’s journey.

(Pictured: Primary Trust Set Design by Julie Fox. Photo: Dahlia Katz.)

Julie Fox’s set design supports the story beautifully, creating a space that reflects Kenneth’s inner world while allowing the play to move smoothly between moments of memory, reality, and imagination. Under Cherissa Richards’ direction and the assistant direction of Vanessa Spence, the production maintains a gentle but steady rhythm that allows the emotional moments to land naturally, without being rushed or overstated.

Listen to Director Cherissa Richards talk about Primary Trust: https://youtu.be/lUON_-f6JbY?si=fYahgazhxQVEuQKq

Primary Trust explores themes of grief, loneliness, friendship, and the courage it takes to reach out for connection, particularly when doing so might feel risky or unfamiliar to us. By the final moments, Kenneth’s journey feels personal and earned, and the audience leaves the theatre reflective, moved, and reminded of how important even the smallest acts of human connection can be. This is a powerful story movingly brought to life and is one not to be missed at the Grand Theatre this season.

IF YOU GO:

What: Primary Trust by Eboni Booth, directed by Cherissa Richards

Where: Spriet Stage at the Grand Theatre, London, Ontario

When: January 20th – February 7th, 2026.

Tickets: Single tickets range from $25 to $97 in-person at the Box Office, by phone at (519) 672-8800, and online at https://www.grandtheatre.com/event/primary-trust

Reviewed by Jo-Anne Bishop.

Pulitzer Prize winning Primary Trust takes the stage at the Grand Theatre, January 20 to February 7.

by Richard Young

Prepared with files from the Grand Theatre

Ebobi Booth’s Pulitzer Prize-winning play, Primary Trust, comes to the Grand Theatre’s Spriet Stage in an all-new London-made co-production with Crow’s Theatre and directed by Cherissa Richards, January 20 to February 7.

Considered one of the most exciting scripts to grip modern theatre, Primary Trust is one of those stories that grabs you and whisks you into the styled yet realistic, gritty yet beautiful world of a Tiki Hut regular, Kenneth. “We are taken back to a recent time, but a time before smartphones, in North America, where connection wasn’t merely a click away and interpersonal connection took some work,” says Rachel Peake, Artistic Director of the Grand Theatre. “We lean into how Eboni Booth explores loneliness and the complicated need for connection.”

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

“This is my favourite play that I read for the season, and now I am so excited to get to share it with London audiences,” says Peake. “Full of magic realism, humour, and heart, Primary Trust lets you walk in the shoes of someone else in a way that unlocks the world a little differently.”

For the past several months, Booth’s script has been in the hands of theatre artists recruited from across Canada, including director Cherissa Richards and designers Julie Fox (set), Rachel Forbes (costume), Imogen Wilson (lighting), and Thomas Ryder Payne (sound). Together, they are building “a world that feels like ours, that looks like reality,” explains Peake, “but in fact, is not bound by the laws of physics or time and lives inside an active idea.”

(Pictured: Cherissa Richards, Director of Primary Trust. Photo: Kristen Sawatsky.)

One ‘happy hour’ at a time, the character of Kenneth will unfold on the stage, seemingly set with a life-size diorama. “The characters will step out into a frozen photograph and bring it to life. Surreal, fragmented buildings, slices of evocative settings, signalling to the audience that we are only being let in on part of the story – the rest is in your imagination,” says designer Fox. “There is a tumbleweed feel of boarded-up storefronts and empty spaces that resonates as we continue to come back from the pandemic in our own cities. In this kind of desolate, urban landscape – so typical across North America – we still manage to find beauty and connection, and the unexpectedness makes it that much more special.”

(Pictured: Durae McFarlane as Kenneth in Primary Trust. Photo: Mai Tilson.)

‘Extraordinary, ordinary’ Kenneth is played by Durae McFarlane, who is making his Grand Theatre debut after a series of theatre and TV roles. Musician and actor Lawrence Libor will perform keys on stage, adding a live soundtrack to the show. Libor is known to Grand audiences, having previously been in last season’s smash-hit musical Waitress, as well as the three-times-extended run of Cabaret, which set a record as the longest-running show on the Grand’s studio stage. Peter N. Bailey (Stratford, Canadian Stage) also makes a much-anticipated return to the Grand, after performing in August Wilson’s Fences (2018/19). The cast also includes Ryan Hollyman (Soulpepper, National Arts Centre, Mirvish) and Khadijah Roberts-Abdullah (Stratford Festival), who are both making their Grand Theatre debuts.

Creative Team

Cherissa Richards – Director

Julie Fox – Set Designer

Rachel Forbes – Costume Designer

Imogen Wilson – Lighting Designer

Thomas Ryder Payne – Sound Designer

Vanessa Spence – Assistant Director

Kai-Yueh Chen – Stage Manager

Emma Jo Conlin – Assistant Stage Manager

Finnley O’Brien – Apprentice Stage Manager

Cast

Peter N. Bailey – Bert

Ryan Hollyman – Clay / Sam / Le Pousselet Bartender

Lawrence Libor – Musician

Durae McFarlane – Kenneth

Khadijah Roberts-Abdullah – Corrina

(Pictured: Primary Trust Company. Photo: Farrell Tremblay.)

To learn more about Primary Trust at the Grand Theatre, please visit www.grandtheatre.com/event/primary-trust. Follow the production and peek behind the scenes by following @thegrandlondon and #GrandTrust on Instagram, Facebook, LinkedIn, Threads, Bluesky, YouTube, & TikTok.

IF YOU GO:

What: The Grand Theatre presents Ebobi Booth’s Pulitzer Prize-winning play, Primary Trust.

When: January 20 to February 7, 2026.

Where: Grand Theatre’s Spriet Stage, 471 Richmond Street, London, ON

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

Q&A With Julie Pietrangelo, Artistic/Musical Director of The Voices of Broadway Show Choir

by Richard Young

by Richard Young

The Voices of Broadway Show Choir has been entertaining London area audiences since 2013. The Beat Magazine conducted the following Q&A Session with Artistic/Musical Director Julie Pietrangelo in advance of the choir’s Show Stoppers concert on January 17 at the Joanne and Peter Kenny Theatre at King’s College. The Interview has been edited for clarity.

(Pictured: The Voices of Broadway Show Choir Artistic/Musical Director Julie Pietrangelo.)

Q. When was the choir founded? By whom, and why? How did the name The Voices of Broadway Show Choir come about?

We were founded in 2013. I wanted to start a show choir and talked to several people whom I led as singers before, and they were with me. So, we got together and figured out how to make it work. We brainstormed names, put them on a board, and voted. By process of elimination, we decided upon the name The Voices of Broadway Show Choir.

Q. What sets your group apart from the other London area choirs?

I think the fact that we’re a show choir. I don’t think there’s any other show choir in London, per se. We don’t just stand on risers and sing holding music. Our shows include acting and dancing. It’s just bigger.

Q. Who are the facilitators/administrators of the choir? Backgrounds? Does the choir have a Board of Directors?

We do not have a board of directors. We have what we call the lead team of four people who are elected by the membership. They look after all the administration and running of the choir and so on. I’m heavily involved and sit on the lead team as well.

Q. Does the choir have a Mission or Statement of Purpose?

We are a non-professional show choir with high standards and high entertainment value. Our mission is to present a well-balanced program of traditional choral singing, along with choreography, staging, costumes, special effects, and props.

Q. How many members does the choir have at this time? Can you give me some details about the range of experience, backgrounds, and ages of choir members?

Right now, we have twenty-four members, but we have had as many as forty. We take people from all walks of life. We have people who have music degrees and have taken voice lessons. We also have people who have never sung in a choir before. Choir members must be eighteen years of age. We have had members in their eighties.

Q. How does one become a member of The Voices of Broadway Show Choir?

We have an audition process. Candidates are asked to bring a prepared song and do a vocal audition. I test the range and their sight-reading ability and decide from that. They also go through an interview process. We do a dance assessment, although candidates aren’t rejected if they have zero dance experience or limited abilities.

Q. Could you give me an idea of the choir’s repertoire?

Our repertoire is all drawn from Broadway musicals.

Q. Does the choir perform in one venue or move around?

We do two shows a year. In January, we perform at the Joanna and Peter Kenny Theatre at Western’s King’s College. And in the spring, in either May or June, depending on available dates, we hold our year-end show at Wolf Performance Hall.

Q. Can you give our readers an idea of what to expect if they attend your January 17th Show Stoppers concert?

Show Stoppers presents many of Broadway’s most famous songs. Audience members will know a lot of the music and the shows that they come from. The concert is highly entertaining, and it just has that whole element of familiarity.

Q. Is there anything else you think readers should know about The Voices of Broadway Show Choir?

We’re always looking for new members. In fact, we have auditions on January 21st. People can register for those at any time now. And, of course, we’re always available for hire. We have a public website where people can find out more information about the choir and look at some of our past performances. We’re always looking for sponsors, too. If you are interested in becoming a sponsor, we offer several benefits. Information about how to become a sponsor can be found on our website.

For more information about The Voices of Broadway Show Choir, visit https://thevoicesofbroadway.com/

Follow the choir on Facebook https://www.facebook.com/voicesofbroadway and on Instagram https://www.instagram.com/voicesofbroadway/

IF YOU GO:

What: The Voices of Broadway Show Choir presents Show Stoppers.

When: Saturday, January 17, at 2:00 and 7:30 pm.

Where: Joanne and Peter Kenny Theatre, King’s University College, 266 Epworth Avenue, London, ON

Tickets: https://thevoicesofbroadway.com/showstoppers

Interview conducted by Richard Young

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

by Richard Young

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!

Twists, Turns and Theatre Tricks: A Review of Deathtrap at the Palace Theatre.

by Richard Young

Reviewed by Jo-Anne Bishop

The Palace Theatre’s presentation of Deathtrap by Ira Levin, directed by James Patterson and produced by Anita Goodfellow, offers an entertaining evening of twists, tension, and clever stage trickery, though not without a few bumps along the way. The play follows Sydney Bruhl, a once-successful playwright desperate for another hit. When a promising script lands in his hands, temptation and ambition collide in ways that blur the lines between collaboration, manipulation, and survival. It’s a clever premise that thrives on surprises, so the less said, the better. (You will find no spoilers here!)

I found myself torn on this production, caught somewhere between enjoying its strengths and feeling like something essential wasn’t quite landing. Much of Deathtrap’s charm comes from its blend of suspense and dark humour, yet the comedic elements, which should give the script its bite, didn’t always come through in the delivery. This left certain moments feeling flatter than intended.

(Pictured: David Lamari as Sydney Bruhl. Photo Credit: Ross Davdson.)

David Lamari gives a commendable performance as Sydney Bruhl. He steps into the role wholeheartedly, bringing a natural ease and believability that anchors the show. Lamari is a talented performer, and his commitment to the character stands out, even when some scenes around him falter. His delivery had great strength and presence, though at times he needed more volume.

(Pictured: Julia Askerov as Helga Ten Drop. Photo Credit: Ross Davidson.)

Julia Askerov, as the eccentric psychic Helga Ten Dorp, brings good energy to the stage and earns some of the play’s lighter moments. However, her dialogue was at times difficult to understand due to her character’s intended thick accent. In contrast to Lamari, her projection was strong, but the clarity wasn’t always there.

In fact, aside from Askerov, the cast as a whole could benefit from stronger vocal projection. There were stretches where dialogue became muddy or simply too quiet, causing important lines to get lost. Combined with occasional holes in the comedic parts of the performances, this affected believability in key moments.

(Pictured: Porter Milgrim and Sydney Bruhl. Photo Credit: Ross Davidson.)

On the technical side, the production shines. The set, designed and constructed by Eric Bernard, David Long, and Heather Meadows, is fantastic. Immersive, clever, and perfectly suited to the play’s tone. Lighting and sound, executed by Rob Coles and Mariann Sawyer, respectively, were executed perfectly, enhancing tension and atmosphere without overpowering the action. The costume designs by Aiden Thomas and Lorna McKenzie were well done and nicely suited to the characters.

Overall, Deathtrap is an enjoyable watch with moments of genuine intrigue and visual excellence. It is a solid production that entertains, even if some elements fall short. Even with some missed comedic beats and moments that could use stronger projection, the production’s solid performances and outstanding technical work make it an engaging ride. It’s a show that reminds you why live theatre is irresistible: You never quite know what’s coming next. And Deathtrap plays that game very, very well.

IF YOU GO:

What: Ira Levin’s Deathtrap

Where: The Palace Theatre Arts Commons, 710 Dundas Street, London, ON.

When: November 27th – December 7th, 2025

Tickets: Tickets | Deathtrap | The Palace Theatre Arts Commons

Reviewed by Jo-Anne Bishop

Liam Grunté Theatre & FPT London present It’s A Wonderful Life, A Live Radio Show, November 26-29, on the Grand Theatre Auburn Stage.

by Richard Young

Based on the story “The Greatest Gift” by Philip Van Doren Stern, It’s a Wonderful Life: A Live Radio Play is adapted by Joe Landry. The play is directed by Liam Grunté, with Original Music and Musical Arrangements by Kevin Connors

Joe Landry’s adaptation presents the story in a new and innovative way. This beloved holiday classic comes to life as a live 1940s radio broadcast. An “All Star” cast gathered on Christmas Eve 1948 at WBFR radio station, only to find out that their foley artist was a ‘no show’ and they needed to create their own sound effects using the materials that were set up on the prop table. The 1940s live radio show format offers the audience an opportunity to experience this classic tale as well as see how the magic of sound effects is created. 

Brilliantly acted by this versatile ensemble cast, this unique production of It’s a Wonderful Life is sure to captivate audiences as it regales the classic Christmastime story in a new and entertaining presentation.

(Pictured: It’s A Wonderful Life, A Live Radio Show in rehearsal.)

IF YOU GO:

What: Liam Grunté Theatre & FPT London present It’s A Wonderful Life, A Live Radio Show

When: November 26, 27, 28 and 29 at 7:00 p.m. Saturday, November 29 at 2:00 p.m.

Where: Grand Theatre – Auburn Stage – 471 Richmond Street, London, ON

Tickets:
Adult – $35 plus fees/HST

Seniors & Students $30 plus fees/HST 

Available at the box office by calling 519-672-8800 or online at https://www.grandtheatre.com/event/its-wonderful-life-live-radio-show#upcoming

(The Greatest Gift is used by permission of The Greatest Gift Corporation. It’s A Wonderful Life, A Live Radio Show, is presented by special arrangement with Broadway Licensing, LLC, servicing the Dramatists Play Service collection. (www.dramatists.com)