(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.
(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.
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.
(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.
(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.
Note: This Review first appeared on the websiteEntertain 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
(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 Musicalis 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)
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.
Get ready for an experience that will crawl under your skin and stay there. Pacheco Theatre, known for bringing gritty, high-impact drama to the London theatre community, presents the psychological thriller, BUG, by celebrated playwright Tracy Letts (Pulitzer Prize winner for August: Osage County). Following its acclaimed Broadway debut in its 30th anniversary year, and more timely than ever, BUG is a must-see in its upcoming limited run.
Set in a claustrophobic Oklahoma motel room, BUG plunges into a spiral of loneliness, paranoia, and conspiracy theory as a solitary waitress, Agnes White, connects with a mysterious young drifter, Peter Evans. What begins as a spark of hope quickly blurs the line between delusion and reality, fuelled by a creeping, unseen threat.
BUG runs at the TAP Centre for Creativity from December 3 – 12, 2026, for only six exclusive shows.
Pacheco Theatre is proud to partner once again with Jordan Thomas and London Trauma Therapy, who will host a post-show Q&A following BUG‘s opening night performance.
THE CAST:BUG features an ensemble cast of some of London’s finest actors.
Andre Cormier
Mara Fraccaro
John Garlicki
Jack Sizeland
Catharine Sullivan
THE CREATIVE STAFF:
Director/Producer: John Pacheco
Stage Manager: Lisa DesGroseilliers
Set Design/Construction: Mario Rodrigues
Costume Design: Logan Smith Rodrigues
Lighting Design: Rob Coles
Makeup/Special Effects: Lindsay Alvaro
Props: Diana Barr
Sound Design: David Bogaert
Intimacy Coordinator: Sarah Taylor
Fight Direction: Held Space Theatre Consulting
Videographer/Photographer: Laurence Simner
Special Consultant: Howie Kittelson
Social Media: Mara Fraccaro
Graphic Design: Jennifer McCormick
Prepare yourself for the theatre event that will keep you talking long after the curtain call. Get your tickets at the link below, before this brief run disappears:
What follows is a Q&A Interview with Brian Speagle, Director of Memoir playing at the Manor Park Memorial Hall from April 29 to May 3. The Interview was conducted by The Beat Magazine’s Publisher & Content Manager, Richard Young.
(Pictured: Director Brian Speagle with Charlene McNabb and Dan Curtis.)
Q. Tell me about Memoir – backstory, author, performance history, etc.?
Memoir is set in the summer of 1922. It will prove to be Sarah Bernhardt’s last. The action of the play takes place at her island estate off the coast of Brittany, France. Sarah, with her secretary and assistant Georges Pitou, is doing her best to remember events from her life to be included in volume two of her memoirs. Sarah Bernhardt dominated the world of theatre for most of her life, in France, all of Europe, and North and South America. The Divine Sarah achieved worldwide fame in the 19th century, which was unprecedented. Sarah Bernhardt was known as much for her personal life, which today would have been tabloid and internet fodder, as for her multitude of on-stage personas.
Canadian playwright, the late John Murrell, premiered Memoir at the Guelph Spring Festival in 1977. It has since been presented in the UK, Ireland, Japan, and the U.S. It enjoyed a two-year run at the Theatre Edouard VII in Paris. The play has also been adapted for TV and film in Canada, Europe, and Asia.
Q. What prompted you to select Memoir for your 2026 season?
I first came in contact with this play in 1978, when I was in a scene study class at university. I played ‘Pitou’ in a few scenes! I also used Memoir in my teaching career with senior drama students. After forty-five years, I decided it was time to direct this show.
Q. Could you provide a brief Plot Synopsis
Sarah Bernhardt is trying to write volume two of her memoirs. She enlists Pitou to play characters from her past, to jog her memory. At first reluctant, Pitou eventually begins to revel in his roles. As the play proceeds, however, many of her memories become painful and traumatic for her. In the end, Sarah comes to accept her life decisions, and the play ends on an optimistic note.
(Pictured: Sarah Bernhardt.)
Q. It’s my understanding that Sarah Bernhardt performed in London. How, if at all, does this play into the show?
Sarah’s appearances at the Grand Opera House in London, Ontario, do not play directly into the show. However, she may have worked closely with a local stagehand or two! You’ll have to see the show to find out!
Q. Two-character plays can sometimes present significant challenges to the actors. Comment?
The text of Memoir presents a major challenge for actors. The ‘Sarah’ character is on stage for the entirety of the action. It is physically and emotionally demanding for both actors.
Q. Could you say a few words about your actors – Charlene McNabb and Dan Curtis?
I first presented Charlene and Dan with this script in 2019! We were hoping to produce it in 2020. Well, we know how that turned out! After seven years, we are all quite enthused to finally stage Memoir for London audiences. Throughout the rehearsal process, Charlene has been totally committed to faithfully developing ‘Sarah!’ She has done extensive research into the amazing life of her character, and that background dedication shows in her portrayal. Dan Curtis takes on the demanding role of ‘Pitou’ with aplomb, as he does with every character I’ve seen him portray. He plays several characters within the character of ‘Pitou,’ sometimes switching back and forth within the same sentence. Quite amazing to witness. Charlene and Dan are both experienced actors, and their professionalism is first-rate.
Q. Why did you choose Manor Park Memorial Hall for this run?
Manor Park Memorial Hall was, for me, the natural choice for this show. The set design invites the audience into an intimate environment with the actors. We are doing something different with the seating, which theatregoers will notice as soon as they enter the space.
Q. How would you describe the sets, props and costumes of the play?
The set is minimal, a few flats. Most of what the audience sees onstage is furniture and props. Tannis Daoust, our costume designer, has done her research for the historical era of the show, and the results are wonderful.
Q. What can audiences expect from Memoir?
The audience can expect some laughs and some tears. I hope they learn something about Sarah, the complexities of her life, and the contradictions. They will also notice the strong bond between Sarah and Pitou as the play unfolds.
Q. Is there anything else you think readers should know about Memoir?
Murrell does take some poetic license with Sarah’s life. For example, in reality, Pitou was not in Sarah’s service at the end of her life.
About Scooter Productions:
Scooter Productions was formed in 2017. Founding members are Phil Cal, Heather Rivet, Sherine Thomas-Holder, and Brian Speagle. Scooter Productions encourages and supports all of the arts in southwestern Ontario.
As excitement builds around the hit Percy Jackson series on Disney+, Misfits Theatre Collective is bringing the beloved demigod story to life on stage with The Lightning Thief: The Percy Jackson Musical, performing at the Old Town Hall Theatre in Aylmer, Ontario, from April 30 to May 3.
Based on the best-selling novel by Rick Riordan, this high-energy musical follows Percy Jackson, a teenager who discovers he is the half-blood son of a Greek god. With newly discovered powers he can’t control, a destiny he doesn’t want, and a mythology final exam he never studied for, Percy must embark on an epic quest to find Zeus’s stolen lightning bolt and prevent a war among the gods.
The production is presented by Misfits Theatre Collective, a company founded in 2025 under extraordinary circumstances. When a previous production was unexpectedly cancelled midway through rehearsals, the cast and creative team refused to let the story end there. Instead, they came together to form Misfits Theatre Collective, an artist-driven company built on resilience, collaboration, and a shared belief that the show must go on.
“This story of Percy discovering where he belongs really mirrors how our company began,” says Skylar Shelley, co-founder and producer. “We created Misfits out of a moment of uncertainty and built something bold and supportive out of it. That spirit is at the heart of this show, and in everything we do.”
Audiences can expect a dynamic, rock-infused score, imaginative staging, and a heartfelt story that celebrates identity, belonging, and the hero in all of us. Perfect for longtime fans of the Percy Jackson books and viewers discovering the story through the Disney+ series, The Lightning Thief: The Percy Jackson Musical is an unforgettable theatrical adventure.
Tickets are available now at misfits-lightning-thief.eventbrite.com. For more information, follow Misfits Theatre Collective on Facebook, Instagram, and TikTok (@misfitstheatrecollective).
The Beat Magazine 2025 