Tag: theatre

The Play That Goes Wrong opens 2025/26 Season at the Grand Theatre

by Richard Young

Media Release, October 7, 2025

The hilarious smash-hit on Broadway and in the UK, The Play That Goes Wrong, arrives with a bang at the Grand Theatre and is already extended due to popular demand before even hitting the stage.

Dennis Garnhum, former Grand Theatre Artistic Director, is set to direct the production with a crack-up company of actors and artists that have already packed theatres throughout Western Canada. The red-carpet opening night of The Play That Goes Wrong on Friday, October 17th, officially marks the beginning of the Grand Theatre’s 2025/26 Season: You Are Here, the highly anticipated second season in the hands of Grand Theatre Artistic Director Rachel Peake. 

“Whether it’s the magical kingdom of Arendelle, magic realism, or the magical power of community, so much of our 2025/26 season at the Grand is about the magic of theatre. The Play That Goes Wrong is a love letter to just that,” shares Peake. “This show has more tricks in it than any other show. And yet, what makes it so funny and delicious and appealing is not so much those outstanding effects, but instead the very human drive to go on with the show.”

(Pictured: The Grand Theatre’s Artistic Director, Rachel Peake)

The Play is a play about a play – and that play within the play goes terribly, horribly, hysterically wrong every single night, live on stage. If you work in the theatre, it’s your nightmare on repeat. If you’re in the audience, you’re in for the laugh of a lifetime. 

“If the cast and crew let the problems stop the show and sent us all home, it would be a tragedy. But they don’t. The show goes on, and they make it through. When I first read this play, I cheered for these characters from beginning to end,” shares Garnhum. “I know these people. I love these people. They are my hard-working colleagues, whom I’ve been around my entire life. Their passion is contagious, and the play within the play, The Murder at Haversham Manor, goes down as a triumph simply because they saw it through and never give up despite the world figuratively – perhaps literally, definitely hilariously – tumbling down around them.”

Director Dennis Garnhum talks about The Play That Goes Wrong at the Grand Theatre in this video clip. https://youtu.be/Swo0-W53lCI?si=ly9PzOQh5ZbbzdKw

Even as audience members are finding their seats, the cast is already in character and buzzing throughout the theatre, frantic about the opening night of Murder at Haversham Manor. It’s 1922, and the very fictional Cornley Polytechnic Drama Society is everything except prepared.

(Pictured: Photo by Nanc Price for The Citadel Theatre’s production of The Play That Goes
Wrong (2024), in partnership with Theatre Calgary and Royal Manitoba Theatre Centre,
featuring Vanessa Leticia Jetté and Honey Pha)

Alexander Ariate plays Jonathan (who plays Charles Haversham), Izad Etemadi and Emily Meadows play Stage Crew (who play Stage Crew), Vanessa Leticia Jetté plays Sandra (who plays ‘Florence Colleymoore’), Andrew MacDonald-Smith plays Max (who plays ‘Cecil Haversham’ as well as ‘Arthur’), Jawon Mapp plays Robert (who plays ‘Thomas Colleymoore’), Bernardo Pacheco plays Trevor (Cornley Polytechnic’s lighting and sound operator), Honey Pham plays Annie (Cornley’s stage manager but also sometimes plays ‘Florence Colleymoore’ whether Sandra likes it or not), John Ullyatt plays Dennis (who plays ‘Perkins’), and Daniela Vlaskalic plays Krista (who directs the play within the play, and also plays ‘Inspector Carter’). Got that? Good! 

(Pictured: Photo by Nanc Price for The Citadel Theatre’s production of The Play That Goes
Wrong (2024), in partnership with Theatre Calgary and Royal Manitoba Theatre Centre,
featuring Andrew MacDonald-Smith, Joel Schaefer, Vanessa Leticia Jetté, and Daniela
Vlaskalic)

This Olivier Award-winning comedy offers a hilarious glimpse into the absolute worst-case scenarios that can unfold in the world of theatre. Premiering in 2012 in the UK, it went on to run over 745 performances on Broadway. Garnhum has helmed the production at the Citadel Theatre (Edmonton), Theatre Calgary, and the Royal Manitoba Theatre Centre (Winnipeg), and now plans to unleash its chaos in London at the Grand.

Garnhum is joined by Fight & Movement Director Morgan Yamada, Set Designer Beyata Hackborn, Costume Designer Joseph Abetria, Lighting Designer Kimberly Purtell, Sound Designer Dave Pierce, with Donovan Siedle, and Stage Manager Jordan Guetter.

If You Go:

What: The Play That Goes Wrong

Where: On the Spriet Stage, The Grand Theatre, 471 Richmond Street, London, ON

When: October 14 to November 2

Tickets: Single tickets range from $25 to $97 and are available at grandtheatre.com, by phone at 519.672.8800, or at the Box Office, 471 Richmond Street. 

For more information about The Grand Theatre’s 2025/26 Season, visit https://www.grandtheatre.com/

This Week in London and Area Arts & Culture, October 6 – 12.

by Richard Young

Mavis Productions presents the rocky horror show, oct. 9-18.

Mavis Productions does the time warp again into their 4TH ANNUAL TRADITION!

The Rocky Horror Show returns to London to celebrate 50 years of the film you love, THE ROCKY HORROR PICTURE SHOW!

In this cult classic, sweethearts Brad and Janet, stuck with a flat tire during a storm, discover the eerie mansion of Dr. Frank-N-Furter. As their innocence is lost, Brad and Janet meet a houseful of wild characters, including a rocking biker and a creepy butler. Through elaborate dances and rock songs, Frank-N-Furter unveils his latest creation: a muscular man named “Rocky.”

Filled with all the classic songs and audience participation that made the film so much fun for over 50 years, all of it comes to life on the stage. So bring your costumes and all your scripts and be ready for a night of absolute pleasure. Whether you come out for our 2 pm afternoon shows, our classic 7 pm shows, or our returning MIDNIGHT PERFORMANCES, we know you will shiver with antici…pation!!

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

Ingersoll theatre of Performing Arts presents 7-10 Split, oct. 10 – 19.

Strike up some laughs with 7-10 Split by Michael G. Wilmot!

When wild ideas, big personalities, and a few gutter balls collide, you’ve got a comedy that’s guaranteed to keep you laughing from the first frame to the last. Don’t miss this community theatre gem that’s all about friendship, fun, and the unexpected turns life throws our way.

Show Dates: October 10, 11, 12, 16, 17, 18 & 19, 2025.

For more information and tickets, visit https://www.itopa.ca/

shut the door improv presents the wurst brats, oct. 7.

Join us Tuesday, October 7th, for the debut of The Wurst Brats, the newest STFD Masterclass graduates hitting the stage for the very first time! 🌭💥

These fresh improv talents are bringing the heat with an hour of juicy, short-form comedy that’s guaranteed to have you rolling.

From the Shut The Front Door Improv Masterclass Program, this is your chance to catch the next generation of performers serving up live, unscripted hilarity right before your eyes.

Don’t miss it, come out for live laughs and support local improv!

Get tickets https://www.eventbrite.ca/e/1754223582959?aff=oddtdtcreator

this week at the eastside bar & grill.

october events at the dawghouse.

monday night trivia at the morrissey house, oct. 6.

westland gallery, the roots of wisdom, continues until oct. 25.

This exhibition is a must-see in person. New landscapes and wildlife paintings by these two incredible artists will be on display until October 25th! Preview the full exhibition today at www.westlandgallery.ca.

this week at the london public library.

scoring the silence: composing a new score for a silent thriller, oct. 8 at the palace theatre.

Presented by the YAPCA (Young Artists Pre-College Academy)

Scoring the Silence: Composing a New Score for a Silent Thriller

Experience the art of silent cinema re-imagined through powerful new music.

Join acclaimed composer and conductor Scott Good as he shares the creative process behind his two-hour original score for the 1924 silent horror classic The Hands of Orlac (to be performed in full on October 31 at 8:30 PM at Metropolitan United).

Featuring recorded film excerpts on the big screen and live performances by YAPCA faculty and students, this engaging session offers a rare glimpse into the intersection of film, music, and imagination.

The event also includes the world premiere of The Somnambulist (The Sleepwalker) — a haunting new work composed especially for this occasion.

Perfect for music lovers, film fans and the culturally curious alike.

This public event will run from 6:00-7:00 – doors 5:50 

For more information, visit https://palacetheatre.ca/shows-events-listing/

this week at the aeolian

https://aeolianhall.ca/

Introducing Theatre Tillsonburg

by Richard Young

This is the twenty-second in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile Theatre Tillsonburg.

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

Theatre Tillsonburg was founded in 1981 by the following people: Tom Heeney, Dennis Noonan, Laurel Beechey, Peter Beechey, Darlene Murray, and Lorne Boyd.

This group of people came together to create a local theatre group with a Board of Directors, a not-for-profit organization run by volunteers with no paid staff, dedicated to crafting good, wholesome entertainment. The first shows were presented in the local community centre, until the spring of 1990, when the current building was purchased. Numerous renovations were required to transform the former Hungarian Hall into the theatre it is today. Once the building was purchased, the group wanted to distinguish between the group and the building, so a contest was held to name the building. The winning name was The Otter Valley Playhouse, and the person who chose the name received a lifetime supply of theatre tickets, which she continues to use today.

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

Theatre Tillsonburg is a not-for-profit community theatre.

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

All Theatre Tillsonburg shows are staged in the Otter Valley Playhouse.

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

The Mission of the theatre shall be to provide a creative outlet and venue for quality entertainment and opportunities for education in areas of theatre craft for members and the surrounding community.

The Purpose of the theatre is to:

  • Promote and develop amateur theatre in Tillsonburg and surrounding communities.
  • Provide the community with a year-round schedule of live theatre to enrich the cultural life and serve the entertainment needs of the community.
  • Welcome and provide a vocational opportunity for all volunteers interested in the theatre arts to participate in the many activities of community theatre.
  • Assist other dramatic and cultural groups in the community, as well as cooperate with other theatres within and beyond our community.
  • Accept gifts, bequests, donations, and legacies, and expend all monies received to promote the Theatre and its objectives.
  • Maintain in a safe and functional manner and provide improvements to the building owned by the theatre.
  • Remain an amateur and not-for-profit organization.

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

We have a Board of Directors, and there are no permanent paid staff members.

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

Our 25/26 season consists of the following three plays:

Ken Ludwig’s ‘Twas the Night Before Christmas – November 20-30, 2025

Hilda’s Yard – February 18-March 1, 2026

Having Hope at Home – May 28 – June 7, 2026.

It is a season for everyone. We also run a summer camp for children.

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

Ken Ludwig’s ‘Twas the Night Before Christmas is a festive comedy full of mischief, music, and holiday magic! A mouse, an elf, and a spunky young girl team up to help Santa save Christmas in this wildly entertaining holiday adventure. Packed with clever wordplay, wild characters, and heartwarming cheer, it’s the perfect outing for the whole family.

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

We have had patrons and cast members come from London, and we are thrilled to be part of an integrated community theatre experience.

For more information about Theatre Tillsonburg, visit https://www.theatretillsonburg.com/

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

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

Introducing Theatre Aezir: Q&A with Elizabeth Durand.

by Richard Young

This is the twenty-first in a series of Q&A Profiles of London area theatre companies and groups. Today, we interview Elizabeth Durand, co-founder and Artistic Director of Theatre Aezir.

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

Theatre Aezir was co-founded in 2017 by Elizabeth Durand, David Bogaert, Rob Deman, and Olaf Plotzke. Our last show before COVID in 2019 was Falling: A Wake. When Theatre Aezir came back in 2023, I was the remaining co-founder, and I decided to change the company into a professional company. We became a non-profit and a registered charity in 2024.

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

We are a professional company and registered charity with a mandate to expand our services into educating actors and theatrical professionals.

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

Theatre Aezir is a theatre production company without a home theatre, so we use various spaces based on the needs of the play. We have used the Auburn Developments Stage, Procunier Hall, outdoors at the Guy Lombardo Pavilion, and the gym at First Baptist Church. 

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

Theatre Aezir is a professional live theatre production company located in London, Ontario, and serves London and the surrounding counties. Positioned between the region’s large-scale productions and mid-sized community theatre, Theatre Aezir fills a vital gap in London’s theatre scene. We are theatre artists committed to presenting audiences with a diverse selection of engaging and thought-provoking performances by playwrights from across the city, the nation, and around the world.  

Theatre Aezir’s Motto is “Theatre that makes you think.” Our mission is to create theatre that challenges the intellect, excites emotion, and confronts the present. Quirky, edgy, and provocative.

(Pictured: Theatre Aezir co-founder and Artistic Director, Elizabeth Durand.)

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

Yes, we have a Board of Directors and paid part-time staff.

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

At this time, we are still planning 2026.

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

Coming This Fall: Disastrous Dates. Delightful Theatre. Serious Training.
This Fall, it’s Dating Games — and it’s not just a show.

This November, Theatre Aezir invites you to laugh (and cringe) your way through Dating Games by Garth Wingfield — a night of five hilariously awful dates, brought to life by some of the most promising emerging talent in London.

But here’s the twist: Dating Games is more than just a comedy. It’s also a hands-on, full-throttle training initiative for the next generation of theatre professionals.

Early-career directors will be responsible for a short play, supported every step of the way by an experienced mentor.

Ten+ local actors will dive into an intensive week-long skills workshop in breathing work, vocal production, diction, and character analysis — the kind of rigorous, pro-level training that usually only happens behind conservatory doors.

Our design team — including professional lighting, sound, and stage management — will bring their A-game.

Performances: November 6–16, 2025, evenings at 8:00pm, matinees at 4:00pm
First Baptist Church, 568 Richmond Street. 

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

London needs another venue for independent theatre companies. If London had another space that was technically adequate and reasonably priced, more production companies would create more theatre.

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

Follow Theatre Aezir on Facebook https://www.facebook.com/media/set/?set=a.568444074983017&type=3

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

Introducing Shrew’d Business

by Richard Young

This is the twenty-first in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile Shrew’d Business.

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

We founded Shrew’d Business in 1998. Brian “Brock” Brockenshire and I were the Artistic Directors of the original Renaissance Festival in Ontario. That year, we were thinking of ways that we could use our skills outside of our regular theatre commitments and possibly develop some workshops/performances. We edited down Taming of the Shrew to be only Kate and Petruchio, and we performed that at the Renaissance Festival each weekend. We also performed it at the Parent Festival in Maryland later that summer. From that, we took the name to become Shrew’d Business. 

(Pictured: Ceris Thomas, co-founder of Shrew’d Business.)

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

We can fit in either category. We do a large amount of work in the community theatre scene and in high school in and around London, but since Brock is an Equity member, he has also done work with professional companies. Specifically, he has done nineteen shows for the Lighthouse Festival. Usually, one a season, depending upon pandemic influences, and it is due to them that we have a naval cannon in our home that we can fire for the trick-or-treaters on Hallowe’en.

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

We have staged two Fringe productions, The Fantasticks and [They Fight!]. These were both in the Spriet Theatre in the Covent Market Building. We also staged The Seafarer at TAP in 2016. We plan to remount that show in 2026.

(Pictured: Brian “Brock” Brockenshire, co-founder of Shrew’d Business.)

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

We provide quality training for violence on stage. We do more than just violence of course, but that is our main focus. We have been instrumental in several exciting productions for Londo Community Players, Original Kids Theatre Company and Musical Theatre Productions, as well as multiple productions in high schools, and smaller community groups. We rent equipment and have accessed specialty items for specific shows. We are licensed pyrotechnicians, so we have helped shows like You Can’t Take it With You to blow up things on stage. 

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

We only have four company members, so we do not require a Board. Our members are paid for many productions, as violence is not something you should leave to the untrained. Depending upon the budget of the show, we can usually come up with a reasonable fee. It is more important to us that a show be safe than incredibly lucrative. 

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

We don’t have any specific productions for our company this year, but we are helping with Deathtrap, Urinetown, Misery, and The Three Musketeers for other companies.

(Pictured: Apprentice Fight Director Kerry Hishon.)

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

We moved to London from Toronto in 2005. The intention was for Shrew’d Business to be able to help a variety of productions and members of shows grow in their experience and training for dangerous stage movement. Even in professional theatre we have witnessed real slaps on stage, and this should never happen. The safety of performers and the comfort of the whole team and audience are paramount in our work. 

Since I have a love of puppets, we have also been charged with building some interesting creations that have been used on a bunch of stages in and around London. Helping a show be the best possible version is always our goal. There are very few cases where we have said “no” to a team. This has only happened when the timeline was too short, the expectations were too high, or the team was deluded about their thoughts for their show. We’d always prefer to be helpful, but there just are sometimes when you know you can’t have your name associated with something, and safety is that line in the sand.

We’ve been working in London theatre for twenty years and many more years before that elsewhere. At some point, we will need to slow down and eventually stop because staging this specialized kind of work is very draining and becomes physically impossible as the body ages. Hopefully, when that time comes, London companies will realize that they will have to either choose shows without violence or hire them elsewhere to keep their productions safe. 

(Apprentice Fight Director, Dustin Didham.)

For more information about Shrew’d Business, visit https://www.shrewdbusiness.com/

Follow on Facebook https://www.facebook.com/shrewdbusiness.ca/#

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

Introducing St. Marys Community Players

by Richard Young

This is the twentieth in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile St. Marys Community Players.

.

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

St. Marys Community Players (SMCP) is a vibrant not-for-profit community theatre group that has been illuminating the stage since its inception in 1974. Over the decades, SMCP has blossomed into one of the premier amateur theatres in Southwestern Ontario, captivating audiences with its diverse array of productions, from classic plays to contemporary performances.

Theatre in St. Marys began in the late 1940s with Rev. Parsons’ staging of *The Desert Song*. This production relied on the efforts of over 60 volunteers who created costumes from old drapes, curtains, and sheets, embodying community spirit and resourcefulness.

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

SMCP is a not-for-profit community theatre

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

The Town Hall Theatre in St. Marys.

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

Our Motto: The best in each of us, nourishing all of us. This guiding motto encapsulates the essence of our collective ambition; we believe that theatre is not just an art form but a vital community connector. 

Our Mission transcends merely putting on plays. We strive to offer compelling live theatre productions that engage the broader community on multiple levels—inviting audiences not only to enjoy the performances but also to actively participate in the creative process. At SMCP, we cherish the involvement of community members of all ages and backgrounds. We actively encourage new members to join our ranks, whether they seek the spotlight or prefer the behind-the-scenes magic. Our group thrives on a spirit of creativity and fun, and we are always ready to support your individual interests, whether you aspire to act, direct, or work on technical and production teams, such as lighting, sound, set design, or costume creation.

Join Us: Whether you are a passionate performer, a budding playwright, or someone who simply enjoys the thrill of live theatre, SMCP welcomes you with open arms. By joining our community, you contribute to local culture and help nurture the artistic spirit that fuels our passion for live performances. Together, let’s create unforgettable theatre that leaves a lasting impact on our community.

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

The nine-member board includes the President, Vice President, Secretary, and Treasurer.

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

Canadian playwright Norm Foster’s comedic play, Hilda’s Yard, directed by Costin Manu and produced by Marie Stevens and Stephen Brockwell. Set in the 1950s, the play follows the Fluck family as they navigate the challenges of everyday life. When their two adult children unexpectedly move back home, Hilda and Sam Fluck are dealing with a full house again. As the family members come to terms with their new living arrangements, they must confront their struggles and relationships. Filled with humour and heart and in typical Norm Foster form, Hilda’s Yard explores the complexities of family dynamics and the enduring bonds that hold them together.

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

St. Marys Community Players continues to reach out to our local, neighbouring theatres, building relationships and connections, piggybacking on our collective successes and sometimes mistakes. We aim to shift away from the competitive nature of the southwestern Ontario community theatre scene and establish a support group for all local community theatres.

For more information and to purchase tickets, visit  https://www.stmaryscommunityplayers.ca/

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

Follow on Instagram https://www.instagram.com/st.maryscommunityplayers/

(Pictured: St. Marys Town Hall Theatre)

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

by Richard Young

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

about it.

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

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

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

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

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

The Front Page: SCOOPED Reviewed by Jo-Anne Bishop

by Richard Young

By Jo-Anne Bishop, The Beat Magazine 2025

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

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

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

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

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

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

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

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

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

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

What: The Front Page: SCOOPED

When: September 25th – October 5th, 2025

Where: The Palace Theatre Arts Commons, 710 Dundas Street

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

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

Reviewed by Jo-Anne Bishop

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

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



Introducing Scooter Productions

by Richard Young

This is the eighteenth in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile Scooter Productions.

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

Scooter Productions was founded in 2017. The founding members are Phil Cal, Heather Rivet, Brian Speagle, and Sherine Thomas-Holder. We got together to produce serious drama with current social themes. Our first production, Penguin Blues, tackled addiction and isolation.

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

We are a non-profit community theatre group.

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

Our last two productions have been staged at Manor Park Memorial Hall.

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

“Scooter Productions strives to produce quality live theatre and to promote all of the arts in the Greater London Area.”

(Pictured: Brian Speagle, co-founder of Scooter Productions.)

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

There is no board of directors or paid staff.

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

At the moment, our 2025-26 season consists of one production, Memoir, by John Murrell. Our next show is TBD.

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

Memoir will run from November 19th to 23rd.

Plot summary: It is the summer of 1922; Sarah Bernhardt’s last at her beloved island estate off the coast of Brittany. With her erstwhile secretary, butler, and general dogsbody Georges Pitou, she attempts to write volume two of her memoir. Sarah enters a world of memories, spanning her entire life and theatre career. Many of her reminiscences are of her many accomplishments, but there are also memories of pain and trauma. However, she is The Divine Sarah, and she triumphantly rises above them and overcomes! John Murrell has created a moving and complex script that has touched theatregoers around the world.

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

It is my belief that community theatre groups in London need to collaborate and support one another to grow an audience that will appreciate theatre and all the arts in London. In practical terms, we should be attending each other’s shows and helping to promote them. We are all in the same boat.

For more information about Scooter Productions, visit https://scooterdotproductions.wordpress.com/

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

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

Introducing Project G Force: An Interview with Matt Loop

by Richard Young

This is the seventeenth in a series of Q&A Profiles of London area theatre companies and groups. Today, we interview Matt Loop, co-founder of sketch comedy troupe, Project G Force.

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

Project G Force was founded by Matt Loop and Thomas Bogad in 2006 and included members of sketch troupes Channel Surfing and Sector 7 G. The troupe currently consists of original members Thomas Bogad, Norah Cuzzocrea, Laura DiTrolio, and Matt Loop. Past members include Pasqualina Cardu, Christian Gundlack, and Lorissa Sinasac. Project G Force was under the umbrella of local theatre group Channel Surfing Productions and is currently the longest-running sketch comedy troupe in London, under the direction of John Pacheco.

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

Project G Force is a not-for-profit theatre.

(Pictured: Matt Loop, Laura DiTrolio, Thomas Bogad, and Norah Cuzzocrea)

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

We have performed at the Palace main stage, Rum Runners, TAP, London Music Club, and most recently the Princess Ave Theatre in St. Thomas.

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

Our mission is basically to make people laugh with locally written comedy. Everything produced by Channel Surfing Productions, from sketch to past shows like ‘UnderAchievers’ and ‘PMS’, are all locally written. We hope to start producing some more plays under the Project G Force banner. 

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

We do not. We are just a bunch of friends who can barely decide where to meet for dinner.

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

We just finished a show this year called Stage Fright and are currently preparing a show for 2026, which will be our 20th Anniversary together. We tend to do one show a year to give everyone time to work on other theatre or comedy projects. Currently, Thomas is in the improv group Shut the Front Door, Norah is in The Front Page: SCOOPED at the Palace Theatre, and Matt Loop is currently on Jack1023 and has helped promote several recent theatre shows on Afternoons with Loop. 

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

It’s amazing to see the theatre community start to rebound after those years “we shall not speak of.”   The community goes in cycles, and it seems that it is starting to upswing with a great mix of exciting new companies (young and old), and diverse performers. It’s also nice to see actors who we haven’t seen in a while starting to get back on the stage, and it’s great to see some locally written works starting to get produced again. We would like to see more collaboration and promotion done for the theatre scene, as London is growing and so should the audiences, as long as we can reach them. The members of Project G Force have been around for a while and have loved being part of the local theatre scene, whether that be performing or in other productions. We are also getting older and don’t want to break anything. 

Follow Project G Force on Facebook https://www.facebook.com/projectgforce

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