(Pictured: Cast & Crew of The Family Creetin. Photo by Ross Davidson)
Every so often, a local production comes along that makes you rethink your expectations entirely. The Family Creetin, presented by Banished by the King Productions, is one of them.
I’ll admit it, I went in cautiously. Locally written shows can be hit or miss, and sometimes the humour leans too heavily on inside jokes. Not here. Patrick Brennan has written something that feels bigger than that—and funnier, too.
The setup is classic: a group of siblings gathered in an English country house, all carrying a ton of baggage and very little patience for one another. From there, things unravel quickly (in the best way). The comedy comes from character, not gimmicks, and it lands because it feels familiar. If you’ve ever survived a tense family gathering, you are in on the joke.
It’s not without its bumps. A lot is going on, and at times the play can feel like a ping-pong match, your head constantly turning to keep up with the action. A bit of tightening would sharpen some of the bigger moments. That said, Brennan’s direction keeps things impressively controlled. The pacing is tight where it needs to be, and even when the script edges toward chaos (which it does – a lot!), the staging keeps it from tipping over. There’s a clear sense that this is a play that has evolved over time, and if this is the result of that evolution, it’s very much in the right direction.
(Photo by Ross Davidson)
The production makes smart use of the black box space in Procunier Hall at the Palace Theatre. The set is simple, tasteful, and exactly what it needs to be, no more, no less. It fits the space beautifully while leaving plenty of room for the performances to breathe. But if I’m to be honest, this is a show that feels ready for a larger stage; it has the legs for it.
And it’s the performances that really carry it. This is a strong cast across the board, and more importantly, they work as a true ensemble—feeding off each other, building momentum, and clearly enjoying the ride. That sense of connection translates directly to the audience.
A big part of what elevates the production is the physicality and facial work. Reactions are sharp, expressions are doing just as much work as the dialogue, and it adds an extra layer of comedy that keeps scenes lively even in quieter moments. The casting feels particularly well matched—these actors fit their roles in a way that makes the dynamics feel natural and fully lived-in.
(Photo by Ross Davidson.)
Dylan Rock as Frederic is a standout, with a strong physical presence and consistently engaging reactions. Ben Kennes’s Reginald is equally memorable, bringing excellent timing and expression that make every moment count. And Kevin Avram nearly walks away with the show as Bertrand. His portrayal of the perpetually drunk brother is fully committed and genuinely hilarious, especially with his repeated, perfectly timed “Oh mother” lines, which somehow get funnier every time. His final moment ties everything together beautifully.
The sisters—Sophie Thompson (Victoria) and Sue Harrington (Gloria)—land some big laughs with their sharp back-and-forth, while Jennifer Groulx’s Sybil provides a sweet, grounding counterbalance to the chaos. Rachel Sherret’s prim, all-knowing Mary (who has a quote for everything) is crisply timed and consistently funny, and Nicole McTeer nails the Hollywood starlet as Ginger.
(Photo by Ross Davidson.)
Luis Marin turns up the heat as Latin lover Raul, while Dustin Didham’s Nigel—a sooty, slightly suspect chimney sweep—adds another comic layer. Ryan Starkweather’s Roger, the curious banker, doubles as narrator, punctuating the action with a clicker that freezes the stage in well-executed tableaux—timing the cast delivers to hilarious effect. Rounding out the ensemble is Patrick Hoffer as Archibald, the family patriarch with a watchful eye.
Costumes by Tanis Daoust suit the period nicely, and the technical team—stage manager Jeremy Hewitson, assistant stage manager Eric Curtis, sound by Doug Deschenes, and lighting by Mark Mooney—keep everything running smoothly behind the scenes.
(Photo by Ross Davidson.)
What’s most impressive is how easily this play connects. It doesn’t feel small or niche. It feels like something with real staying power. You could see it on a bigger stage, in a longer run, or picked up by other companies around the globe—without missing a beat.
Bottom line:
A sharp, funny, and well-played ensemble comedy that proves local theatre can punch well above its weight. It is busy at times, but consistently entertaining, and the kind of show that makes you hope someone is already planning the encore.
IF YOU GO:
What: The Family Creetin, written by Patrick Brennan and presented by Banished by the King Productions
(Pictured:Jackson Balint as Richard Dreyfuss, Andrew Dodd as Roy Scheider, and Josh Cottrell as Robert Shaw. )
You don’t need a massive stage, a mechanical shark, or a Hollywood budget to make something memorable. Theatre Aezir proves that with The Shark is Broken, a smart, funny, and well-acted production now playing in the lower-level theatre at First Baptist Church in London, Ontario.
Written by Ian Shaw (actor Robert Shaw’s son) and Joseph Nixon, the play takes us behind the scenes of the famously troubled 1974 shoot of the Steven Spielberg film, Jaws. The setting: the Orca, floating off Martha’s Vineyard, where filming delays have left actors Robert Shaw, Richard Dreyfuss, and Roy Scheider stuck together with too much time on their hands and nowhere to go. As it turns out, that’s a perfect recipe for conflict, comedy, and the occasional moment of honesty.
The set does exactly what it should: half a boat, fully believable. It lets the audience look directly into the action and never tries to be more complicated than necessary. The props are right; the details are right—it all works. Add in clean, effective lighting and sound to move us through time, and the technical side of the show stays solid without ever stealing focus.
(Pictured: The Orca)
Director Dylan Christopher Trahan keeps things tight and lets the script and actors do the heavy lifting. The show takes a little time to find its groove—call it getting its sea legs—but once it does, it cruises along nicely.
But make no mistake, this is an actor’s show.
(Pictured: Jackson Balint as Richard Dreyfuss.)
Jackson R.R. Balint leans fully into Richard Dreyfuss’ jittery, fast-talking energy, bringing just the right amount of edge without tipping into parody. Andrew Dodd’s Roy Scheider is the calm in the storm—measured, grounded, and quietly confident, with a physical resemblance that doesn’t hurt either.
(Pictured: Andrew Dodd as Roy Scheider.)
But the real catch of the day is Josh Cottrell as Robert Shaw.
From the moment he steps on stage, you’re hooked—line, sinker, and probably the whole tackle box. This isn’t just a good performance; it’s a fully lived-in portrayal. The voice, the stance, the presence, it’s all there. At times, it genuinely feels like Robert Shaw himself wandered in, decided to do a few scenes, and left the rest of the cast to keep up. It’s a commanding performance and the anchor that holds everything together.
(Pictured: Josh Cottrell as Robert Shaw.)
What’s especially impressive is that none of the actors fall into simple impressions. These feel like real people, not SNL sketches. Their chemistry is strong, their timing is sharp, and their relationships keep the audience invested throughout.
Costumes by Elizabeth Durand are another win. Accurate to the film and era without feeling like costume for costume’s sake. It’s one more detail that helps sell the world of the play.
Full disclosure: I’m a longtime Jaws fan and a big admirer of Steven Spielberg, so this show was always going to be in my wheelhouse. But even if you’ve never seen the film (though honestly, you should fix that), there’s plenty here to enjoy. At its core, this is a story about big personalities stuck in a small space, and that’s something anyone can relate to.
It starts a bit slow, but once it hooks you, it doesn’t let go. By the end, I was all in, and possibly the first on my feet for a standing ovation.
Theatre Aezir’s The Shark is Broken is funny, engaging, and impressively well done. No frills, no fuss, just strong performances and a story that lands. And this small show proves – you don’t need a bigger theatre.
IF YOU GO:
What: Theatre Aezir’s presentation of The Shark is Broken, by Ian Shaw & Joseph Nixon
Where: First Baptist Church, 568 Richmond St, London, Ontario
My background in the Arts started with an early love for music and dance. I attended my first concert at 10 years old (Helix at the Sarnia Arena in 1983!) and began tap and modern jazz dance lessons around the same time. My love for live theatre was built through school trips to the Stratford Festival to see plays like Romeo and Juliet, The Merchant of Venice, and Macbeth, and a trip to Toronto for The Phantom of the Opera, which quickly became my all-time favourite.
I dreamed of performing for many years, but being too self-conscious to audition in high school, I sat on the sidelines and instead reviewed music and theatre for our school newspaper. In 2013, I finally pushed my fears aside and was cast in my first play, Laughter on the 23rd Floor, as Carol Wyman, the only female writer on the Max Prince show. I have since performed in productions of Birth (Jillian, 2016), Hamish (Annette, 2023) and The Curious Incident of the Dog in the Nighttime (Mrs. Alexander, 2024).
Previous Reviewing Activities
SCITS, Sarnia, Ontario – High school newspaper reviewer for Music and the Arts
London Fringe Festival, London, Ontario, 2012-2015
Independent Reviewer and Blogger (Theatre in London and The Pollyanna Papers), 2015-2016?
Why am I jumping back into the fray now?
After performing for a few years, I’ve decided to take a break from the grind of auditioning, rehearsing and performing. While I love it immensely, it’s a lot of work. Performing has given me a whole new perspective and appreciation of what goes into a production and the ability to look at reviewing with a fresh set of eyes.
Thoughts about the London arts and culture scene, especially local theatre
Hoo wee! London has such a wealth of talent, from youth to adults. Every time I see a play, I am amazed at how talented our actors, directors, producers, set/prop/costume/light/sound designers are. I don’t think causal observers realize just how much goes into making a production from the audition to the curtain call. It is a huge undertaking, and to think our theatres produce such world-class productions on some very tight budgets is astounding, especially at the community theatre level, where volunteers do everything.
Sadly, since COVID, I have witnessed a huge decline in attendance at performances, and it breaks my heart. I have also noticed a sad lack of reviews lately, which I find are necessary to give people an idea of what to expect and a reason to go to the theatre.
So, before I can put my feet on the stage again, I want to help put bodies in the seats. We need to reignite a love for theatre and the arts in this city.
What follows is a Q&A Interview with Patrick Brennan, author and director of The Family Creetin, playing at the Procunier Hall at the Palace Theatre from April 16 to 25. The Interview was conducted by The Beat Magazine’s Publisher & Content Manager, Richard Young.
Q. Tell me about The Family Creetin – backstory, author, and performance history.
The Family Creetin was born out of a few places and ideas. I was always enamoured with the golden age of British detective fiction, particularly Lord Peter Whimsey in Dorothy Sayers string of novels and the ridiculousness of self-seriousness. I’ve been writing shows since 2012 for Banished by the King and have always skewed to the less serious, more character-driven work. I like finding the fun in how characters interact. For our theatre group, we were always looking for large, gender balanced shows and the prospect of a single set, big cast, whodunnit-type show was such a natural fit. I loved giving every character the spotlight through the show, and the range of the roles was a lot of fun to play with. Just a mass of ridiculous and self-important people that played on some tropes with some hopeful plot twists, and this show is a good, fun night out.
Q. Could you provide a brief plot synopsis?
In The Family Creetin, a group of six siblings and their significant others are called home by their father, a Duke that owns a massive food canning empire, for a mysterious reason. They fight, bicker, and snipe at each other before the Duke makes known his plans, and a frantic search for a thief begins!
(Pictured: Patrick Brennan, author and director of The Family Creetin.)
Q. Does the Family Creetin have any real-life counterpart?
I have heard it said that it is Downton Abbey-meets-Arrested Development, and that’s high praise! I began watching Downton Abbey weeks before the show originally opened in 2015, having written it a year before and was shocked by how many character names they stole from me!
Q. How would you best describe the play?
The play is a comedy, though I’ll leave that up to the audience. If there’s a message, I hope it is that a bit more kindness and empathy are never misplaced.
Q. I see that the play was performed at TAP back in 2015. Why are you reviving it in 2026? Any major revisions to the script?
We originally ran the show back in April of 2015 and thought eleven years was the perfect amount of time for people to forget the story and pay for another ticket to come see it again! This script is more polished and, as with the first, improved with rehearsals. We have had the advantage of two exceptionally creative, funny, and inventive casts running through this script, and, with complete control over the material, we have always encouraged and applied suggestions and adlibbing – if it’s funny, it stays! I couldn’t be more grateful to all of the moments, small and large, that these actors have put into making the show better, rehearsal after rehearsal.
Q. Why have you chosen Procunier Hall for this run?
The space is ideal for the single room, tight quarters, crucible of the show! And it was available.
(Pictured: Rachel Sherret, Luis Marin, Sophie Thompson, and Ben Kennes.)
Q. How would you describe the sets, props and costumes of the play?
The Palace Theatre has been exceptionally generous with its set pieces, props, and costumes to make a very immersive sitting/drawing room environment for interwar England. We also have incredibly talented cast members who stitch, sew, bring props, and put a full effort into making their characters look as good as they perform them.
Q. What can audiences expect?
I would hope audiences take away some laughs, a bit of an escape, and maybe a line or two that sticks with them! Our performers, whether in the spotlight or awaiting their next line, make it a veritable Where’s Waldo of moments, faces, and bits that make multiple viewings a must.
Q. Is there anything else you think readers should know about The Family Creetin?
The Family Creetin has been so incredibly special to me personally. Not only was it my second script for Banished by the King, allowing me to work with my brother, Sean, and so many others in the group, but it was also where I met my would-be wife, Amanda. I was a self-absorbed, wannabe industrialist with an embarrassing secret, and she was a strong-willed, opinionated, in-your-face American dancer from the silent film era. A match made in heaven, and one for which I absolutely love this show. Also, there’s a sequel!
(Pictured: The Family Creetin set in Procunier Hall.)
Cast and Crew of The Family Creetin:
Cast: Patrick Hoffer – Archibald Sophie Thompson – Victoria Ben Kennes – Reginald Sue Harrington – Gloria Dylan Rock – Frederic Kevin Avram – Bertrand Jennifer Groulx – Sybil Ryan Starkweather – Roger Luis Marin – Raul Rachel Sherret – Mary Nicole McTeer – Ginger Dustin Didham – Nigel
Crew:
Directed By: Patrick Brennan Produced By: Dan Curtis Stage Manager: Jeremy Hewitson Lighting Design By: Mark Mooney Sound Design By: Doug Deschenes Costume Design By: Tannis Daoust.
IF YOU GO:
What: Banished By The King Productions presents The Family Creetin.
When: April 16 to 25, 2026.
Where: Procunier Hall at the Palace Theatre, 710 Dundas Street, London, ON.
Banished By The King Productions has been creating original and unique theatre in London, Ontario, since 2009. Since the initial banishment, Banished has produced eighteen original works, all written by local London, Ontario, playwrights.
It all started as a dream to continue to produce, write, and act in shows after graduating from university. Many of our original and founding members attended King’s University College, and thus, once our studies were over, we became Banished By The King. Over the years, the group has morphed and grown to include the talents of many members of London’s thriving community theatre scene.
In 2024, we became the Theatre Company in Residence at the Palace Theatre Arts Commons to continue to create new theatrical productions and promote original London-based work.
AlvegoRoot Theatre presents a wholly new production of Jason Rip’s dark circus-inspired comedy, Luce, April 15 to 19, at The Manor Park Memorial Hall.
Directed by Adam Corrigan Holowitz, Luce features performances by Aidan Coutts, Haiden Lyle, and Kydra Ryan.
(Pictured: Aidan Coutts as Cheeks in Luce. Photo by Kydra Ryan.)
Cheeks is the new clown on board the Little Colossal Circus train, but he feels more like an invader than a welcome presence. The ringmaster’s inferiority bubbles to the surface when his straying girlfriend, Clovis the tightrope walker, develops a fascination for the pathetically sad clown. Poor Cheeks is simply trying to find a little companionship with somebody that isn’t a runty giraffe named Luce.
(Pictured: Kydra Ryan as Clovis in Luce. Photo by Mariana Hrnjak.)
“I see this play as being the theatrical equivalent of an old heartbreak-country song. The kind of tale folks love because, despite being mournful and lonesome, it sweeps you up in the epic emotions,” says director Adam Corrigan Holowitz. “The circus in this play is falling apart. The bills are piling up. The death of the last clown, Old Sparks, looms over everyone and everything. Circuses have always been a place to run away to, but where do you go when you want to run away from the circus?”
(Pictured: Haiden Lyle as Chartley in Luce. Photo by Kydra Ryan.)
Holowitz adds, “Jason Rip has written a new version which has brilliantly deepened the play, so it will feel very different from its first production. But is still chock-full of Jason’s witticisms and staple dark humour. I saw the first production of Luce when it premiered in 2012, and I remember laughing throughout the entire show. What compelled me to include it in our 2026 season is that the play has a gritty naturalism and an edge-of-your-seat plot, and characters that are flawed and ferocious.”
(Pictured: Aidan Coutts as Cheeks and Kydra Ryan as Clovis in Luce. Photo by Marian Hrnjak.)
IF YOU GO:
What: AlvegoRoot Theatre presents Jason Rip’s Luce.
When: April 15 at 7:30 PM
April 16 at 7:30 PM
April 17 at 7:30 PM
April 18 at 2:00 PM
April 18 at 7:30 PM
April 19 at 2:00 PM
Where: The Manor Park Memorial Hall, 11 Briscoe Street West, London, Ontario
Tickets: $32. Under 30 and arts worker tickets can be obtained under the code Under 30_Arts Worker. Tickets can be purchased at:www.alvegoroottheatre.com or by calling (519) 615-2210
Recommended for Ages 16+ The production deals with mature subject matter, including abuse and alcoholism. Graphic language and intimacy are depicted on stage.
AlvegoRoot Theatre is a professional theatre presenting and developing plays by local playwrights about London, Ontario, and the surrounding region.
What follows is a Q&A Interview with Elizabeth Durand, Artistic Director of the London professional theatre company, Theatre Aezir. The Beat Magazine spoke with Elizabeth about the company’s production of The Shark Is Broken, playing at First Baptist Church from April 9 to 19.
(Pictured: Elizabeth Durand, Artistic Director of Theatre Aezir.)
Q. What inspired Theatre Aezir to select The Shark Is Broken as its Spring production?
I am constantly on the hunt for fresh, intriguing scripts, and The Shark Is Broken immediately stood out. While everyone knows JAWS as the definitive summer blockbuster that launched Steven Spielberg’s career, this play offers something deeper: a profound, behind-the-scenes look at the volatile personalities and relationships that nearly sank the production. The turning point for me was hearing from a Gen Z colleague who saw the show in New York. Despite having never seen the original film, she was captivated by the storytelling and the caliber of the acting. That confirmed it for me—this isn’t just a play for fans of the movie; it’s a powerful human drama that resonates with everyone.
Q. Could you provide some background information about the play?
It’s a fascinating story: the play was co-written by Ian Shaw, who looks exactly like his father, Robert Shaw (the actor who played Quint in JAWS). Ian actually played his father in the first productions! It started small in Brighton back in 2019 and moved to the Edinburgh Fringe before the pandemic hit. Once theatre returned, it became a massive hit in London’s West End, eventually earning an Olivier nomination. We were lucky to have the North American premiere right here in Ontario at Toronto’s Royal Alexandra Theatre in 2022, followed by a smash-hit run on Broadway in 2023. Everywhere it goes, audiences and critics fall in love with it.
Q. Could you provide a brief plot synopsis of the play? Do any of the famous scenes from the film appear in the play?
So, picture this: it’s 1974, and the three stars of Jaws—Robert Shaw, Richard Dreyfuss, and Roy Scheider—are stuck on a tiny boat called the Orca.
What was supposed to be a quick 55-day shoot has turned into a 159-day nightmare. Why? Because the mechanical sharks keep breaking down the second they hit the salt water. So, while the crew is frantically trying to fix “Bruce” the shark, these three huge personalities are trapped together for days on end with nothing to do but drink, play cards, and drive each other crazy. It’s a hilarious and sometimes heavy look at the egos and the bonding that happened when the cameras weren’t rolling.
(Pictured: Josh Cottrell as Robert Shaw, Andrew Dodd as Roy Scheider, and Jackson Balint as Richard Dreyfuss.)
As for the movie itself, you definitely get some iconic moments! The big one is the “Indianapolis” monologue. Robert Shaw actually wrote a lot of that speech himself in real life, so the play shows the “behind-the-scenes” version of how that legendary scene came together. It’s a really cool “meta” moment for anyone who loves the film.
Q. One of your promo pieces for the play encourages people to rewatch (or watch for the first time) the original 1975 film, Jaws. Could you elaborate on that?
You definitely don’t need to see the movie to enjoy the play, but it certainly helps you appreciate why Robert Shaw is so incredibly grumpy in our version! Rewatching the 1975 classic reminds you of the legendary masterpiece the world eventually saw—while our show reminds you of the chaotic reality behind it. It’s the ultimate “Expectation vs. Reality” comparison: the film is the polished final product, but our play reveals a broken shark, a sinking boat, and three lead actors who were five minutes away from throwing each other overboard. Plus, for the eagle-eyed fans, the play is packed with “Easter Eggs” that make the experience even more rewarding.
(Pictured: Andrew Dodd as Roy Scheider.)
Q. The main characters (actors) depicted in the play are well known to most moviegoers. What challenges have you faced in bringing these folks to the stage?
In theatre, there’s a well-known maxim that casting is 80-85% of the show. I would never have programmed The Shark Is Broken without total confidence that we could find actors to inhabit these legendary roles. We are incredibly fortunate to have Josh Cottrell, one of London’s finest actors, who brings the perfect look and age to the role of Robert Shaw—he is truly magic on stage. For Roy Scheider, Andrew Dodd was the only actor I considered after his stellar performance in Misery. To complete the trio, our search for the high-energy Richard Dreyfuss led us to Jackson Balint from Windsor, who perfectly captures Dreyfuss’s iconic volatility. Under Dylan Trahan’s direction, these three have truly brought these Hollywood giants to life.
(Pictured: Josh Cottrell as Robert Shaw.)
Q. Obviously, the shark plays a major role in the success of Jaws. Does the shark appear in The Shark Is Broken?
The shark doesn’t make a physical appearance, but Bruce—as the mechanical shark was famously nicknamed—is a constant, looming presence! Ironically, Steven Spielberg named the shark after his lawyer, which tells you everything you need to know about his relationship with his lawyer! While you won’t see a fin on stage, you’ll certainly feel the weight of his mechanical failures and the havoc they wreaked on our three protagonists.
(Pictured: Jackson Balint as Richard Dreyfuss.)
Q. How would you describe the sets, props, and costumes of the play?
Our production design is a love letter to the Orca. Designer and builder John Beverley has created a stunning, “sliced-open” version of the famous vessel, allowing the audience to peek directly into the high-tension environment where the actors spent those 159 days. The set features a meticulous recreation of the film’s iconic banquette and table, surrounded by authentic nautical props and décor curated by Doug Cottrell. Framing the entire scene is a breathtaking 12’ x 20’ backdrop of the open ocean and sky. To complete immersion, the costumes are direct recreations of the actors’ film attire. However, getting that 1970s “Dreyfuss” bleach job on the denim jacket was a production in itself!
(Pictured: Scene Painter Adriel Kuepfer.)
Q. Tell me about your venue – First Baptist Church.
We love the versatility of our space at First Baptist! By converting the gym into an intimate black box theatre, we create a unique atmosphere that our audience finds incredibly welcoming. Thanks to a recent grant and our amazing donors, we’ve moved away from borrowed wooden risers and now own our own Staging Canadell risers. This means every seat in the house is a great one! Plus, the space is fully accessible via elevator, with restrooms conveniently located on both floors.
Q. What can audiences expect from The Shark Is Broken?
I think the biggest surprise for our audience is going to be the intimacy of it all. Because we’ve turned the gym into this tight, professional black box space, you aren’t just watching a play from a distance—you’re basically a stowaway on the Orca. You can expect to feel that salt-air tension and the claustrophobia of three massive egos trapped in a tiny cabin. It’s also much funnier than people expect. There’s this constant, witty friction between the three leads that keeps you laughing, but then it’ll suddenly pivot into a really raw, human moment about the price of fame or the fear of failure. Essentially, you can expect a ‘masterclass in character.’ It’s a fast-paced, 90-minute dive into the messy reality behind a masterpiece. You’ll walk out of the theater looking at that movie—and those three actors—in a completely different light. It’s a bit of a ‘behind-the-curtain’ thrill.
Q. Is there anything else you think readers should know about The Shark Is Broken?
If there’s one thing I want people to know, it’s that this show is a massive labor of love from a team that is operating at the top of its game.
We aren’t just ‘putting on a play’ in a gym; we’ve completely reimagined our space at First Baptist. Between the brand-new seating risers, which we just debuted (thanks to our incredible donors!), and the insane level of detail in John Beverley’s set, we are pushing Theatre Aezir to a whole new level.
I really want to highlight the atmosphere, too. Craig is doing some brilliant work with the lighting to capture that ‘stuck at sea’ feeling, and Doug has been a machine sourcing authentic nautical props—you can almost smell the salt air. But the real secret weapon is the soundscape. Avery is a master at building that immersive environment, and our director, Dylan, has had a hand in every single layer of it to make sure the audience feels every wave hitting the hull.
From Mike Semple keeping the technical gears turning to our cast—Josh, Andrew, and Jackson—finding the soul of these three icons, it’s been a total collaboration. At its heart, The Shark Is Broken is about people trying to create a masterpiece while everything around them is falling apart. I think anyone who’s ever tried to build something or lead a team is going to see themselves in this. It’s gritty, it’s hilarious, and it’s a great night of theatre for London. We can’t wait to welcome you aboard!
Q. Tell me about Theatre Aezir, its origins, mandate, and future plans.
Theatre Aezir really started from a simple, stubborn idea: that London deserved a space for professional-grade, provocative theatre that doesn’t just play it safe. We wanted to create ‘Theatre for the 21st Century’—shows that are lean, mean, and intellectually curious. Our artistic aesthetic has always been about the actor and the text. We strip away the fluff to focus on high-stakes stories that stay with you long after you leave your seat. We want to challenge our audience, not just entertain them.
As a registered charity, our mandate includes providing work and educational opportunities for theatre practitioners and actors, and we strive to build community and deepen the city’s cultural life.
As for our origins, we’re a theatre company without a theatre. Although rather nomadic, First Baptist has proved to be a great venue, as this is our third production in this space. We’ve been proving that you don’t need a massive proscenium arch to create fantastic drama.
Looking at the future? It’s all about transformation. Thanks to some incredible support from our donors and the community, we’ve been able to invest in professional black box equipment—like our brand-new seating risers—that allows us to turn any space into a high-end theatre. We’re progressing toward more immersive, technically ambitious work (like the ‘sliced’ Orca you’ll see in The Shark Is Broken). In the fall, we’ll move again for Bluebirds, which we will produce in the RCR Museum. Our goal is to keep growing as a hub for local talent and a destination for theatergoers who want something a bit more ‘edge-of-your-seat.’ We’re just getting started.
All Photos by Ryan Memarazdeh.
CAST
Richard Dreyfuss
Jackson Balint
Roy Scheider
Andrew Dodd
Robert Shaw
Josh Cottrell
Stage Director
Dylan Trahan
Stage Manager
Anna Whitehead
Technical Artists
Technical Director
Mike Semple
Producer
Elizabeth Durand
Costume designer
Elizabeth Durand
Sound designer
Avery Brown
Set Designer/Builder
John Beverley
Lighting Designer
Craig Blackley
Sound Operator
Jessica Norrie
ASM
Jill Canterbury
Props Master
Doug Cottrell
Photographer
Ryan Memarzadeh
Volunteer Coordinator/House Manager
Catherine Mazhandu
Marketing/Graphics
Kaitlyn Bell
Fight Director
Nick Van Burek
Scene Painters
Miranda Hews, Adriel Kuepfer
Prosthetics
Anthony Veilleux
IF YOU GO:
What: Theatre Aezir presents The Shark Is Broken.
When: April 9 to April 19, 2026.
Where: First Baptist Church, 568 Richmond Street, London, ON.
There’s a reason Oscar Wilde’s The Importance of Being Earnest has endured for well over a century. Premiering on Valentine’s Day in 1895 at London’s St. James Theatre, the play is a razor-sharp satire of Victorian society, skewering everything from marriage and class to the absurdity of social expectations. Wilde’s signature style—fast-paced, highly stylized, and dripping with irony—remains both its greatest strength and, at times, its greatest challenge.
As quoted in the director’s note, “rarely has the stiletto of dissident humour been driven so smilingly between the ribs of bourgeois convention.” This line from Neil Bartlett perfectly captures Wilde’s enduring bite.
Now playing at the Grand Theatre, this production, directed by Alistair Newton, leans boldly into theatricality, delivering a visually striking and energetically performed interpretation that feels surprisingly modern and relevant in 2026. Wilde’s themes of performative identity, social façades, and the tension between authenticity and expectation still resonate today, perhaps even more in an age of social masking, highly curated personas and digital selves.
That said, this is not a production you can passively absorb.
(Photo by Dahlia Katz.)
I found myself needing time to sit with the show afterwards. The rapid-fire dialogue and heightened language, true to Wilde, can be difficult to follow, especially if you’re not already familiar with the story. There were moments where I lost the thread entirely, only to piece things together in retrospect. For audiences new to the play, a bit of homework beforehand will go a long way. If you have a short attention span or struggle with dense, fast-paced English dialogue, this is one where preparation really matters.
Visually, the production makes a striking and very bold statement. Set designer Michelle Tracey creates three distinct worlds across the acts: a lush, all-green opening (down to the piano and cigarette case), a fully yellow second act, and a vivid red-and-yellow third. The only figure fully in red is the formidable Aunt, commanding attention in a room that mirrors her dominance. It’s an ambitious and cohesive design, though at times, its intensity borders on overwhelming.
(Photo by Dahlia Katz.)
The costumes, designed by Judith Bowden, are pitch-perfect: bright, bold, and beautifully in sync with the set’s colour story. One exception is Cecily, whose costume felt slightly muted by comparison, causing her to fade visually in moments where she might otherwise shine. At the same time, it perfectly separated her character from the others, showing the contrast between the city’s pomp and the country’s quiet reserve.
(Photo by Dahlia Katz.)
The dialect work, coached by Phyllis Cohen, is strong throughout, helping anchor the heightened language in both clarity and rhythm.
Performance-wise, the cast is superb across the board. Deena Aziz brings warmth and precision to Miss Prism, while James Daly’s Algernon Moncrieff is delightfully playful. Julien Galipeau grounds John Worthing with charm, and Kaylee Harwood delivers a sharp, engaging Gwendolen Fairfax. As Lady Bracknell, Claire Jullien commands the stage with authority and wit, while Ben Sanders capably fills multiple roles, including Reverend Canon Chasuble and Lane.
Standout performances for me came from Billy Lake as Lady Stella Clinton and the Merriman—whose drag performance drew some of the biggest laughs of the evening—and Mirabella Sundar Singh as Cecily Cardew, who brought a delightful presence and nuance to the role.
Ultimately, The Importance of Being Earnest isn’t going to be for everyone, and this production doesn’t try to soften its edges. It’s fast, it’s dense, and it demands your attention. But if you’re willing to meet it on its level, it offers a rewarding, visually dazzling, and often very funny experience. And while there may not be a distinct message or lesson to learn, it makes a bold statement.
Overall, this is a vibrant, well-directed production with exceptional performances, inventive design, and a distinctly modern pulse. Just be prepared to keep up.
IF YOU GO:
What: Oscar Wilde’s The Importance of Being Earnest, Directed by Alistair Newton
Where: The Grand Theatre, 471 Richmond St, London, Ontario
My background in the Arts started with an early love for music and dance. I attended my first concert at 10 years old (Helix at the Sarnia Arena in 1983!) and began tap and modern jazz dance lessons around the same time. My love for live theatre was built through school trips to the Stratford Festival to see plays like Romeo and Juliet, The Merchant of Venice, and Macbeth, and a trip to Toronto for The Phantom of the Opera, which quickly became my all-time favourite.
I dreamed of performing for many years, but being too self-conscious to audition in high school, I sat on the sidelines and instead reviewed music and theatre for our school newspaper. In 2013, I finally pushed my fears aside and was cast in my first play, Laughter on the 23rd Floor, as Carol Wyman, the only female writer on the Max Prince show. I have since performed in productions of Birth (Jillian, 2016), Hamish (Annette, 2023) and The Curious Incident of the Dog in the Nighttime (Mrs. Alexander, 2024).
Previous Reviewing Activities
SCITS, Sarnia, Ontario – High school newspaper reviewer for Music and the Arts
London Fringe Festival, London, Ontario, 2012-2015
Independent Reviewer and Blogger (Theatre in London and The Pollyanna Papers), 2015-2016?
Why am I jumping back into the fray now?
After performing for a few years, I’ve decided to take a break from the grind of auditioning, rehearsing and performing. While I love it immensely, it’s a lot of work. Performing has given me a whole new perspective and appreciation of what goes into a production and the ability to look at reviewing with a fresh set of eyes.
Thoughts about the London arts and culture scene, especially local theatre
Hoo wee! London has such a wealth of talent, from youth to adults. Every time I see a play, I am amazed at how talented our actors, directors, producers, set/prop/costume/light/, and sound designers are. I don’t think causal observers realize just how much goes into making a production from the audition to the curtain call. It is a huge undertaking, and to think our theatres produce such world-class productions on some very tight budgets is astounding, especially at the community theatre level, where volunteers do everything.
Sadly, since COVID, I have witnessed a huge decline in attendance at performances, and it breaks my heart. I have also noticed a sad lack of reviews lately, which I find are necessary to give people an idea of what to expect and a reason to go to the theatre.
So, before I can put my feet on the stage again, I want to help put bodies in the seats. We need to reignite a love for theatre and the arts in this city.
(Pictured: Cast of Prescription: Murder, Tameka Brown, Eve Cohen, Andre Cormier, David Pasquino, Sam Didi, and Makayla Ashenden. Photo Credit: Ross Davidson.)
Murder is rarely this polished – or this fun to watch.
On the Auburn Stage at the Grand Theatre in London, Ontario, Prescription: Murder wastes no time pulling its audience into a sleek, slow-burning game of cat and mouse. Running March 19–29 and directed by Stephen Mitchell, this black box production leans into intimacy and largely thrives because of it.
Originally written by William Link and Richard Levinson, the play serves as the foundation for the iconic television detective Columbo. The story centres on a brilliant and calculating psychiatrist who believes he has devised the perfect crime, only to find himself gradually entangled in a battle of wits with the seemingly unassuming Lieutenant Columbo. What unfolds is less a traditional whodunit and more a tense psychological chess match, where the outcome feels inevitable, but the journey is where all the intrigue lies.
(Pictured: David Pasquino as Lieutenant Columbo. Photo Credit: Ross Davdson.)
The ensemble is tight and reliable across the board. Makayla Ashenden brings a grounded vulnerability to Susan Hudson, while Tameka Brown and Eve Cohen offer strong, steady support as Miss Petrie and Claire Flemming. Sam Didi moves seamlessly through dual roles, and David Pasquino’s Lieutenant Columbo is understated, patient, and quietly probing—exactly what the role demands.
But let’s be honest: this is André Cormier’s show.
(Pictured: Andre Cormier as Dr. Roy Flemming. Photo Credit: Ross Davidson.)
As Dr. Roy Flemming, Cormier delivers a performance that is sharp, controlled, and magnetic. He walks a perfect line between charm and menace, with only the slightest of line slips in an otherwise near-flawless turn. What stands out most is his precision. Every look and every pause feels intentional. His seething, barely contained irritation with Columbo simmers just beneath the surface, and it’s riveting to watch. You don’t just see the character unravel; you feel it.
The staging makes smart use of the black box space, carving out distinct environments—the doctor’s office, reception area, apartment, and Columbo’s workspace—without overcomplicating things. A few of the scene changes occasionally drag a beat too long, but they’re supported by effective lighting and sound that keep the tension alive.
(Pictured: Tameka Brown as Miss Petrie, Andre Cormier as Dr. Roy Flemming, and Eve Cohen as Claire Flemming. Photo Credit: Ross Davdson.)
Costuming and attention to detail further ground the production in authenticity. Each character is clearly defined through wardrobe, but it’s Lieutenant Columbo who benefits most from these thoughtful choices. David Pasquino appears perfectly dishevelled with mussed hair, a slightly rumpled coat, and even an untied shoe that subtly reinforces the character’s offbeat, absent-minded persona. It’s a small but effective touch, and one that adds texture and believability without feeling trite or overstated.
(Pictured: Andre Cormier as Dr. Roy Flemming and David Pasquino as Lt. Columbo. Photo Credit: Ross Davdson.)
There are a few minor cracks in the illusion. Some set pieces wobble when doors are slammed, which briefly pulls focus. But these moments are small and quickly forgotten. Overall, this Prescription: Murder is lean, engaging, and anchored by a standout central performance. It’s a confident piece of theatre that knows exactly what it’s doing—and for fans of classic detective drama, it absolutely delivers.
IF YOU GO:
What: DJP Productions presents Prescription: Murder by William Link and Richard Levinson
When: March 19-29, 2026
Where: Auburn Stage, Grand Theatre, 471 Richmond St, London Ontario.
My background in the Arts started with an early love for music and dance. I attended my first concert at 10 years old (Helix at the Sarnia Arena in 1983!) and began tap and modern jazz dance lessons around the same time. My love for live theatre was built through school trips to the Stratford Festival to see plays like Romeo and Juliet, The Merchant of Venice, and Macbeth, and a trip to Toronto for The Phantom of the Opera, which quickly became my all-time favourite.
I dreamed of performing for many years, but being too self-conscious to audition in high school, I sat on the sidelines and instead reviewed music and theatre for our school newspaper. In 2013, I finally pushed my fears aside and was cast in my first play, Laughter on the 23rd Floor, as Carol Wyman, the only female writer on the Max Prince show. I have since performed in productions of Birth (Jillian, 2016), Hamish (Annette, 2023) and The Curious Incident of the Dog in the Nighttime (Mrs. Alexander, 2024).
Previous Reviewing Activities
SCITS, Sarnia, Ontario – High school newspaper reviewer for Music and the Arts
London Fringe Festival, London, Ontario, 2012-2015
Independent Reviewer and Blogger (Theatre in London and The Pollyanna Papers), 2015-2016?
Why am I jumping back into the fray now?
After performing for a few years, I’ve decided to take a break from the grind of auditioning, rehearsing and performing. While I love it immensely, it’s a lot of work. Performing has given me a whole new perspective and appreciation of what goes into a production and the ability to look at reviewing with a fresh set of eyes.
Thoughts about the London arts and culture scene, especially local theatre
Hoo wee! London has such a wealth of talent, from youth to adults. Every time I see a play, I am amazed at how talented our actors, directors, producers, set/prop/costume/light/sound designers are. I don’t think causal observers realize just how much goes into making a production from the audition to the curtain call. It is a huge undertaking, and to think our theatres produce such world-class productions on some very tight budgets is astounding, especially at the community theatre level, where volunteers do everything.
Sadly, since COVID, I have witnessed a huge decline in attendance at performances, and it breaks my heart. I have also noticed a sad lack of reviews lately, which I find are necessary to give people an idea of what to expect and a reason to go to the theatre.
So, before I can put my feet on the stage again, I want to help put bodies in the seats. We need to reignite a love for theatre and the arts in this city.
What follows is a Q&A Interview with David Pasquino, founder of DJP Productions, who also plays Lieutenant Columbo in the company’s inaugural production, Prescription: Murder. The show runs on the Auburn Stage at the Grand Theatre from March 19 to 29.
(Pictured: DJP Productions founder David Pasquino in character as Lt. Columbo. Photo by Ross Davidson.)
Q. How did Prescription: Murder come about? Is it my understanding that its origins are to be found in an episode of the beloved TV series Columbo? Which came first – the play or the TV show?
It’s a great question, and the answer is a bit of a twist worthy of Columbo himself.
Most people assume Prescription: Murder came after the TV series, but in fact, it’s where Columbo began. The story first appeared in March 1960 as a short piece by William Link and Richard Levinson in Alfred Hitchcock’s Mystery Magazine, featuring a detective named Lt. Fisher.
The next version of the story was called Enough Rope and was featured in alive television drama on The Chevy Mystery Show. That’s where we first encounter Lt. Columbo. In the show, Dr. Flemming and his wife plan a weekend trip to Toronto (as opposed to upstate New York, as we see in the play)!
That version evolved into the stage play Prescription: Murder in 1962, which toured successfully and was headed for Broadway before the untimely death of its lead actor, Thomas Mitchell. It wasn’t until 1968 that the story was adapted into the now-iconic TV special starring Peter Falk, launching the beloved Columbo series as we know it.
So, the origin story actually runs in reverse of what most people think: short story → live TV → stage play → TV special.
Q. What motivated you to select this particular play for DJP Productions’ firstproduction?
Honestly? It’s Pat Sajak’s fault!
A couple of years ago, I came across an article about what Pat planned to do after Wheel of Fortune. Surprisingly, it wasn’t retirement, it was community theatre! Even more surprising? He was stepping into the role of Dr. Flemming in Prescription: Murder at the Hawaii Theatre for a fundraiser. I had no idea that Columbo had started as a play!
That stopped me in my tracks. I had grown up watching Columbo with my family, but I had no idea the character originated on stage. Curious, I ordered the script, and the moment I read it, I was hooked. The tension, the structure, the cat-and-mouse dynamic, it all felt tailor-made for live theatre. And somewhere along the way, I had a realization: I need to see this on stage… and I want to play Columbo.
I brought the idea to my talented wife, Diana Tamblyn, and instead of talking me out of it, she leaned in. She offered to take on the marketing and promotion, and together we saw the opportunity: a smart, suspenseful story with a built-in nostalgia factor that we felt would really resonate with London audiences.
So, what started as a late-night click on an article quickly turned into something much bigger: the launch of DJP Productions and our first production.
Q. Could you provide a brief plot synopsis of the play?
Without giving too much away? Okay: a murder has taken place. A certain unkempt, fumbling, cigar-smoking detective appears on the scene and must unravel the mystery while matching wits with a brilliant killer.
Q. Why did you choose to stage the play at the Auburn Theatre?
I’ve performed there before, so I already knew how special the space is, it has this intimate energy where the audience feels close enough to be part of the story, but still large enough to create real theatrical impact. For a show like Prescription: Murder, where tension and subtlety matter, that balance is everything.
As a first-time producer, that “middle ground” was important. I didn’t want something too small or something overwhelming. The Auburn sits perfectly in that sweet spot: ambitious, but manageable.
There’s also a practical side. It’s a great central location, and having the support of The Grand Theatre behind the scenes, especially for ticketing, adds a level of professionalism and confidence that’s invaluable for a first production.
To top it off, our Director, Stephen Mitchell, worked as a technician in the space for many years, so he is intimately familiar with it. In a lot of ways, the Auburn wasn’t just a venue choice; it became part of the foundation that made launching DJP Productions feel possible.
Q. The Lt. Columbo character, played so marvellously by the late Peter Falk, with all his quirks and mannerisms, must be a hoot to play. Tell me about how you prepared to play the character.
You’d think the first thing I’d do is binge-watch Columbo—but I actually did the opposite.
Peter Falk’s performance is so iconic, so deeply ingrained in all of us, that I knew if I immersed myself in it again, I’d end up doing an imitation of him, and that’s not what this play calls for. Since this version of Columbo actually predates the TV series, so my goal was to go back to the source.
Instead, I lived in the script. I read it over and over, really digging into the stage directions, the rhythm of the dialogue, the subtle cues the writers embedded. I wanted to understand who Columbo was before he became the trench coat, the cigar, the cultural icon.
That said, you can’t completely escape Peter Falk, and I wouldn’t want to. There are a few small, intentional nods in my performance, and I’m sure some of those familiar quirks will surface naturally. But the aim isn’t to replicate—it’s to rediscover.
It will be interesting to hear from people what they think. Regardless, trying to step into the shoes that Peter Falk wore so well for so long is a daunting task, and I hope that people will find my Columbo both fresh and… comfortably familiar.
(Pictured: Tameka Brown as Miss Petrie, André Cormier as Dr. Roy Flemming, and David Pasquino as Lt. Columbo. Photo by Ross Davidson.)
Q. What have been your major challenges getting into the character? Any fear that audiences will spend too much time comparing your portrayal to that of Falk?
I have woken up early many mornings worrying about exactly that! Of course, I want to pay homage to Peter Falk’s Columbo, but I don’t want to be David Pasquino playing Peter Falk playing Columbo.
Again, that’s where the script comes in because it was written before Peter Falk ever took on the role, so my responsibility was to stay true to that original interpretation. I even considered dyeing my hair to resemble him more closely—but my wife made a great point: not looking like Falk might actually help the audience separate my Columbo from his.
Q. What can audiences expect from Prescription: Murder? For those audience members who are fans of Columbo, hopefully a pleasant visit with a familiar friend. For those who are new to Columbo, an introduction to a cast of interesting, fun characters and a visit to a time before cell phones!
And for both, an enjoyable evening experiencing the twists and turns in a smart, fun story, watching a game of cat and mouse between two brilliant but unconventional people, where the outcome may be known, but how they get there is all the fun!
Q. Tell me about DJP Productions, its origins, mandate and future plans. I set up DJP Productions for the sole purpose of putting on this show. “DJP” may be my initials, but it could also stand for “Discover Joy and Passion,” which is what I hope that everyone involved in this show, cast, crew and audience, will experience.
As for the future… let’s see how this one goes, and then I’ll see what I’m up for. Although I have had a few people approach me with ideas!
Q. Is there anything else you think our readers should know about DJP’s production of Prescription: Murder?
Let’s all have some fun and enjoy the show!
(Pictured: Cast & Crew of Prescription: Murder. Photo by Ross Davidson.)
Cast:
Tameka Brown – Miss Petrie Andre Cormier – Dr. Roy Flemming Eve Cohen – Claire Flemming Makayla Ashenden – Susan Hudson David Pasquino – Lieutenant Columbo Sam Didi – Dave Gordon/Delivery Person
Crew:
Stephen Mitchell – Director/ Sound & Set Design Mariann Sawyer – Stage Manager Jessica Norrie – Assistant Stage Manager Barbara Rand – Props Lead Nancy Daoust – Props Assistant Tannis Daoust – Costumes Diana Tamblyn – Marketing & Promotion Rob Coles – Lighting Design David Pasquino – Producer
An all-new, London-made production of Oscar Wilde’s classic romp of friendship and falsehoods will take to the Spriet Stage at the Grand Theatre, running from March 24 through April 12. Director Alistair Newton helms a vivid, design-forward staging of The Importance of Being Earnest with an attention to the aesthetic that rivals perhaps even that of Wilde himself.
“The Importance is rife with biting wit and social commentary that remain relevant today, delighting audiences around the world for more than one hundred years now. If we were going to bring this play back to our audiences at the Grand, we wanted to bring a bold idea to it,” shares Rachel Peake, Artistic Director of the Grand Theatre. “Enter Director Alistair Newton.”
(Pictured: Alistair Newton. Photo Credit: David Cooper.)
Newton has penned new text, “On the Language of Fans”, and has introduced a new role – Lady Stella Clinton. Also known as Ernest Boulton, Lady Stella was a 19th-century queer trailblazer who famously fainted when she was found innocent in the trial of the century, after being arrested for wearing women’s clothes. In Newton’s The Importance, Lady Stella will delight audiences with a pair of musical numbers by Gilbert and Sullivan that have been added to the show.
Billy Lake makes his Grand Theatre debut as Lady Stella Clinton and joins a familiar cast of characters, including Deena Aziz as Miss Prism, James Daly as Algernon Moncrieff, Julien Galipeau as John Worthing, Kaylee Harwood as Gwendolen Fairfax, Claire Jullien as Lady Bracknell, Ben Sanders as Rev. Canon Chasuble / Lane, and Mirabella Sundar Singh as Cecily Cardew.
(Pictured: Billy Lake as Lady Stella Clinton. Photo Credit: Mai Tilson.)
“Productions of The Importance are usually accompanied by associations –heavy curtains, fussy furniture, lace doilies – which are drawn more from our culture’s received ideas about the late Victorian period than from an aesthetic universe whose dramatic language included melodrama and the transgressive queerness of the music hall,” says Newton. “In fact, Wilde’s plays have the potential to illuminate the 19th Century in ways that challenge many of these preconceptions, full as they are of secret codes, hidden symbols, double entendres, and perhaps above all, delightful paradoxes.”
Featuring opulent, high-fashion wardrobe, the production will be colour-blocked with each act unveiling itself as vividly monochromatic. “The green of Act One comes from the code of the dyed carnation flowers which Wilde and his set wore on their lapels to identify one another,” reveals Newton. “The yellow of Act Two is the same hue as the covers of ‘decadent’ French literature of the period, as well as of the Yellow Book, a publication of the Aesthetic Movement. The red of Act Three is taken from Wilde’s vermillion office at his family’s London home on Tite Street; a blast of shocking, subversive colour amidst an otherwise tastefully minimal, and mostly white, interior.”
(The Importance of Being Ernest. Costume Design by Judith Bowden. Photo Credit: Mai Tilson.)
Newton’s vision becomes reality through the show’s creative team which includes Stephen Ingram as Music Director, George Absi as Choreographer, Michelle Tracey as Set Designer, Judith Bowden as Costume Designer, Siobhán Sleath as Lighting Designer, Olivia Wheeler as Sound Designer, Phyllis Cohen as Dialect Coach, Michael Hart as Stage Manager, Jordan Guetter as Assistant Stage Manager, and Tsz Ting Lam as Apprentice Stage Manager.
With the show’s innovative design, spectacular wit, and the addition of song, dance, and drag, this London-made production of The Importance of Being Earnest highlights the underlying queer code that exists throughout Wilde’s masterpiece.
The Palace Theatre, constructed in 1929 as a venue for silent movies and designated by the City of London in 1991 for its historic or architectural value or interest, remains a focal point in London’s Old East Village for quality theatre. It is the home of London Community Players, London Youth Theatre Education & London Fringe.
This historic venue is divided into two stages, the 75-seat Procunier Hall and the 350-seat David Long Stage.
Often, a stage is named after a beloved but deceased benefactor, actor, producer, or director. However, David Long is still with us, with a 47-year history associated with the London Community Players.
I recently met up with David at his home in East London. Over coffee and banana bread and surrounded by a lifetime’s collection of artwork and plates, we discussed the trajectory of his life.
(Pictured: David Long.)
The Long family’s ancestry in London dates back to 1850. At some point, according to David, family members “dispersed around the city.” David’s great-grandparents purchased land in the vicinity of Commissioners Road and Andover Drive. His father established Wood Lynn Farm Market, with various venues in the city. The Longs owned 300 acres of apples alone.
Wood Lynn Farms would become the first ‘pick your own’ orchard in Ontario. A pre-teen David was conscripted to wait at the gate and hand out a flyer to incoming customers, offering smiles as well as both prices and the ‘rules’ of the orchard. No overfilling, and there were trunk checks. At the time, a bushel of apples cost $1.50. This was long before ‘controlled atmosphere storage’ of apples, and so three generations of the Long family were involved during the narrow apple picking season, which would run from September into the Thanksgiving weekend of October. David proudly adds, “They were lined up on Oxford Street.”
David Long stayed true to his original neighbourhood, where his family home was established in 1935, just three houses from the Brick Cemetery. In 2010, ‘Friends of Brick Street Cemetery’ was established to provide guardianship to the eternal home of over 750 souls, and David Long got on board. The first burial occurred in 1813, 13 years before the City of London was established.
The organization researched the names of those under the soil and began repairing and re-erecting tombstones. According to David, “one third of the stones were on the ground, one third were leaning, and one third were still standing.” David was dubbed with the nickname ‘Jigsaw’ as it was his task to reassemble broken tombstones with both cement and epoxy. There was also the painstaking effort to clean the fronts of the stones without diminishing the lettering.
It was at York University in the 1970’s that David enrolled in a theatre program. . His desire to study theatre was built upon his drama experience in high school, which included a role in a production of the classic “Arsenic and Old Lace.”
But a year in university was enough, and he eventually returned to London after a bit of a tenure working in a paint store in Stratford.
It may or may not have been a synchronistic moment, but David’s return coincided with the beginnings of the London Community Players. He had invested a year’s worth of training in drama, and now a new theatre back home was opening.
The genesis of the London Community Players began with former members of ‘London Little Theatre’ as well as some passionate and earnest local actors. Productions began at the Gallery Theatre established at 36 York St. Their focus was Canadian-written plays, and 35 were performed between 1974 and 1978.
David leapt in and was cast in “Norman, Is That You?’ London’s first ‘gay’ play, a work David regards as a “bit of fluff,” but an important piece of theatre in recognizing and accepting London’s gay community. This was 1977, and London Free Press theatrical reviewer, Doug Bale, who could run roughshod over a local production, answered the question “Is London ready for gay plays?” with a resounding “Yes”.
David’s talents were also recognized in his ability to design and create sets. “My one grandfather built houses, and my other grandfather painted houses. I think I get my building skills from one and my painting skills from the other. The theatre discovered that I could build sets, and so that was the end of my acting career.”
As David was settling back into the theatre in his hometown, ‘HALO,’ the Homophile Association of London, Ontario, was establishing itself as a community club at Colbourne and Pall Mall streets. When David came out as a gay man in the late 70s, he had the support of his family, specifically from one of his grandfathers, who stated, “I knew people like that at Beal in the 1920s, and it didn’t bother me then, and it doesn’t bother me now”.
(Pictured: HALO Building, Colborne and Pall Mall Streets, London, ON.)
David eventually became president of the HALO club at a time of social intolerance of homosexuality. He was often the subject of homophobic slurs as he entered the front door, as well as dealing with vandalism in the form of broken windows, which were eventually boarded up. He recalls, “The music didn’t stop, and the dancing didn’t stop, so the club persevered and survived.”
This was a time when the former mayor of London, Diane Haskett, refused to proclaim ‘Gay Pride’ at City Hall as it was against her Christian values. She was eventually overruled by the Ontario Human Rights Tribunal, and the gay pride flag was flown over city hall. The HALO centre was the hub of the largest gay community in Canada, struggling yet surviving.
David recalls, “There were always lineups to get in. We had double-door security to protect our patrons. We always had Western (referring to the University of Western Ontario). The thing with the gay community at UWO was that everyone was here for four years. They would arrive, they came out, came to HALO, and they left when they graduated. There was always this kind of turnover.”
By the early 90s, within the gay community of London, HIV/AIDSwas creeping in. This disease was largely ignored by the media as well as American President Ronald Reagan. made its impact in London.
John Gordon was the first man in London to come out about his diagnosis of AIDS in South Western Ontario, and his death and legacy were the cornerstone of the creation in 1992 of the `John Gordon Home’, a Victorian-style residence on Dufferin Ave, which became a hospice. Tenants were cared for by a team of 30 volunteers (myself being one). The bedrooms of the building were remodelled, offering an individual design to each of the eight. David Long coordinated the renovation. He eventually found himself on the board of the John Gordon Home and was the representative of JGH to the Aids Committee of London. David knew the first residents, the first to arrive and the first to go to spirit.
During the same period, the London Community Players were growing. With his long-standing work with the theatre, David became part of the Board of Directors. There was this notion to physically expand the theatre as it grew, but it was David Long who noticed the ‘For Sale’ sign at the Park Theatre in East London. There was an existing stage as well as seating for up to 400 people, and in short order, the deal was closed, and the Park Theatre was purchased in December of 1990.
Renovations happened quickly, with backstage areas including dressing rooms being constructed, with the first play opening in July of 1991.
David reflects. “Looking back over the years, some of the plays we have done there have been mind-boggling.’ He adds, “It is community theatre, but you balance the events. You have people who want the light entertainment, and you have people who want to be entertained, challenged, and educated.”
Now in its 51st season, The Palace Theatre continues to present engaging theatre to the London public. But community theatre has always had its challenges.
There is the issue of operating on tight budgets and high production costs. There is a reliance on volunteers, who may come and go. Casting actors has its own issues of scheduling conflicts as well as finding actors with the right skills. You also have to find a balance to produce safe and popular shows which guarantee the sale of tickets up against bringing in challenging and thought-provoking work. Every town and city which has a community theatre is always under this threat.
The Palace Theatre has had its share of added challenges. London has a homeless population of over 2000, and the 700 block of Dundas Steet as David Long calls it is ‘ground zero’ for the problem of homelessness. The plight of vagrancy in London carries the issues of addiction, mental health problems and vandalism, which directly affects the Palace Theatre.
Windows have been broken, as well as break-ins and theft. There is open drug use on the block, which is a deterrent to potential theatre goers.
Providing security is expensive, as hundreds of dollars are required to secure each production, protecting the building as well as safely ushering patrons in and out.
David adds, “The social services provided here are overwhelmed, and the foot patrol can only do so much,” adding, “Theatre used to be in the parks and on the streets, and we just can’t do that now.”
(Pictured: The Palace Theatre’s David Long.)
What is the future for Community Theatre?
“The future is challenging. There are theatre companies always closing down as they cannot adapt, change and survive. We need young people to get involved in theatre in multiple layers,” says David. He adds, “We used to sit and talk on breaks during rehearsals. Now everyone is on their phones. Cell phones are the worst invention which creates distractions from real communication.”
“There is this perception that we are an elite group of people. No, we are just trying to pay the rent and are open to any and all ideas for the stage. Give us something challenging, and we would love to do it. Let’s use Procunier Hall to do create something very ambitious.”
And what would be the ideal piece of theatre?
“Something in Procunier Hall, about 90 minutes long with no intermissions, no breaks, and no lapses with the actors and their connection to the audience”.
He slyly adds, “We shut the door for 90 minutes, and you can’t get out.”
David’s lifelong commitment to Community Theatre is reflected not only in the productions selected for the stage but also in the sets he thoughtfully designed and created. The David Long Stage that proudly bears his name stands as a fitting and enduring tribute to his dedication, creativity, and lasting impact.
J. Bruce Parker is a retired oncology nurse. As an avid cyclist, he crossed the country by bicycle in 1991 and still explores Ontario’s north via canoe trips. He has published a short story based on his camping experiences.
For over 20 years, as a citizen scientist, he was involved with Monarch Watch, an organization that monitors the annual migration of the Monarch butterfly. He has written about this species and other articles on nature for The Cardinal, Nature London’s quarterly magazine.
The Beat Magazine 2025 