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 Gamesby 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.
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.
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.
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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.
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.
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
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)
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.
Memoirwill 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.
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.
This is the sixteenth in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile the Port Stanley Festival Theatre.
Q. When was your company founded? By whom and why?
In 1978, Jim Schaefer became the founding Artistic Director of the Port Stanley Summer Theatre, bringing live summer theatre to the North Shore of Lake Erie. For forty-seven years, the Port Stanley Summer Theatre has provided the community with entertainment in the Village Hall.
Q. Is your company best described as professional or not-for-profit community theatre?
A registered not-for-profit charitable organization managed by a Board of Directors, elected by the members of the organization at the Annual General Meeting.
Q. What venue do you use to stage your productions?
The Grace Auditorium is located inside the former Town Hall building on the North Shore of beautiful Lake Erie in Port Stanley, Ontario. Capacity: 202 seats, Tiered theatre-styled seating, 30′ x 20′ stage, full inventory of lighting and sound.
Q. Does your company have a Mission or Statement of Purpose?
Our Mandate is to produce appealing summer theatre that highlights Canadian works in drama, comedy, and musical comedy, along with other celebrated works.
Our Mission Statement is Create Inspire Develop Sustain.
Q. Does your company have a Board of Directors and paid staff?
Yes, both a Board of Directors and paid staff. The paid staff consists of Liz Gilroy, Artistic Director, Tony Sclafani, General Manager, Joe Recchia Production Manager, Denise Lunn, Advertising and Marketing, and other part-time staff.
Q. Tell me about your 2025 Season. Did it have any underlying theme?
The 2025 summer season consisted of six Canadian productions, including the world premiere of goldfish by acclaimed actor and writer Steve Ross. Five Musical Mondays on the Pat and Ali Shakir patio, where you could enjoy the best view in town of the harbour and great live music. New play development is a priority. The Summer Festival Theatre season runs from May to September, with season subscriptions going on sale in November.
Q. What show(s) will you be staging this fall (September to December)? Tell me a little bit about each.
The Port Stanley Festival Theatre hosts a Playwrights’ Festival every September, helping to develop new Canadian stories. This year, it took place from September 18 to 20, featuring three nights of FREE Public Readings as we developed new Canadian stories. PSFT presented three new Canadian plays, and patrons had the chance to be part of the creative process and hear brand new scripts from some wonderful playwrights. We’ve got a thriller from Steven Gallagher, Deadly Memories, a charming folksy comedy, Harts Crossing, by Tracey Hoyt, and a brand-new Norm Foster play, the hilarious Ship To Shore.
The Dreamboats, October 4, 2pm and 7:30pm. Dive into a musical time machine with The Dreamboats as they bring back the magic of classic, original rock ‘n’ roll! Infusing the timeless sounds of the ’50s and ’60s with a fresh, contemporary energy, this Canadian quartet promises an afternoon and evening of nostalgic melodies and electrifying entertainment.
The Fretless featuring Madeleine Roger, November 8, 2pm and 7:30pm. A Canadian band known for its unique blend of folk, classical, and Celtic traditions. A one-of-a-kind folk kitchen party experience! Their ensemble of two fiddles, a viola, and a cello produces a rich, multi-layered, and distinctive percussive sound that redefines contemporary folk music.
A staged reading of A Christmas Carol by Charles Dickens, adapted by Liz Gilroy. Saturday, November 29, at 1pm and 7pm. It’s back and it’s bigger and better than last year! A wonderful yuletide experience for the whole family.
Blue Suede and Rhinestones: Dolly Meets Elvis, Saturday, February 14, at 2pm. Step into a world of musical imagination with this new show to the PSFT stage. An unforgettable tribute to the King of Rock’ n’ Roll and the Queen of Country.
Plus, we present musical entertainment almost every Saturday between October and May. Check our website http://www.psft.ca for details.
Q. Do you have any thoughts about the London area theatre community and your part in it?
PSFT is proud to be part of the vibrant theatre community in the London area and is deeply grateful for the community’s ongoing support of the arts. We continue to be a welcoming space for local theatre/art lovers to see, hear, and celebrate incredible Canadian talent. PSFT is excited to contribute to the rich cultural landscape by bringing Canadian stories to life locally in the Port Stanley community. These stories are waiting for you — our audience — to experience, connect with, and be part of them.
For more information about the Port Stanley Festival Theatre and to purchase tickets, visit https://psft.ca/
This is the fifteenth in a series of Q&A Profiles of London area theatre companies and groups. Today, we interview Hailey Hill, Original Kids Theatre Company Artistic Director.
Q. When was your company founded? By whom and why?
Original Kids Theatre Company was founded in 1991 as a not-for-profit charitable youth organization by David Conron with 12 members. The first location of the company was in St. Thomas, about 30 minutes south of London.
Q. Is your company best described as professional or not-for-profit community theatre? Or both?
We are a not-for-profit youth theatre organization.
Q. What venue(s) do you use to stage your productions?
We are lucky enough to have our own venue: The Spriet Family Theatre! It has a capacity of 105 seats, a stage with a balcony, and a tech booth that comes with its own lighting and sound setup.
Q. Does your company have a Mission or Statement of Purpose?
Our mission statement is:
Original Kids Theatre Company enriches and celebrates the lives of young people through the arts, providing them with opportunities to mature and learn positive values through a variety of theatre experiences in a safe and challenging environment.
And this is our Philosophy:
Original Kids Theatre Company was not formed to create stars, as we believe each child already shines in their own way. We were formed because we believe that by instilling our values in everything we do, we can help young people to grow and gain confidence in who they are. We do this by providing a safe and supportive environment where cast members are part of a community, made up of peers and mentors who are there to help one another. Youth can explore theatre without fear of judgment or ridicule, and our carefully chosen staff work hard to ensure each cast member gets to learn more about their passion for theatre, while also challenging them to meet new people and explore new things. We believe that by doing this, we can help a generation of youth become well-rounded, confident, supportive, and kind individuals who will make the world a better place.
Q. Does your company have a Board of Directors and paid Staff?
We do have a Board of Directors and 5 paid full-time staff members: Artistic Director, Executive Director, Administrative Coordinator, Production Manager, and Technical Director. We also have our Kidlets Coordinator, who runs our introductory program for kids aged 5-9, and our Camp Director, who runs our summer camp, Camp OK! In addition to these roles, we have contract box office staff, camp counsellors, and Kidlets staff. Depending on the time of year, we could have anywhere from 5 to 50 people on payroll.
(Pictured: Hailey Hill, Artistic Director, Original Kids Theatre Company)
Q. Tell me about your 2025-2026 Season. Does it have any underlying theme?
We have nine exciting shows planned for our Fall 2025 season under the theme “No Place Like Home”. If you couldn’t already tell, The Wizard of Oz is one of the titles for this season, as well as the musicals Between the Lines Jr., Oklahoma!, Dare to Dream Jr., Footloose, CATS, and Spamalot, and the plays Dr. Experimentor and the League of Evil and Macbeth. We feel that most, if not all, of these shows highlight a desire to belong and find a way to feel at home, whatever that means for the characters.
This is what I wrote in the Fall 2025 season letter:
“This season at Original Kids, we are appreciating and celebrating what it means to be home. But… what is “home”? Is it the physical house you live in? Is it the people you surround yourself with? Is it where you feel most at peace?
The answer is both very simple and a bit complicated: “home” is what you make it! To Dorothy in The Wizard of Oz, home is in Kansas with Toto and her Aunt Em. To the Knights in Spamalot, they feel at home as members of the Round Table. To Delilah in Between the Lines Jr., she feels most at home when escaping from reality and reading a book on her rooftop. But what all of these situations have in common is the joy, safety, and belonging that these characters feel when doing the things they love most.
No matter the show you find yourself in, we can all explore this season together and really ask ourselves what brings that sense of belonging to the characters we play, as well as us as Original Kids. Many of you may even consider Original Kids a home, whether it be in the rehearsal hall or on the theater stage. Original Kids is a beautiful place that brings performers, parents, and staff together to make one big and beautiful home. And as Dorothy said, there is no place like it.“
As far as our Spring 2026 season goes, that is currently in the works. I have been working hard at work, planning the next season, and am very excited for what is ahead!
Q. What show(s) will you be staging this fall (September to December)? Could you tell me a little bit about each?
DR. EXPERIMENTOR AND THE LEAGUE OF EVIL Dates: Oct. 30 – Nov. 2
Age Rating: All Ages Approx Length: 1 hour (no intermission)
Dr. Experimentor, a mastermind supervillain, must fight to maintain his membership in the infamous League of Evil. There’s just one problem — membership means defeating superhero Extremo, who happens to be his best friend! To make matters worse, Dr. Experimentor faces relentless pressure from Agnes and Abigail Anarchy, ambitious upstart villains eager for his downfall. Armed with his arsenal of ingenious inventions, Dr. Experimentor faces an impossible choice: defeat his superhero or suffer at the hands of the League!
DISNEY’S DARE TO DREAM JR. Dates: Nov. 6 – 9 Age Rating: All Ages Approx Length: 1 hour (no intermission)
Disney’s Dare to Dream Jr. is a musical revue that follows an eager group of trainees on their first day at a fictional Walt Disney Imagineering Studio. As the group sets out to help each other discover their dreams, they work together to explore the power of dreams to unite, inspire, and make anything possible. This musical revue is a thrilling mix of contemporary songs, timeless classics, and brand-new medleys that are sure to surprise and delight Disney lovers of all ages.
THE WIZARD OF OZ: YOUTH EDITION Dates: Nov. 13 – 16 Age Rating: All Ages Approx Length: 1 hour (no intermission)
Join Dorothy and her loyal companion Toto as they “Follow the Yellow Brick Road” through the Land of Oz, determined to reach the Emerald City, where the great and powerful Wizard of Oz will help them get home. Of course, along the way, Dorothy encounters witches (both good and bad), Munchkins, talking trees, and winged monkeys. But most importantly, she befriends three unique characters: a Scarecrow with no brain, a Tin Man with no heart, and a Lion with no “nerve.” Their journey to happiness – and self-awareness – is a glowing testament to friendship, understanding, and hope in a world filled with both beauty and ugliness.
MACBETH Dates: Nov. 21 – 23 Age Rating: Recommended 12+ Approx Length: 2h 10m including intermission
Set in Scotland and partly based on a true historical account, Macbeth charts the bloody rise to power and tragic downfall of the warrior Macbeth. This version will look at the classic story from a more modern perspective and explore themes of witchcraft, fate, and if we can ever really control our own destiny.
OKLAHOMA! YOUTH EDITION Dates: Nov. 27 – 30 Age Rating: All Ages Approx Length: 1 hour (no intermission)
A high-spirited rivalry between local farmers and cowboys provides a colorful background for Curly, a charming cowboy, and Laurey, a feisty farm girl, to play out their love story. Their romantic journey, as bumpy as a surrey ride down a country road, contrasts with the comic exploits of brazen Ado Annie and hapless Will Parker in a musical adventure embracing hope, determination, and the promise of a new land.
BETWEEN THE LINES JR. Dates: Dec 4 – 7 Age Rating: All Ages Approx Length: 1h 30m (no intermission)
Between the Lines is an empowering and enchanting story for anyone who has struggled to find their place in the world. An outsider in a new town and a new school, Delilah seeks comfort in the pages of her favorite book, where she feels heard and understood by the handsome Prince Oliver. But as the lines between fantasy and reality begin to blur in extraordinary ways, Delilah realizes her dreams in the real world are worth fighting for.
THE ACTOR GROWS SHOWCASE Dates: Dec 6 & 7 Age Rating: All Ages Approx Length: TBD
After weeks of training in areas such as stage movement, voice, dance, improvisation, theatre tradition, and much more, our first-year company members take to the stage!
FOOTLOOSE Dates: Dec 11 – 14 Age Rating: Recommended 12+ Approx Length: 2h 15m including intermission When Ren and his mother move from Chicago to a small farming town, he is prepared for the inevitable adjustment period at his new high school. But he’s not prepared for the rigorous local edicts, including a ban on dancing instituted by the local preacher, who is determined to exercise control over the town’s youth.
CATS Dates: Dec 18 – 21 Age Rating: All Ages Approx Length: 2h 20m including intermission.
The Jellicle Cats come out to play on one special night of the year – the night of the Jellicle Ball. One by one, they tell their stories for the amusement of Old Deuteronomy, their wise and benevolent leader, who must choose one of the Cats to ascend to The Heaviside Layer and be reborn into a whole new Jellicle life. Our version will be a bold reimagining of Cats that trades fur and whiskers for something a little more raw, more human, and a lot more personal.
MONTY PYTHON’S SPAMALOT Dates: Jan 8 – 11, 2026 Age Rating: Recommended 14+ Approx Length: 2h 15m including intermission
It’s just a flesh wound! Monty Python’s Spamalot, lovingly ripped off from the classic film comedy Monty Python and the Holy Grail, retells the legend of King Arthur and his Knights of the Round Table. Bursting with unforgettable songs, absurd humor, and zany characters, this musical is a rollicking celebration of all things Monty Python.
Q. Do you have any thoughts about the London area theatre community and your part in it?
Original Kids has been a staple in the London theatre community for 35 years, but we are just one of many amazing theatre companies that call London home. We are so proud to be a part of a community that values local talent, personal growth through the arts, trying new things with the support of others, and doing what you love. We at Original Kids prioritize fostering healthy rehearsal and production environments that help a generation of youth become well-rounded, confident, supportive, and kind individuals who will make the world a better place. We live in a very stressful world right now, and it is incredibly important to us to give children a safe space to learn and grow with people who want nothing more than to see them succeed on and off stage.
This is the fourteenth in a series of Q&A Profiles of London area theatre companies and groups. Today, we profile Odesa Company.
Q. When was your company founded? By whom and why?
Odesa Company was founded in November 2022 by Adam Smalley, Chris Smalley, and Scott Smalley. We long wished to run a theatre company, and our inaugural 2023 co-production of Dracula with London Community Players presented a great opportunity to do so.
Q. Is your company best described as professional or not-for-profit community theatre? Or both?
We’re a non-professional, volunteer-driven independent theatre company.
(Pictured: Scott and Chris Smalley, founders of Odesa Company)
Q. What venue(s) do you use to stage your productions?
For our 2025 season, we’ve booked the Auburn Stage at the Grand Theatre (Shakespeare’s Oz), as well as the Princess Ave. Playhouse in St. Thomas (Misery).
Q. Does your company have a Mission or Statement of Purpose?
Absolutely!
MISSION STATEMENT At Odesa Company, we believe theatre should be daring, collaborative, and deeply human. We create bold, high-quality productions, interactive experiences, and educational initiatives that invite artists and audiences of all ages to engage and imagine. We support skills development that applies both on stage and in life, and we treat our people with respect, transparency, and care. We foster a culture of integrity and inclusion, grounded in the belief that diversity strengthens both our art and our society.
VISION STATEMENT Odesa Company exists to make theatre that connects people through storytelling, meaningful collaboration, and shared creative experiences. We aim to be a place where artists feel valued, audiences feel engaged, and everyone involved walks away inspired to come back and do it again. As we grow, we’re building a creative home where innovation, care, and community shape not just our shows, but the future of how theatre is made.
Q. Does your company have a Board of Directors and paid staff?
We have a Board of Directors that operates as volunteers; we are almost entirely volunteer-driven, including the ownership group and leadership team. Having said that, we have been actively exploring and executing on compensation opportunities for our team where possible, and it is our plan to get to a point in our development where honorariums, profit-sharing, and contract work are widespread and normalized within the organization.
Q. Tell me about your 2025-2026 Season. Does it have any underlying theme?
At this point in Odesa’s development, we’re committed to establishing our brand of theatre, which is characterized by shows that have a high attention to detail around performance and technical elements; some of our shows are fun, fantastical and don’t take themselves too seriously (StageQuest), while others pick away at the darker side of humanity and dig at the emotions of the audience (Dracula, The Elephant Man).
For our 2025 season, our July production of Shakespeare’s Oz joined StageQuest as one of our more fantastical adventures, while Misery, based on the novel by Stephen King and running from October 23-26, will join Dracula and The Elephant Man as one of our darker, more serious plays.
Q. What show(s) will you be staging this fall (September to December)? Tell me a little bit about each. Misery, written by William Goldman and based on the novel by Stephen King, will be performed at the Princess Avenue. Playhouse in St. Thomas from October 23 – 26. Tickets are on sale now at www.odesa.company/tickets.
Q. Do you have any thoughts about the London area theatre community and your part in it?
We’ve only been in business for the last couple of years, and in that time, we’ve had the privilege of working with so many amazing people, with very few exceptions. Odesa Company positions itself as an option for artists to create exciting theatre, and we have a strong desire to be leaders in the community, with a commitment to creating positive experiences for our artists, patrons, and community partners.
For more information about Odesa Company and to purchase tickets, visit https://odesa.company/
The Beat Magazine 2025 