Tag: writing

A Killer Performance Anchors a Sharp “Prescription: Murder”

by Richard Young

Reviewed by Jo-Anne Bishop

(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.

Tickets: $31.70-$36.70  Prescription: Murder | The Grand Theatre

Reviewed by Jo-Anne Bishop.

Background and Experience in the Arts

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.

David Long – A Life In Apples, Advocacy and Community Theatre

by Richard Young

By J. Bruce Parker

(Pictured: The Palace Theatre’s David Long.)

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.

To learn more about the Palace Theatre Arts Commons and its productions, visit Palace Theatre Arts Commons | London ON Community Theatre

By J. Bruce Parker

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.

For more information about Nature London and The Cardinal, visit https://www.naturelondon.com/the-cardinal/

He is documenting his ongoing friendship with Canadian poet bill bissett, which he hopes to eventually publish. 

Bruce has been writing articles for Villager Publications since 2022. To read samples of Bruce’s writing, visit https://www.villagerpublications.com/

Piaf/Dietrich Brings Two Icons Back to Life at The Grand

by Richard Young

Reviewed by Charlotte MacDonald

(Pictured: Deborah Hay as Edith Piaf and Terra C. MacLeod as Marlene Dietrich. Photo: Dahlia Katz.)

Two singers born fifteen years and 1,000 kilometres apart walk into the same dressing room in New York. The result? A friendship that transcends history.  

Set in 1948, in the glittering post-war world of New York’s international stage, The Grand Theatre’s Production of Piaf/Dietrich follows the unlikely and enduring friendship that formed between French chanteuse Édith Piaf and German screen legend Marlene Dietrich.

While the glamour and star power of Hollywood’s golden era tend to fascinate many, Piaf/Dietrich pulls back the velvet curtain and invites the audience backstage to discover who these legendary women were when the spotlight faded. 

The performance opens with Marlene Dietrich, played by Terra C. MacLeod, back in Germany for the first time in 30 years after resisting Hitler and his regime, preparing for a show in her dressing room. Sixty kilometres away, Édith Piaf, played by Deborah Hay, is also preparing for a performance of her own. When each woman’s name is mentioned to the other, it quickly becomes clear that something between them has gone sour as both wince at the mere sound of the other’s name.

As they step onto their respective stages, only a few towns apart, they both begin to sing La Vie en Rose. Édith performs drunkenly while Marlene faces hecklers, and both begin to falter. This parallel performance signals a palpable link connecting the two women’s lives, leaving the audience to wonder: what happened?

(Pictured: Deborah Hay as Edith Piaf. Photo: Dahlia Katz.)

Before we find out, the story takes us back to the beginning.

Originally titled Spatz und Engel (The Angel and the Sparrow), the show was co-written by German author and director Daniel Große Boymann and Austrian playwright Thomas Kahry. It premiered in Vienna in 2013, where it ran for six seasons before touring Germany, Switzerland, and Czechoslovakia. The production was later translated by Sam Madwar and adapted by Canadian playwright Erin Shields. 

After the story jumped back in time through a seamless transition, the stark contrast in Hay’s performance as Piaf is immediately striking. The fragile, exhausted singer struggling through her performance transforms into a youthful, giddy young woman, still untouched by fame. This younger Edith feels worlds away from the woman we saw only moments earlier, demonstrating Hay’s range and setting the stage for the story that will eventually bring us back to that moment.

When Marlene returns to the stage, singing “Boys in the Backroom,” Edith remains in the background, starstruck, listening to the song on the radio. MacLeod’s portrayal of Marlene is strong, confident and charming, moving through her numbers with a kind of grace and ease that only a seasoned entertainer could. This layered approach to staging and dialogue continues throughout the production, creating a sense of immersion that felt almost cinematic.

(Pictured: Terra C. MacLeod as Marlene Dietrich. Photo: Dahlia Katz.)

The atmosphere throughout the show was further supported by lines of marquee lights framing the set and a live band in suits positioned on either side of the stage, reminiscent of a vintage cabaret. This constant presence on stage suggested that even in moments away from performing, that world lingered in the background, inseparable from who these women were.

One of the most naturally compelling elements of this story is the instant and profound bond that is formed between the two protagonists, despite how differently they appear in the world. Marlene is glamorous, poised and relentlessly professional, carrying a quiet sadness she would never let anyone see, whereas Édith is unapologetically emotional, sometimes volatile and blessed with a fiery passion capable of setting any stage ablaze. 

“Often, we are drawn by our own admiration of that which we ourselves are not. It is in this mix that our story emerges,” says the show’s director and The Grand’s artistic director, Rachel Peake. 

(Pictured: Rachel Peake, director of Piaf/Dietrich, and Grand Theatre Artistic Director.)

Beneath the glamour of show business that surrounds this production is a story unafraid to confront the difficult moments that shaped these women’s lives. Exploring real themes of substance abuse, regret, fear, and loss, the narrative moves beyond entertainment into something unmistakably intimate.

For any theatre lover, and sometimes even for those who are not, finding yourself suddenly brimming with emotion at the simplest of moments is hardly unfamiliar. A twinkle in a chanteuse’s eye as she looks out at a devoted audience, or an actor’s moment of complete surrender to their character, can be enough to crack open even the most tightly guarded heart.

In Piaf/Dietrich, the performers did more than simply act with raw intensity; they seemed to fully embody their characters, connecting with the untouchable age of days gone by, dazzling the audience into misty-eyed awe as the performance unfolded before them.

(Pictured: Deborah Hay as Edith Piaf and Terra C. MacLeod as Marlene Dietrich. Photo: Dahlia Katz.)

At one point in the performance, as Hay was singing Mon Dieu, I closed my eyes and pretended Édith Piaf herself had been reincarnated and was serenading me. As it turns out, the man sitting beside me had done the same thing. While Édith Piaf may live only in old vinyl records and Spotify playlists, it felt like a privilege to come as close as this to hearing her alive again.

So, if you’re still wondering how I felt about going to see Piaf/Dietrich at The Grand Theatre, in the words of French chanteuse Édith Piaf — Non, je ne regrette rien.

IF YOU GO:

What: The Grand Theatre presents Piaf/Dietrich: A Legendary Affair.

When: February 17 – March 7, 2026.

March 4, 2026 | 1:00pm

March 4, 2026 | 7:30pm

March 5, 2026 | 7:30pm

March 6, 2026 | 8:00pm

March 7, 2026 | 2:00pm

March 7, 2026 | 8:00pm

Where: Grand Theatre, 471 Richmond Street, London, ON.

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

Reviewed by Charlotte MacDonald

Charlotte MacDonald is a Creative Writing and History student at Western University. She currently writes about theatre, pop culture, and campus life for The Western Gazette, works as a Digital Intern at The Walrus, and hosts a radio show at Radio Western. Growing up in Toronto, theatre has always been a staple part of Charlotte’s life, and she has come to greatly enjoy engaging and contributing to the theatre community through her writing.

Laura Gagnon – Still a Road Warrior.

by Richard Young

In a 2023 profile I prepared of well-known London area singer-songwriter and Forest City London Music Awards recipient, Laura Gagnon, she told me, “I’m a road warrior at heart.” Since that story was published, the Port Stanley resident has kept up her busy schedule of live performances in and around London, throughout Canada, and abroad.

I caught up with Laura as she was in the throes of organizing and preparing for The International Women’s Day – Women In Music Showcase, being held at London’s Palasad Social Bowl on Sunday, March 8th.

What follows is an updated Q&A Interview with Laura about her career and the March 8th event. (The Interview has been edited for length and clarity.)

Q. Tell me a little bit about your upbringing. Was yours a musical home?

Very much a musical home! My parents are both professional musicians, and once a week, they’d have band rehearsals at our home in the garage when I was very young. The garage was connected to our kitchen, so you can imagine me singing all the tunes in the kitchen at the top of my lungs while they’re practising. Ha-ha!

Q. Do you remember the moment when you made the decision that music was going to be a big part of your life?

In our previous interview, I talked about Grade 10, but the more I reflect on my life and career, I realize it was much earlier than that. Recently, I discovered old VHS tapes of me singing and playing piano, and I could see how much I loved it. I was shy but determined! My first TV appearance was on “Rogers TV” for the Salvation Army. You can actually watch these on my Instagram account. The glimmer in my eyes really says it all.

Q. Has the piano always been your primary instrument? Do you play any other instruments?

I definitely started with piano, and then singing came not too long afterwards. It gave me the foundation for pitch and how notes worked together. The sound was beautiful to me. I then tried to learn the sax and trumpet, but that didn’t stick. Ha-ha. Then I picked up the drums. I can jam pretty well with musicians but not well enough to play a big show. I’ve recently picked up the flute, so we’ll see how that goes!

Q. What have your musical influences been over the years?

Going way back to when I was eight years old, it started with the Wizard of Oz and “Somewhere Over The Rainbow.” I was enchanted by Judy Garland. It grew into a love for Disney songs. My favourites were Snow White, The Little Mermaid and Beauty and the Beast. Then along came Alicia Keys, who introduced me to soul and a female artist who could play and sing piano. The sassiness of Britney Spears and Christina Aguilera followed, and then the range and sensitive tone of Mariah Carey really started to shape my musical world.

Q. Tell me about the various groups and musicians you have played with since you started playing professionally.

I’ve had the privilege of playing with some pretty exceptional musicians, but also some really amazing groups like the Extreme Tour, based on guiding the lost out of the dark with music. I’ve written with Guess Who Guitarist, Dale Russell (may he rest in peace). An incredible producer, songwriter and human. Gary Martin of the Touring Funk Brothers is another exceptional musician who taught me how to better connect with an audience through just one single note. These three stick out to me because they’ve had an incredible impact on my career.

Q. What types of gigs have you played over the years?

Oh wow! I’ve played festivals like CMW, VENUEXVENUE, World Fest, Ribfest and conferences. I sang the Canadian and American national anthems in France for a tree planting ceremony for the 100th Anniversary of Vimy Ridge. At MMA events, London, ON City Council, Ottawa, ON City Council, baseball games, hockey games, soccer games. Performed in Nashville at Rocket Town for an industry showcase and many songwriter showcases around Canada.

Q. Tell me a little bit about any recordings you have made in your career.

It all started with writing a song for Remembrance Day, “In Our Hearts”. I wrote it based on many veteran ceremonies I’ve sung at. I wanted to give something back to the community that had supported me for so long. Two days before their ceremony, I asked if I could perform “In Our Hearts,” and they said yes, absolutely.

Now, at this point in time, the song hadn’t been recorded yet, and I wanted to see if it was worth diving into, and it was. There was an overwhelming need and feeling to get this song professionally done. I recorded the song at Prevail Media Group, and they brought it to life! Fast forward a year, and I get a message in my Facebook inbox from a woman asking if I have sheet music for the song. I didn’t at that moment, but I quickly wrote a lead sheet for her and sent it off.

I asked her if she could send me clips of her singing group practising and performing it. I also wanted to come see the performance and hear them in person. I asked where they were based, and she said Australia!! Darn, that’s a bit far! Ha-ha!. But I was so honoured that they picked my song to sing for their Remembrance Day ceremony. They found it on YouTube! Thank you, Moss Vale High!

Q. Other than the March 8th International Women’s Day – Women In Music Showcase, what projects are you currently pursuing?

Right now, I’m working on a couple of singles, one to be released in about five weeks called “Blue Eyes”. It’s a soft, stripped-down, cuddle vibes kinda song. The song feels like a warm hug, chicken soup for the soul and the feeling of getting tucked into bed as a kid. I remember that feeling well. I’m really excited for this one and honoured to be working with a really amazing producer, Randy Mead, out of London. After that single, I’ll be releasing another single, then an album.

Q. Is there anything else you think our readers should know about Laura Gagnon, the musician and Laura Gagnon the individual?

Since we last chatted, a lot has changed, and it’s been an amazing adventure and gift. 2025 was a big year for me. I was signed to an indie label, Big Records World (Canadian label), signed to a Management/Booking label, Grace Musicians Management Group (NYC Label), and toured the United States performing and helping the homeless with a group called The Extreme Tour, as I mentioned earlier. I’d like to expand on “The Extreme Tour” because it was the pivotal point of my career. It took me out of business mode and reminded me that I’m an artist and I have a bigger mission than just playing show to show, hoping to increase my followers.

I forgot to connect with my audience and be warm for them, be gentle with myself. I forgot that silliness is okay and actually inspires humans to be themselves. That tour reminded me why I started this career in the first place. I think it’s our job as musicians to help, heal and be kind to those who aren’t kind to themselves. To give them permission to be themselves. When lost, you help them find their way. The amazing part about that is that, in turn, sometimes in helping them, they help you. Selflessness is the key to success. Being YOU and no one else and just showing up. TRUST. I will be going back on tour with this amazing team, but also be touring a string of shows in New York City soon.

—

The Doll House Showcase Presents International Women’s Day – Women IN Music Showcase

Q. The Facebook post for the event suggests that it has been 10 years since you have done one of these showcases. Why is that? What has motivated you to revive the showcase in 2026?

I organized and ran The Doll House, a showcase for female musicians from 2016 to 2018, which allowed me to play with many amazing female musicians like Sarah Smith, Nikki James, Carly Thomas, and many others. It was all about empowering female musicians and working as a team to accomplish our goals and being there for one another when things got tough.

The past couple of years, I’ve been asked if I’m going to be bringing this showcase back to the city by multiple musicians and showcase goers from the previous years. I thought, as it has been ten years, this would be the perfect time to bring it back.

Q. Do you have any other partners in organizing and staging this event?

I have been doing all the organizing and staging. I’ve done all the marketing, posters, video and picture promo, radio interviews, TV interviews, including setting up the flow of the artists and booking the venue.

Q. Are similar events taking place in other communities?

Yes! It’s quite amazing! Ottawa has two of them, “Girls To The Front” and “Vox Femme”, and Burlington has “Harmonia”. I know of many others, but those are the ones that stick out in my mind. I’ve performed at two of them.

(Watch Laura in this segment from Roger’s TV What’s Up London https://www.facebook.com/share/v/18MR5Ubrsv/)

Q. Where are the proceeds from the event going?

Most of the proceeds are going towards My Sisters Place – a vital London, Ontario charity operated by CMHA Thames Valley that provides a safe, welcoming centre and essential services for women experiencing trauma, mental health challenges, addiction, and homelessness – and the participating musicians. In true Doll House Tradition, there will be a tip jar for all musicians to share. “It’s A Doll House Tradition To Tip The Musician!”

My Sisters Place has the same mission as the Doll House, which is to protect and create awareness of the dangers of one’s surroundings. It advocates for women to speak out and be heard. To work together and heal through music and community. When we first started this event, that was the main purpose, so women in the music scene weren’t alone and could call on each other. It was created as a safe space, like My Sisters Place.

Q. Tell me about the artists who will be performing on March 8th. What genres of music will be represented?

The artists are women who have been busting their butts in the music scene worldwide. They aren’t just local heroes but international inspirations. They come from all walks of life. Some have been with the Showcase from the beginning, and some I have met in the past year. They come from Quebec, Guelph, Port Dover, London, Kincardine, Port Stanley and Toronto.  Each musician is pushing boundaries every day to create that safe space for the young musicians coming up. Easy to talk to, open to tell you anything and help you where it’s needed. Sometimes an in confidence ear.

The lineup includes myself, Anne Moniz, Cinzia and the Eclipse, D’eve Archer, Gillian Davies, Angelina MacKinnon, Felicia McMinn, Rachel Dara, Andrea Matchett, and Kate Channer. Musical genres presented will include Pop, Folk, R&B, and Rock. (Editor’s Note: Photos of the participating musicians appear below.)

Q. Where can readers get more information about the individual artists?

Each artist has an Instagram account and a website. They’re all on social media, so they’re easy to find. I urge you to follow them, comment on their pages and tell them what inspired you when you saw them perform.

Q. Do you plan on making this an annual event again?

That’s a great question. I haven’t decided yet. But I think this is a great idea.

Q. Is there anything else you think our readers should know about the March 8th event?

This isn’t just a showcase. These events have always been about networking and connection, storytelling, and just making sure we all get a little bit of love. There will be merch for sale, so please bring cash. That goes directly to the artists. We have an amazing host named TIA G, who is a champion of women owning their energy, advocating for being yourself, and is a bright light in our sometimes very dark community. We are so excited to have her!

IF YOU GO:

What: The Doll House Showcase Presents: International Women’s Day – Women in Music.

When: Sunday, March 8th at 6:00pm.

Where: Palasad Socialbowl, 777 Adelaide Street N., London, ON.

Tickets: $10 cover charge at the Door. An All Ages Event.

For more information, visit https://www.facebook.com/events/1920189272180409/

PARTICIPATING ARTISTS:

(Tia G.)

(Anne Moniz.)

(D’eve Archer.)

(Gillian Davies.)

(Rachel Dara.)

(Kate Channer.) 

(Angelina Mackinnon.)

(Felicia McMinn.)

(Andrea Matchett.)

(Cinzia And The Eclipse.)

Q&A Interview with Laura Gagnon conducted by Richard Young, Publisher & Content Manager of The Beat Magazine 2025.

If you have a story idea or would like to become a Volunteer Writer for The Beat Magazine 2025, you can reach Richard at richardyoung@thebeatmagazine2025.ca

Jason Rip – London’s Man for all Seasons

by Richard Young

by J. Bruce Parker

Jason Rip is very much aware that his name will also be his epitaph. Mention this to him, and his eyes narrow slightly, accompanied by a nefarious smile. This is understandable as the poet, author, actor, director, comedian, and cartoonist has incorporated a sense of the macabre into much of his work.

With all these titles before his name, I ask, “Who is Jason Rip”?

He diffuses it down to “I’m a storyteller.”

I met up with Jason at one of his favorite haunts, the Landon Library in South London. He was deep into Charles Dickens’ heavy-handed tome, Bleak House, and also researching the Boer War for an upcoming book.

Jason’s stories, many evolving into plays, exactly 100 of them with 74 being produced, also tell the story of Jason Rip in some way or another. Two of his plays were written about London luminaries, Marc Emery and Roy MacDonald.  

With the finality of his theatrical work ending at 100, he adds, “I stopped writing plays after my 100th as I felt no one needs to write more than 100 plays”. His notion of practicality certainly hasn’t diminished his restless creative spirit.

Jason Rip was born in Guelph, migrated to Indiana due to his father’s work as a biochemist, and ended up in London when he was six.

He was formally educated at the University of Western Ontario and, as a teacher, taught in Tillsonburg as well as at South Secondary School in London.

At six foot six, Jason Rip is an imposing figure.

“A lot of people have told me that I am intimidating when they first meet me. I can’t help being six foot six.”

His love of theatre inspired him to seek out roles, but in his own words, “If you are the dimensions that I am, there are limits on roles that you will get.”                                                    

In a 2018 documentary, directed by Matthew Downs and produced by Faith Clark, appropriately titled A Tombstone Epitaph, Jason is described as “a big man with strong opinions.”

In the film, Jason tells us, “I didn’t really choose theatre, it chose me, but I know I am passionate about it to the exclusion of almost everything else; relationships, jobs, money, or whether I eat or not. I do what I want. I don’t think I am influenced by whether it is going to sell or if anybody is going to want to see it. I am doomed to a low budget, but I do what I want. In terms of a guy who writes in this town, I am the last man standing”.

He slyly adds, “I have never written anything that shouldn’t be burned in a fire.”

As an aspiring actor, Jason began writing plays to create parts for himself. “The playwriting came as I wasn’t satisfied with the parts I was getting.”

Reflecting on his own life, he took to writing plays about the downcast, the vulnerable, the destitute, and marginalized; those who are swept aside or misunderstood by society.

This could be defined in a work he co-created with Rachel Ganz and performed at Manor Park Theatre in 2024. Man Up is a definitive and somewhat uncomfortable look at the issue of male suicide. All five performances were sold out. He expressed on his Facebook page that the play was for “the precious few who prefer their theatre to be hard-hitting social commentary instead of song and dance, and for all who have lost loved ones to the ‘unspeakable’ but everyday tragedy.” Jason cast seven local actors to perform the eighteen scenes/vignettes.

The play demonstrated the role of masculinity in our society; the perceived image of what a man is about and the myths of machismo. To make it timely, consider the highest point of office in the U.S. by an individual who has proven himself as an example of the worst kind of toxic masculinity.

His previous theatrical works explored the lives of artist Andy Warhol, poets Arthur Rimbaud and Edgar Allen Poe, and jazz musician Chet Baker; all highly creative but troubled souls. 

Jason tells me, “I started out my life feeling like an outcast, and in some ways, I still feel like one, with what separates me from others is quite extreme, but it is also a source of strength. I write about the poor and destitute because I can’t stand the problems of the rich. I work with people who don’t have anything, and that is where my sympathy lies.”

And Jason would know, as he recently retired from a ten-year career working the night shift at Unity, a homeless shelter which he proudly states has no religious affiliation.

He defines himself as ‘nocturnal’ and, despite working the night shift, which he admits “makes me a little crazy”, he continues to write. 

“I can knock off a short story in one fevered session or a page in a day,” adding, “I write obliquely about everyday stuff, always turning a bit of a twist to the story. I like my little niche.”

Thirty years of writing have evolved into Jason’s most recent works. My Gehenna, published in 2024, was quickly followed up by The Goblin and Other Tales, released in 2025. Both volumes delve into the world of horror. He introduces the reader to the dark side of humanity; to those misfits who live beyond the fringes of scruples and sanity. The troubled and invective characters he creates transport the reader along a journey of both humor and horror. There are those defined with a “fondness for acts of indecency,” and Mr. Rip boils it all down to “people being nasty to each other.”

My Gehenna and The Goblin and Other Tales can be purchased through Amazon.

A copy of his first book was given to a homeless man who dubbed Jason Rip as “the Dostoevsky of Goof Town”, a title which he relishes.

The stuff of Jason Rip comes from both the likes of Edgar Allen Poe and William Shakespeare, whose entire theatrical work Jason has read. And there is American author Norman Mailer, whom Jason decrees is America’s Tolstoy.

Musically, in his writing, there is an inspiration from both the likes of musicians Tom Waits and Warren Zevon, who documented his terminal diagnosis of cancer over three albums. It is this dark and unexploited channel of human life that seems to propel his desire to continue writing.

(Pictured: Anne Moniz, Jason Rip, and Daniel Oniszecko.)

His life’s work, which he decrees, “One of the happiest things of my life is that I feel that I have written everything that I need to write,” has also recognized by our community. Jason was awarded the 2018 Chris Doty Lifetime Achievement award, as well as being recognized as a “Distinguished Londoner”. He is grateful for both accolades.

You can often find Jason Rip at the Landon Library in Wortley Village, possibly inspired by the solace and solitude that a library offers.

Leaving the theatre behind, trust that something dark, sinister, but highly compelling will come out of London’s premier storyteller.

This April 15 to 19, AlvegoRoot Theatre is producing a brand new version of Jason Rip’s darkly hilarious play Luce. Mark the date in your Calendar now.

by J. Bruce Parker

Out of the Woods and Into the Spotlight: How London’s Literary Community Built Its First Anthology

by Richard Young

by Dawn Lyons

When members of the London Writers’ Society first tossed around the idea of creating an anthology, it felt more like a someday dream than a concrete project. But in 2023, with a growing membership, a renewed energy, and a core of volunteers ready to say yes, “someday” shifted into “now.” The result, Out of the Woods: Voices from the Forest City, has since become more than a book. It’s a celebration of London’s writers, its literary identity, and the collaborative spirit that fuels creative communities.

A vision years in the making

The goal for the anthology was simple but ambitious: to create a showcase of the Society’s members that reflected the full breadth of London’s talent. The committee envisioned a collection with creative nonfiction, fiction, and poetry that allowed room for multiple genres and voices, all reviewed through a tiered judging process and curated by a local prominent literary figure.

While the vision stayed largely intact, one thing surprised them – the sheer amount of work involved. From funnelling anonymous submissions to first readers, to coordinating edits, to choosing the final layout, the process became a true community effort. Society members were invited to submit up to five pieces each, and the response was overwhelming. Most submitted at least one piece, with many sending in the maximum. The first-round judges produced a longlist; then came the question of who would choose the finalists.

Because the anthology was rooted in London, the team wanted a local literary presence. Someone suggested novelist Emma Donoghue. They assumed it was a long shot.

It wasn’t.

“She responded immediately with ‘Sure!’” recalls

“We were shocked and thrilled.”

(Pictured: Emma Donoghue. Photo Credit: Woodgate Photography.)

Donoghue selected a beautifully varied set of finalists that included stories of all tones, genres, and moods. Behind the scenes, editor Heather Godden played a crucial role, offering thoughtful feedback even to writers being edited for the first time. She also crafted the order of pieces, creating what the committee describes as a “gentle wave-like vibe, allowing emotions to ebb and flow throughout the book.”

A mix of writers, a mix of worlds

The anthology gathers work from writers at every stage: brand new voices, emerging writers building momentum, and established authors adding another credit to their growing list. Many were published for the first time; others were thrilled to contribute alongside peers they admire.

What stands out most is the depth of diversity, not only of the authors themselves but of the stories they tell. The membership of the London Writers’ Society spans ages, backgrounds, identities, and experiences, and the anthology reflects that richness. Within its pages, readers will find memoir, political reflection, gender-identity-focused nonfiction, supernatural tales, science fiction, romantasy, historical narratives, and poetry, both light and deeply moving. Like London itself, where one turn reveals affluence and another reveals hardship, the anthology refuses categorization.

(Pictured: Martha Morrison, London Writers Society Anthology Chair.)

“There is no ‘one’ London,” Morrison explains. “This city, like its authors, cannot be defined.”

Because the book is titled Out of the Woods, writers were encouraged to interpret the theme literally or figuratively. The result is a tapestry of forested settings, metaphors of struggle and emergence, stories of being “out of the woods” — or very much not.

Most Londoners will recognize that the title also plays with London’s nickname, the Forest City, which brings to mind the idea of voices emerging from woods, fields, and farmland to step into the light.

Beyond the theme, Morrison and the committee see the book as something that fills a much larger gap: recognition of London’s vibrant literary culture. “It is a hotbed of innovation and creativity,” she says. “We’d like to proclaim it ‘the City of the Arts.’”

Watch Martha Morrison and Donna Costa discuss Out of the Woods on a recent episode of Rogers TV’s show, What’s Up London: https://www.facebook.com/share/r/17qacRK3Bq/

Lines that linger

Several pieces in the anthology stand out for their resonance. A few of the committee’s favourite lines (although Morrison indicates there are many) include:

From Discovery by Laurie Browne:
“…My heart lies among the discarded shells and stones and my edges have softened like blue beach glass…”

From Alignment by Laura Wythe:
“…They were peering into the windows of the van… dressed in hide or bark with woven stuff sticking out, and masks—or were they faces?… It was difficult to say if they were human, animal or, weirdly, tree?”

From Not Just Lonely by Bruce Lord:
“You were those petals, I those thorns / and when you held me for the very last time, I fear I made your fingers bleed.”

From Wear a Denim Shirt for Me by Diane Kirby:
“I have lived a life steeped in denim.”

From Dust – An Ode by E. Jeffrey Orchard:
“Dust is like laundry / there’s always more.”

If this book had a soundtrack…

Music lovers will appreciate the anthology’s unofficial playlist curated by the committee — a mix of Canadian, local, and Irish artists (a nod to the anthology’s curator):

  • “Out of the Woods” – Nickel Creek
  • “Nightingale” – Leonard Cohen
  • “Everything I Call Home” – The Pairs
  • “Lonely” – Lost in Japan
  • “Redwood Tree” – Van Morrison
  • “Lost Forest Medley” – Paul Mills
  • “A Case of You” – Joni Mitchell
  • “Take It on Home” – Genevieve Fisher
  • “A Forest” – The Cure
  • “Meet Me in the Woods” – Lord Huron
  • “In the Woods Somewhere” – Hozier
  • “Shadows and Tall Trees” – U2
  • “Go Back to Your Woods” – Robbie Robertson

(And yes, for the Swifties: Taylor Swift’s Out of the Woods also fits!)

A community-powered national spotlight success story

One of the defining features of Out of the Woods is how many hands helped shape it. From grants and sponsorships to support from the wider publishing world, including Terry Fallis writing the foreword and Douglas Gibson providing a blurb, the team felt as if the whole literary community rallied behind them. Local independent bookstores embraced the anthology, as did surprising partners like Tuckey Home Hardware in Wortley Village, which now keeps shelves dedicated to local writers.

Reader response has also been overwhelmingly positive, with people praising its readability, emotional range, and resonance. Live readings have brought packed rooms, tears, laughter, and countless conversations.

Perhaps the biggest surprise came when the anthology was named one of The Globe and Mail’s “35 Hot New Reads” for August and September. Physical copies of the paper were immediately purchased for safekeeping when the committee heard about the recognition from a friend. 

“It’s a stamp of approval that reminds many of our members they are indeed writers,” says Morrison. 

What’s next?

The idea of a second anthology is already on the table, and the early signs are promising — volunteers are stepping forward, and energy is building.

In the meantime, the London Writers’ Society continues its year-round work: monthly craft workshops, critique groups, author spotlights, Book Fair booths, a developing podcast, and a growing presence across southwestern Ontario. With more than 150 members writing poetry, fiction, creative nonfiction, and scripts, the Society remains a cornerstone of London’s literary landscape.

Where to Buy Out of the Woods: Voices from the Forest City

Readers can find the anthology at independent booksellers across London and surrounding communities (Windsor, Port Stanley, St. Thomas, Strathroy, Sarnia, St Marys, Stratford), at Indigo, and online through Amazon and Barnes & Noble. A full list of retailers is available under the “Anthology Project” tab at: https://www.londonwriterssociety.ca

Follow the London Writers Society on Facebook: https://www.facebook.com/LondonOntWriters

Follow the London Writers Society on Instagram: https://www.instagram.com/londonwriterssocietyontario/

By Dawn Lyons.

(Pictured: The Beat Magazine Contributor, Dawn Lyons.)

Weekend Roundup of Selected Arts Events in the London Area, November 28-30.

by Richard Young

Compiled by Richard Young, Publisher & Content Manager, The Beat Magazine 2025

WE’VE GOT LIVE THEATRE!

London Community Players present: Deathtrap
By Ira Levin
Directed by James Patterson
Produced by Anita Goodfellow

A thriller about thrillers—and the deadly games writers play.

Sidney Bruhl’s Broadway career is failing fast… until a student sends him the perfect script. What follows is a suspenseful, twist-filled rollercoaster of betrayal, manipulation, and murder. Who’s writing the final act—and who won’t live to see it?

Twists. Turns. Typewriters.

The most diabolically clever thriller ever staged.

This one will keep you guessing.

Nov 27-Dec 7

Tickets: Adults: $33
Students/Seniors (55+): $30
Youth (under 18): $20
(fees included)

https://mytickets.palacetheatre.ca/eventperformances.asp?evt=513

Theatre Tillsonburg presents Ken Ludwig’s
Twas the Night Before Christmas, November 20-23, and November 27-30.

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

For more information and tickets, visit https://www.theatretillsonburg.com/

IF YOU GO:

What: Disney’s Frozen: The Broadway Musical, presented by The Grand Theatre
Where: Spriet Stage at the Grand Theatre
When: November 18th to January 4th, 2026
Tickets: Disney’s Frozen | The Grand Theatre

Read Jo-Anne Bishop’s Review here: https://thebeatmagazine2025.ca/2025/11/24/a-flurry-of-magic-frozen-melts-hearts-at-the-grand-theatre/

Kettle Creek Players presents The Wicked Witches of Oz Pantomime this Friday, November 28th and Saturday, November 29th. 

Wicked Witches of Oz is a British Panto written by Peter Nuttall with permission from Lazy Bee Scripts. It’s a hilarious take on the story of The Wizard of Oz that is fun for all ages.

135 Wellington St., St. Thomas, ON

Tickets: https://www.eventbrite.ca/e/wicked-witches-of-oz-tickets-1200504775099

Shut The Front Door: Grinch-Prov, Friday, November 28.

Picture a stage where your wildest holiday ideas come to life! From mischievous Grinches to cheerful spirits, every suggestion sparks hilarious moments. Bring your friends and family for a night of belly laughs you won’t forget! 

Don’t miss out on the fun—grab your tickets early! Ready to spread some holiday cheer? Drop your quirky suggestions in the comments below! Let’s make Grinchprov unforgettable!

https://www.shutthefrontdoor.ca/

Original Kids Theatre Company presents Rodgers and Hammerstein’s Oklahoma: Youth Edition, Nov. 27-30, Spriet Family Theatre, 130 King St. (Covent Garden Market, 2nd fl), London, ON.

A high-spirited rivalry between local farmers and cowboys provides a colourful 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.

Tickets: https://www.originalkids.ca/tickets

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

This timeless classic about a selfless man, George Bailey, is brought to life as a live radio show.  

When life gets in the way, George sacrifices his own ambitions for the good of the community.  It’s Christmas Eve, and a cruel nemesis has put the reputation of George and his father’s business in jeopardy. George is in a desperate condition, and an unlikely guardian angel comes to his aid, but will it be enough to make George see that it’s really a wonderful life?

Tickets: https://www.grandtheatre.com/event/its-wonderful-life-live-radio-show

WE’VE GOT LIVE MUSIC!

The Aeolian Hall presents Emm Gryner, Friday, November 28, at 7:30pm, 795 Dundas St, London, ON 

Emm Gryner is a 3-time Juno Award-nominated Canadian singer and multi-instrumentalist. She has been sought after by David Bowie and Def Leppard to sing and collaborate with them on tour and on recordings, including the new Stripped Version of “Pour Some Sugar On Me” featuring the Royal Philharmonic Orchestra. Emm also helped make the first music video in outer space when Chris Hadfield enlisted her to create a new version of “Space Oddity”, which was partially recorded aboard the International Space Station. Emm’s new album “Business & Pleasure” is a foray into yacht rock and features an all-star list of Nashville musicians who have worked with Michael McDonald, Hall & Oates, Taylor Swift and Toto. Emm is constantly crossing genres and defying the odds of what is possible in the music industry as an independent female recording artist. 

https://aeolianhall.ca/

Anne Moniz & Friends at the Dawghouse Pub and Eatery, Friday, November 28, at 9:00pm. 699 Wilkins St, London, ON.

London singer-songwriter Anne Moniz (from such bands as Tell It To Sweeney and Thames Rivieras) returns to The Dawghouse Pub & Eatery for the last time in 2025! Accompanying her is multi-instrumentalist Daniel Oniszeczko.

Enjoy a full night of original acoustic-driven music featuring special guests, including indigenous Toronto artist Nyssa Komorowski.

Betamaxx Live 80s Matinee at the Richmond Tavern at 3:00pm. 370 Richmond St, London, ON

Say Anything to your pals while dancing and singing along to your favourite 80s New Wave/Post Punk/New Romantics songs!

Matinee show, 3-6pm. Day drinking on a Saturday – what could be better?

No cover.

The annual Red Scarf benefit concert returns to London Music Hall on Saturday, November 29, hosted by Queen Priyanka and featuring performances from SHEBAD.

Every year, music artists take the Red Scarf stage to ring in World AIDS Day and raise critical funds in support of the Regional HIV/AIDS Connection (RHAC). As a special celebration of RHAC’s 40th anniversary, this year’s show is double the entertainment: Hosted by international popstar and drag performer Priyanka and featuring Indie music group SHEBAD.

Learn more at www.Redscarf.ca

Doors 6:30PM. Licensed/All Ages Event.
Tickets on sale now at https://www.ticketweb.ca/…/red-scarf-hosted-by…/14646963

London Music Hall – 185 Queens Ave – London, ON
www.londonmusichall.com 

FIESTA LATINA THIS 𝐅𝐑𝐈𝐃𝐀𝐘 𝐍𝐎𝐕. 𝟐𝟖𝐓𝐇 INSIDE 𝐏𝐄𝐏𝐏𝐄𝐑𝐌𝐎𝐎𝐍! LATIN ELEMENT DANCE BAND – DJ ORLANDO VALENCIA IN THE HOUSE! 10PM – GREAT FOOD – LATIN MUSIC – FREE PARKING! 1100 COMMISSIONERS RD. E. LONDON ON.

The Strands at the Eastside Bar and Grill, Friday, November 28th, 750 Hamilton Rd., London, ON
It’s a full night of Rock hits with a punk rock twist.
9pm Start. Cover $10.

Kevin’s Bacon Train at the Palasad Socialbowl, Friday, November 28, at 8:30pm. 777 Adelaide St. North, London, ON.

Kevin’s Bacon Train is a high-energy bluegrass band that blends down-home picking with a cheeky sense of fun. With driving banjo, tight harmonies, and a sound that’s equal parts front porch jam and festival mainstage, they get audiences clapping, stomping, and grinning ear to ear. Whether you’re a die-hard roots fan or just love a good time, Kevin’s Bacon Train brings the kind of infectious, foot-stompin’ joy that turns every show into a barn-burner.

The Elder Brothers at The Wortley Roadhouse, Sunday, November 30, at 3:00pm. 190 Wortley Rd, London, ON.

The Elder Brothers close out November with a matinee on Sunday, November 30! The show starts at 3pm. No Cover.

Dallas Smith and his Band at Centennial Hall, Saturday, November 29, at 7:00pm. 550 Wellington St. London, ON.

Tickets
$ 69.00 + TAX & S/C
$1.00 from every ticket will be donated to Salvation Army Toy Mountain

https://centennialhall.london.ca/

Tickets available here: https://ticketscene.ca/events/56883/

London Youth Symphony presents Old Friends and Overtures, Saturday, November 29, 7:30pm, at Metropolitan United Church.

Program:

“Nimrod” from Enigma Variations — Elgar

Capriccio Italienne -Tchaikovsky

Academic Festival Overture – Brahms

Overture to Der Freischütz – von Weber

Tickets: Adult – $15.00, Students – $5.00. Available at the door or londonyouthsymphony.net

London Pro Musica Choir presents Texture: Beauty for Dark Times, Saturday, November 29, 7:30pm, at St. James Westminster Church, 115 Askin Street, London, ON.

An a cappella concert that celebrates the music and influence of 16th-century Italian composer Giovanni Pierluigi da Palestrina (1525-1594) and Austrian composer Anton Bruckner (1824-1896).

The program features Palestrina’s Missa Papae Marcelli: an intricate, exquisite work written in defiance of a papal edict demanding that all sacred music be simple and stark. Our program will celebrate this work and incorporate works by the German composer Anton Bruckner. Bruckner lived 300 years later, yet his music rings with the old master’s influence and style. With this unadorned, a cappella program, we, like Palestrina, stand in defiant defence of the necessity of beauty in dark times.

Anton Bruckner was a devoutly religious man and composed numerous sacred works. He wrote a Te Deum, five psalm settings (including Psalm 150 in the 1890s), a Festive cantata, a Magnificat, about forty motets (among them eight settings of Tantum ergo, and three settings of both Christus factus est and Ave Maria), and at least seven Masses. There will be five selected a cappella works by Bruckner in this concert.

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

WE’VE GOT ART EXHIBITIONS!

Jack Cocker “New Paintings” continues to November 29, 2025, at Michael Gibson Gallery, 157 Carling Street, London.

Read Beth Stewart’s Review here: https://thebeatmagazine2025.ca/2025/11/25/jack-cocker-new-paintings-at-michael-gibson-gallery/

Celebrating original music and art from the local community as we raise funds to support the ongoing work of Mission Services of London, at Valleyview Mennonite Church on Saturday, November 29, at 6:00pm. 170 Melsandra Ave, London, ON.

->Featuring several short music performances by local musicians
->Art silent auction
->Art silent auction starts at 6pm. Music starts at 7pm.
->$10 entry + donation* online or at the door (https://CreativityandCommunity.eventbrite.ca)
->Refreshments available

Music Lineup Featuring:
Adair Meehan
Sina Khosravi
Sharon Bee
Lynn Davis Bertie
Derek Martin
Rayne Vitorino Dias & David Rayo

Art Silent Auction featuring various local artists.

Anyone can donate to support this fundraiser at: https://www.paypal.com/ncp/payment/A4RF5QEZQ3LFC

All donations are to the Valleyview Mennonite Church: Missions Fund. www.valleyviewmc.ca/content/missions-fund. The Valleyview Mennonite Church Missions Fund will make a donation to Mission Services of London equivalent to the proceeds raised at this event. Tax Receipts are available for any donation provided above the $10 admission fee.

Lisa Johnson’s incredible solo exhibition, Full Circle, will be on display until November 29th at Westland Gallery

http://www.westlandgallery.ca

Read Beth Stewart’s Review here: https://thebeatmagazine2025.ca/2025/11/09/lisa-johnson-takes-your-breath-away-at-westland-gallery/

For information about Current Art Exhibitions at TAP Centre for Creativity, visit https://www.tapcreativity.org/gallery

For information about Current Art Exhibitions at Benz Gallery, visit https://www.thebenzgallery.com/

Silver Spotlight Theatre presents Showtune, December 4-14, on the Grand Theatre’s Auburn Stage 

by Richard Young

by Richard Young, Publisher & Content Manager, The Beat Magazine

Silver Spotlight Theatre, London’s group for performers aged 55 and up, presents its fourth musical, Showtune, celebrating Jerry Herman’s work this December. 

Like the group’s previous shows – Babes In Arms (2023), Grease (2024), and Into The Woods (2024) – it is expected to sell out. 

The Beat Magazine spoke with Showtune’s Director and Silver Spotlight Theatre co-founder, Rick Smith, about the show and the group’s move towards incorporating itself as a not-for-profit organization. The following Q&A Interview has been edited for length and clarity. 

(Pictured: Rick Smith, Showtune director and co-founder of Silver Spotlight Theatre.)

Q. Could you review for our readers how, when, why, and by whom Silver Spotlight Theatre came into being?  

Just before COVID locked us all safely away at home, Art Fidler, now affectionately called the ‘grandfather’ of Silver Spotlight Theatre, approached me, the then President of Musical Theatre Productions, about an idea of establishing a wing of MTP dedicated to people in an older demographic (55+). We met with Kathy Smith, who directed us to the Ontario Government Grant offerings to launch this untested idea. We were fortunate enough to receive funds from their Seniors Living Grants. Mary-Ellen Willard, one of Art’s former students, offered the services of her company, AdHome Creative, to create a new logo and support the visuals used for our production. From there, we floored it, and away we sped toward the big reveal. Art and I took the lead, directing the first production, Babes In Arms, with Kelly Holbrough producing, Janice Wallace as Musical Director, and Candy Robinson as Stage Manager. 

Q. What role does SST play in London’s theatre community? 

There are several outlets for London youth to gain theatre experience through Original Kids, London Youth Theatre Education (LYTE), Arts 4 All Kids, and more. For individuals 20-54, the Palace, Musical Theatre Productions, Odessa Company and others offer lots of opportunities to get involved in community theatre. That leaves interested parties in the 55+ age range very few opportunities, especially on stage. Unless a script calls for a grandparent, the ability to learn, grow and get engaged is minimal. Silver Spotlight Theatre offers those in this demographic the opportunities that are otherwise limited. It has provided a creative outlet and a place to learn and experiment in theatre craft. More than that, it has built a solid connection for those who get involved in our productions. In post-retirement life without external interactions, it is easy to sit in front of the TV and wait. Silver Spotlight Theatre has brought those people out of their armchairs and helped them join a really connected community with regular gatherings, parties, brunches and friendships. Through the arts, seniors get to learn, create, move and connect. 

Q. Can you tell me a bit about SST’s previous three sold-out productions? 

Babes In Arms (2023) was the first production. It was a coming-of-age story where seniors were cast in roles of minors trying to prove themselves by “finding a barn and putting on a show”. It was filled with a lot of American Songbook numbers written by Lorenz Hart (The Lady is a Tramp, Where or When, My Funny Valentine, and more).

That was followed by the ever-popular Grease (2024), where again seniors were performing as teenagers from the ‘50s and singing the memorable tunes from the show, Greased Lightning, There Are Worse Things I Could Do, We Go Together and more.

To mix it up a bit, the third production was Stephen Sondheim’s Into the Woods (2024), where we turned our seniors into fairy tale characters and really tested them by performing it In the Round, which was a new concept for many of the cast.

Finally, our fourth and final production under the MTP umbrella is Showtune, a musical review of the words and lyrics of the great Jerry Herman. Again, a new vehicle for our dedicated, hardworking teams. There is no time to catch their breath in this action-packed song and dance show  

Q. Can one talk of a Silver Spotlight Theatre troupe, or are new cast and crew members added to each production? 

While there are several returning cast and crew members from each show, we have had many new faces, as well as new as 55+ can be, come out to audition and reach out to get connected. We have people in our audience who meet with us during intermission or at the end of a show, asking how they can get involved. Within each show, this troupe grows and inspires new folks to try something new or re-stimulates the passion for theatre from years gone by. A lot of our members are first-time performers or backstage helpers. Some come back to the stage for the first time since high school, while others have transitioned from the standard community theatre stage to ours, bringing their experience with them to share with others in the group.

Q. Putting bums in seats is always a challenge for community theatre groups. What explains SST’s success? 

I think what has made Silver Spotlight Successful is, in part, our affiliation with MTP as a brand endorsement. MTP has a long history within the London community, and with that, it brings a following. But it is also unlike that of the youth programming. Every parent and grandparent wants to see little Suzie or little Tom on the stage. SST brings out the grown children and grandchildren of those included in the production. It is an extension of what we call our family. Once they see what we can do, word of mouth spreads, and it brings in others who want to see what it is all about. There is a sense of curiosity that comes from this kind of niche group.  

Q. What can people expect to see/hear if they attend Showtune? Any highlights you would like to cite? 

Audiences will be thoroughly entertained with Showtune. Jerry Herman wrote the songs from some of Broadway’s biggest hits like Hello Dolly, Mame, La Cage Aux Folles and more. He was a storyteller with his music, but not as technical as Sondheim or Lloyd-Webber. People can hum along with his tunes. They consist of light-hearted and uplifting lyrics, and even the songs that have a more sombre feel have a positive message and always look on the bright side of life. The cast has grown to love these tunes and sing and dance with all their heart. I challenge audience members not to tap their toes or hum a familiar tune.

Watch cast member Angie Batte Jansen talk about Showtune: https://www.facebook.com/share/v/14Pr3LnvXtz/

Q. Up until now, SST has operated as a branch of London’s Musical Theatre Productions. What precipitated SST’s decision to incorporate as a stand-alone not-for-profit organization? 

With each production, those involved in SST productions have learned and grown. We are incredibly grateful to MTP for taking the chance on this untested concept. Without the Board’s approval and encouragement, there wouldn’t be an SST company. That said, the learnings and the growth over the past four seasons made the group realize that having the autonomy to make its own decisions was needed. We felt it was time to ‘grow up’ and take the lead for itself. There are life and work experiences that the SST followers bring with them, whether it is project management, people management, education delivery, or finance finesse. These are the skills included in this troupe that make it easy to make appropriate decisions that we can own as our own. 

Q. What are the advantages/benefits of SST becoming a not-for-profit organization? 

It was important for the inaugural Board to obtain a charity status. We realized under MTP that status allows for greater opportunities to obtain sponsorship and private donations. Getting a tax slip for their support of our organization makes it far more attractive for donors and sponsors to contribute. It also allows us the opportunity to be eligible for corporate and government grants. Funding is a very important element for starting any new venture, and we rely on those sponsorships and private donations to help get things off the ground. MTP was the benefactor of our previous productions as they flipped the bill to pay for our shows, so we are starting out from ground zero. The ability to offer tax slips as deductions on income taxes gives us a wider range of avenues to achieve the goal of capturing the attention of those willing to support our organization.

Watch cast member Rob Hibbs talk about Showtune: https://www.facebook.com/share/v/1BgHdXgCih/

Q. Has an interim Board for the new group been appointed? 

Yes. This was very important to the small committee working with MTP to establish longer-term visions for SST. In order to incorporate and gain charitable organization status, a Board of Directors needed to be appointed from that small group of core SST members. We elected the key board members to get the ball rolling. It was important to provide some experience to these positions to begin to establish the credibility of the Board. With our combined 60+ years of community theatre experience, I was appointed President along with Toni Wilson as Vice President. A Secretary needs to be very organized with the ability to be concise yet thorough with communications, so Cathy Weaver, a retired head of HR, was unanimously elected to that position. We knew we needed an experienced manager of finance to take on the position of Treasurer. Alex Gow has the appropriate designations and experience to ensure the appropriate accounting and tax filing is complete. And there is no need for a Treasurer without funds, so Susan McKone and Tracey Andrus, two very connected and imaginative women, were appointed to Fundraising and Sponsorship. Dan and Margo Surman hold seats as Members at Large and, although they do not have a designated portfolio, their contributions and support for these different commitments will be invaluable. 

Q. What are the next steps for Silver Spotlight Theatre? 

SST must establish a foundation, including but not limited to seeking sponsorship and donations, identifying a rehearsal space, and gathering SST supporters to build a strong foundation. We want to engage our members by including them in the process through committee work, brainstorming, leveraging resources and contacts to help get us off the ground. Our first official act will be holding a meeting for anyone interested in the future of SST on January 13, 2026. The time and location will be announced once we have secured a venue. Oh, did I mention we are starting at ground zero?

Q. Is there anything else you think our readers should know about Silver Spotlight Theatre and/or Showtune? 

Although Silver Spotlight Theatre has stepped into the light as its own entity and, in a way, is starting anew, our core values and goals remain the same. We are still committed to developing quality performances, granting opportunities to develop performance and designer programming for education and skill development, and the inclusion of age-appropriate members who are interested in being part of our community. This is the first of our building blocks, and we will be looking to our membership to assist with brainstorming ideas to raise funds for our three, five and ten-year strategy plans. This is the first of many steps in achieving and maintaining the community that has become Silver Spotlight Theatre. 

Cast:

Angie Jansen

Barb Currado

Carol Taylor-Wilks

Dan Surman

Deborah Mitchell

Holly Kinchlea Brown

Jayne Terry

Jensen Caughlin

Joanna Makinson

Karen MacDonald

Karon Dean

Lesley Andrew

Lisa Jones

Margarita Sanchez-Favro

Maria Marsh

Mitch Zimmerman

Rachelle Peterson

Rick Smith

Rob Hibbs

Steve Hobbs

Susan Dean

Susan McKone

Therese Hibbs

Creative Team:

Director: Rick Smith 

Assistant Director: Nick Banks 

Musical Director: Jeff Holbrough

Choreographer: Grant Statchuk 

Producers: Mike Jewison and Candy Robinson 

Stage Manager: Teri May

Assistant Stage Manager: Tracey Andrus

IF YOU GO:

What: Silver Spotlight Theatre presents Showtune, a Celebration of Jerry Herman’s Words & Music.

When: December 4 to 14, 2025.

Where: Grand Theatre Auburn Stage

Tickets: https://www.grandtheatre.com/event/mtp-showtune

To learn more about Silver Spotlight Theatre and Showtune, visit https://www.mtplondon.ca/silver-spotlight

(Showtune is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. 
www.mtishows.com)

(NOTE: The videos embedded in this Interview are courtesy of Brian Ince.)

The Life and Times of Dave Semple: Renaissance Man.

by Richard Young

by J Bruce Parker

(Photo by Liam Semple)

If you know Wortley Village resident Dave Semple, his quality of generosity first comes to mind. The retired drama teacher with over thirty-five years of experience as an actor and director has offered free workshops for aspiring thespians. As a guitar luthier, he has built and given away several guitars to those he felt needed them, as well as taking the time to teach the instrument to seniors.

Dave is a prominent and familiar presence in local theatre, and both his love of the stage and music have become the focus of his post-retirement life.

Dave was born in Quebec to a young and struggling mother and was put up for adoption when he was five months old. His adoptive parents moved about, and Dave found himself in the city of Rouyn Noranda, a mining town, dedicated to the recreations of hockey, snowmobiling, and ice fishing.

(Photo by Ross Davidson.)

Dave felt that he really didn’t fit in. “I had a little music room with a piano and a couple of guitars, and that’s where I escaped,” he says. He noodled about on the piano and eventually took lessons, but again, could not fit in with the role of a piano student.

“My teacher realized that I was struggling to learn to read music, so she started to train my ear. I couldn’t sight-read but she recognized that I had a really good ear, and maybe she could train that instead. It influenced me in how I became a teacher, as her philosophy to meet the student where they are became my philosophy as a teacher.”

Dave eventually crossed the border into Ontario, where he enrolled at the University of Windsor in a Bachelor of Fine Arts program. He considered the idea of theatre as a career but did not pursue it. “I never wanted to be an actor full-time as the idea of always looking for work scared the crap out of me,” he says.

He had a friend working at the University of Western Ontario who was able to cast him in Romeo and Juliet as the character Tybalt. “They needed someone to do the sword-fighting scenes, and I had learned combat choreography at university. I had also done some fencing,” Dave recalls.

(Photo by J Bruce Parker.)

With this success, he realized he liked the idea of teaching, and it appealed to him as a choice for a working career. Dave taught Drama at Strathroy Collegiate for four years before transferring to Oakridge Secondary School. It was here he met James Patterson, head of the Drama Department, who would be part of his career in theatre for the next thirty years.

After leaving Oakridge, Dave taught Drama and English at Saunders Secondary School for nine years, leading up to his retirement in 2022.

Dave’s wellspring of creativity has produced two novels, four books of poetry, one poetic novella, and two books of ‘Words of Wisdom.’ As a singer/songwriter, he has released five CDs, but his musical artistry was stifled for a time when “The pandemic kicked that out of me,” he says.

Three years out of the pandemic, Dave is rethinking and creating again.

(Photo by J Bruce Parker.)

His work as a guitar luthier began when he could not find an electric guitar with specific woods and electronic features that he wanted. It was his father who taught him carpentry and electronics, which aided in his task. He found the parts online and built his own. This hobby grew over the last seven years when local guitarists would seek him out for repairs or to customize their own instruments. Eventually, orders came in for specific body designs, woods, and electronics, and ‘Phoenix Guitar Works’ was born. Dave tells me, “The name came from a few crashes and burns in my life.”

After his retirement, Dave found a new energy and discovered that “time is now finite.” This energy inspired him to audition for leading roles in two productions at the Palace Theatre: The Black Bonspiel of Wullie MacCrimmon and The Donnellys, which was directed by his long-time friend James Patterson. He was eventually doing back-to-back rehearsals. Dave moved from the sinister but charismatic character of the devil in ‘Black Bonspiel,’ to the patriarch of the infamous family from Lucan.

“I like dramas more than comedies,” he tells me. “I like stories that are dark and have a good depth of substance to them.”

(Photo by Ross Davidson.)

Peter Colley’s play about the brutal massacre of a family in Lucan in 1880 was previously performed in London at the Grand Theatre in 1974. It portrays Johanna and James Donnelly as victims of this horrendous crime. Other accounts of this event have been less sympathetic to the couple. “We wanted to bring out that they were a loving couple and that they were trying to make the best world, despite all the strikes against them. We wanted to make them likeable and relatable,” says Dave.

Last year, Dave was cast in local playwright Jason Rip’s Man Up, a piece of theatre produced and directed by John Pacheco, which was performed at the Manor Park Memorial Hall for five sold-out performances. Divided into eighteen scenes, the production explored the definition of masculinity and the associated high rate of male suicide.

In a television interview about Man Up, Dave expressed, “Since COVID, I think theatre has gotten really safe with light and fluffy productions to bring audiences back in. You go to the theatre to escape or connect. With this play, every night when I go home, it stirs up feelings and thoughts, and I want to have discussions with people. And this is what is important about this play in particular.” He adds, “In thirty years of teaching, I lost eight students to suicide.”

Dave has directed nineteen plays, and he enjoys moving back and forth from directing to acting. “It depends on my frame of mind if I want to direct or act. But acting is more work as you have to memorize.” Laughing, he adds, “I have a hard time liking young actors. I like the ones who are my age and older.” 

It is tough for him to single out a favorite actor, but Gene Hackman comes to mind when he is persuaded for an answer.

It is no surprise that this talented craftsman recently created and performed Stories and Songs, a fundraising event for the Palace Theatre on November 6. Dave is a voice of his community, and his voice regaled friends and fans with his music and personal reflections.

His performance at the Palace’s Procunier Hall was perfect for an intimate evening. A comfortable parlour chair, an antique table displaying the visual memories of his songs, underscored with soft lighting. He picked from four guitars, regarding all as his ‘friends,’ and explaining the history of each.

His three-hour marathon performance with a brief intermission was culled from his vast creative work and warm and generous heart. He emptied his pockets of childhood memories in song and spoken word, often in a cathartic voice, directing us to his beginnings as a five-month-old child being given up for adoption. Love, acceptance, and family become important themes in his music.

His presentation was interactive as he requested ‘Dad Jokes’ regarding his remembrance and relationship with his own adoptive father, as well as inquiring about a recent moment of ‘joy’ from his audience. And joy is something we need more of these days.

(Photo by J Bruce Parker)

Gathering a few young people to sit at his feet, in a most grandfatherly and comedic manner, Dave told an anecdote of something antiquated and nearly extinct: the vinyl record.

His final song was not his, but of his friend, musician Jake Leveque, a musical force of this city who passed away in 2024.

Following Dave Semple down his road of memory is often a very familiar journey, as his memories can be relatable. He examines his humanity, which allows us to reflect on our own. You listen closely, and his voice in song becomes your voice.

Originally, Stories & Songs was to be a one-off event, but it was met with such a measure of success, several performances are now booked at the Palace Theatre in the Spring of 2026.

Dave Semple is now directing Closer, a play by British playwright Patrick Marber, in a production which will run from February 5 to 15 at Procunier Hall at the Palace Theatre.

To hear Dave Semple’s music, visit https://www.reverbnation.com/davesemple

Follow Dave on Facebook: https://www.facebook.com/profile.php?id=100032083767062

By J Bruce Parker

Theatre Aezir’s Dating Games, November 6-16, is more than just a show.

by Richard Young

by Erin Sevigny

Wednesday, November 5, 2025

It’s the night before opening night. We call that a Dress Rehearsal. When I left the theatre on Wednesday night, the chairs were not set up, cables were all over the place, we were still waiting for a wardrobe delivery, and I had to stop by the LCBO to get a replacement prop.

But you know by tomorrow night at 7:55pm, everything will be in place, lines will be learned, and the directors can finally breathe. Every time I do this, I ask myself, ‘Why do I do this to myself?’ And the next time I forget what it was like, I just do it again.

Dating Tip: Skip the small talk, go to the theatre.  Theatre Aezir presents Dating Games by Garth Wingfield — laughter, romance, and everything in between. Come with a date, come with friends, or come alone and make new ones in the lobby line. Either way, you’ll fall in love with the show. 

Dating Games features five short plays, each showcasing a comically terrible first date that goes off the rails. Written by Garth Wingfield, the show’s real focus lies not in the dates themselves, but in the emerging theatre talent directing the plays. This production serves as a groundbreaking training initiative, providing mentorship and performance opportunities for up-and-coming directors.

“Dating Games is a truly special production. It is more than just a show; it’s a project that combines mentorship, training, and performance, contributing to the entire theatrical community,” says Elizabeth Durand, Theatre Aezir’s Artistic Director.

“We are so proud of our Emerging Directors. Our mentors are guiding them, but they hit the road running on all four cylinders. Each of them has a distinct style, but is no less effective. We are sure that after this experience, there will be five new directors ready for their next assignment,” adds Durand.

Check out this short video featuring Cast & Crew members answering the question: “Why should people come see Dating Games? https://www.facebook.com/share/r/1CLH8LELj9/

Your support is crucial to fulfill the promise of this project.

If You Go:

What: Theatre Aezir presents Dating Games.

When: November 6th to November 16th

Where: First Baptist Church, 568 Richmond St., London, ON

Tickets: Discount codes are available for seniors, under-30s, and arts workers on Theatre Aezir’s ticketing page: https://events.humanitix.com/dating-games-bad-dates-good-theatre

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

Read The Beat Magazine’s Profile of Theatre Aezir at https://thebeatmagazine2025.ca/2025/10/02/introducing-theatre-aezir-qa-with-elizabeth-durand/

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