Tag: writing

Q&A with Melissa Parker About Neon Gaslight

by Richard Young

What follows is a Q&A Interview with Melissa Parker, author of Neon Gaslight, conducted by Richard Young. In collaboration with Odesa Company, a staged reading of Neon Gaslight will be held at Manor Park Memorial Hall on Saturday, July 25.

Q. Tell me about Neon Gaslight – Backstory, author, inspiration.

Neon Gaslight is a contemporary adaptation of Patrick Hamilton’s classic 1938 thriller Gas Light, the work that ultimately gave us the term “gaslighting.” The adaptation is written by me, London-based playwright Melissa Parker, and reimagines the story through a more modern lens, exploring coercive control, manipulation, truth, and power in today’s world (well, the 80s).

The project emerged from a desire to revisit a story that remains relevant. While the original play focused on psychological manipulation within a marriage, Neon Gaslight expands the conversation to reflect contemporary experiences of emotional abuse, misinformation, and the ways people can be made to doubt their own reality. As someone deeply committed to feminism and social justice, I was interested in exploring how this story could spark dialogue about issues that continue to affect women and marginalized communities today.

The adaptation is being developed in collaboration with Odesa Theatre Company and an incredible team of artists who have brought their creativity, insight, and passion to the process.

Q. What prompted you to write this piece?

The inspiration came from two places. First, I have always been fascinated by the original Gas Light and the enduring cultural impact it has had. Few plays have contributed a term to our everyday language in the way that “gaslighting” has.

Second, I was seeing examples of manipulation, misinformation, and abuse of power everywhere — from personal relationships to broader social and political conversations. I wanted to explore how these dynamics operate today and create a piece that asks audiences to consider what happens when someone systematically undermines another person’s sense of self and reality.

At its heart, this work is about resilience, reclaiming one’s voice and the importance of believing people when they share their experiences.

Q. Could you provide a brief plot synopsis?

Set in the glow of contemporary urban life, Neon Gaslight follows Bella, a woman who begins to question her memory, judgment and perception as off-putting events unfold around her. As those closest to her dismiss her concerns, she finds herself trapped in an increasingly confusing and isolating reality.

With the help of an unexpected ally, Bella begins to unravel a web of manipulation and discovers that the truth may be far different from what she has been led to believe. The story blends suspense, psychological drama, and social commentary while examining how power can be used to control — and how courage can help reclaim it.

Q. What sets this production apart from others?

This adaptation takes a familiar classic and places it firmly in a more modern setting. While it honours the tension and suspense of the original story, it also engages directly with contemporary conversations around coercive control, gender-based violence, mental health, and the social conditions that allow manipulation to flourish.

Another unique aspect is the development process itself. This staged reading is not simply a performance; it’s part of an ongoing creative dialogue. Audience members will have an opportunity to share feedback and help shape the future evolution of the work.

We’re also proud to be partnering with community organizations whose missions align with the themes of the play, helping to connect art with meaningful social impact.

Q. What can audiences expect from the staged reading?

Audiences can expect a compelling first look at a new Canadian work in development. The reading will feature Julianna Goertzen as Bella and Sam Didi as Jack, Izzy Siebert as Liz, Tessa Dang as Nan, Robin Shugar-Pollock as Mrs. Rough and Dan Curtis as Mr. Rough, bringing

these complex and dynamic characters to life while allowing audiences to engage with the story in its formative stages.

Working alongside Odesa Theatre Company, the cast will guide audiences through a suspenseful and emotionally resonant story that explores manipulation and reclaiming one’s voice.

Following the reading, attendees will be invited to participate in a feedback discussion. Their insights will help inform future revisions and contribute directly to the development of the piece.

It’s an opportunity not only to experience theatre, but to become part of the creative process.

Q. When do you hope to perform the show?

The staged reading on July 25 is an important milestone in the development of the project. Following audience feedback and continued script development, the goal is to move toward a fully staged production in the coming year.

We are currently exploring partnerships, venues, and production opportunities that will allow the work to reach broader audiences while maintaining its strong community connections and social impact focus.

Q. Is there anything else you think readers should know about the show?

One of the things I’m most excited about is how this project brings together artists, community organizations, and audiences around a shared conversation. While Neon Gaslight is a suspenseful and entertaining theatrical experience, it’s also an opportunity to reflect on issues that continue to affect many women and families.

Proceeds from the staged reading will support the Women’s Rural Resource Centre, helping to advance services and supports for women in our community. The themes of the play align closely with the work of organizations that advocate for safety, empowerment and equity, making this partnership especially meaningful.

The staged reading takes place on Saturday, July 25 at Manor Park Memorial Hall in London, Ontario, and admission is by donation. We encourage people to RSVP, attend the reading and take part in the post-show discussion. Audience feedback will play an important role in shaping the future of this new work, and we’d love for the community to be part of that journey from the very beginning.

Website: neongaslight.ca

Facebook

Instagram

NEON GASLIGHT — STAGED READING

Saturday, July 25

2:00 – 4:00 pm

Manor Park Memorial Hall

11 Briscoe Street West

Join us for a staged reading of “Neon Gaslight”, an adaptation by Melissa Parker inspired by Patrick Hamilton’s classic psychological thriller “Gaslight”, developed in collaboration with Odesa Company.

Set against the neon glow and cultural backdrop of the 1980s, “Neon Gaslight” explores manipulation, control, domestic abuse, memory and the slow unraveling of truth inside a seemingly perfect household. Darkly funny, unsettling and painfully relevant, this new adaptation reimagines the story for a modern audience while examining the devastating effects of emotional abuse and gaslighting.

CAST

Bella — Julianna Goertzen

Jack — Sam Didi

Liz — Izzy Siebert

Nan — Tessa Dang

Mrs. Rough — Robin Shugar-Pollock

Mr. Rough — Dan Curtis

Entry to the staged reading will be by donation, with proceeds supporting the Women’s Rural Resource Centre.

Following the reading, audiences are invited to stay for a feedback and discussion session as the creative team continues developing the script toward a full production planned for 2027.

Whether you love theatre, psychological thrillers, new Canadian works, or supporting conversations around women’s experiences and abuse awareness, we invite you to be part of this important stage in the creative process.

RSVP Here: https://forms.gle/fnVnAZnWF6AQSvpQ7

Interview with Kevin Heslop, author of The Writing on the Wind’s Wall: Dialogues about Medical Assistance in Dying. 

by Richard Young

The topic of Medical Assistance in Dying (MAID) is in the news again. The expansion of MAID is set to take effect on March 17, 2027, unless Parliament intervenes. On Tuesday, June 16, a special parliamentary committee recommended that the federal government indefinitely pause the expansion of medical assistance in dying for people whose sole underlying condition is a mental illness.

The Beat Magazine’s J Bruce Parker recently interviewed London author Kevin Heslop about his new book, The Writing on the Wind’s Wall: Dialogues about Medical Assistance in Dying. 

In 2016, Canada’s federal government passed Bill C-14, allowing the terminally ill to choose the time of their death.   Medical Assistance in Dying or ‘MAiD’ is a legal, regulated process where a physician or nurse practitioner assists an eligible person in ending their life, either by directly administering a substance or by providing a medication for the person to self-administer. It is a topic which is challenging, polarizing, and up for review by our federal government in 2027. 

Former Londoner Kevin Heslop is a poet, author, curator, playwright, and filmmaker who has had a personal experience with physician-assisted death owing to his own father’s terminal illness. It inspired him to seek out and interview 17 people, all Londoners who also have had an experience with the MAiD process. This included one of the first physicians in Canada, a London doctor who administered MAiD, |spouses of those who chose MAiD, politicians who dealt with the political issue in parliament, those who suffer from chronic diseases, a death doula, as well as those who profoundly disagree with euthanasia in all forms. I spoke with Kevin Heslop at his current residence in São Paulo, Brazil. 

Q. It appears your work has allowed you to travel quite extensively.

“I lived in London, Ontario in Wortley Village until the spring of 2023, at which point, informed by a one month residency that I had taken in December prior in Costa Rica, I left for a succession of artist residencies called for three or four weeks at a time to Belgrade, then to Finland and then to France; with a bit of Denmark between France and Finland. That period lit my fuse, as that could be a meaningful and worthwhile way to get around for the next couple of years. I later took a residency in Brazil that resulted in my being here for five and a half months, and when I came back in 2024, I shortly left for Europe and spent another few months there, then back to São Paulo, where I have spent the better half of the last two years. I have been living out of a backpack for the last three years now, but my origin point is London, Ontario”. 

Q. Tell me about your education in London?

“I went to Banting High School as well as Orchard Park. After high school, not having graduated despite having gone back for a thirteenth year and having failed English twice in the process, I took a year off, introspecting and then was thrown on a construction crew by a family friend and in relatively short order I was doing what I could to get back to school as I recognized that it was going to be a pen rather than a spade. I found a program which just begun called ‘School Within A University’ whereby students could work in a small class with a single teacher to improve any classes they needed to improve in order to boost their marks so they could apply to university the following year. I did one course and entered Western with a high 90’s average. I proceeded part-time through classes at Western but getting more out of the extracurricular than the classes. I published regularly, published poetry, acted in plays and aside from school, facilitated and participated in poetry open mics and other cultural events comprising the rich cultural scene in London. I guess you could say I was mostly auto didactic in my education”. 

Q. When did you first become aware of MAiD?

“It wasn’t something of which I remember myself being explicitly aware until the request was made. I am still not sure about the extent to which I want to detail the particulars. What happened in my father’s case is not atypical of those who receive MAiD. He was no doubt eligible when he made the request. He had an aggressive cancer which metastasized. Its aggression coincided with the pandemic, having occurred between March and July of 2020. This meant that he had, up until the point where he began chemo, no in-person contact with any care providers. It was all done over the phone and done scarcely. His decision to request MAiD was made at a time when the assessors could not be mustered on such short notice, and so the options were to persist in his state for an indefinite period until assessors could be provided or receive palliative sedation. The pain was so much that he opted for the latter. He succumbed four days with my brother and me and his mother (our grandmother) at his bedside. For me, that experience was singularly painful and complex and that provoked curiosity that led me to conversations with my neighbours as well as independent reading and research on what MAiD is.

Q. Why does your research and dialogues involve only people from London?

Yes, most of them were from London, and everyone I spoke with was from London. It was the only constraint that I worked with. A simple Google search brought me to the more vocal members of the community about MAiD”. 

Q. Is there any one conversation that was unexpected, surprising and stayed with you more than the others?

“I am reluctant to isolate anyone amidst the field of those conversations, if only because I feel that part of the work that the book is doing is to provide the field rather than the individual. I want the book to provide the context that occurs rather than those who are mostly associated with it”. 

Q. Why is MAiD important for you? 

“My interests have been keen in the last twenty years and will remain indefinitely in culture, and it seems to me that culture is our response to awareness of our own death. It seems to me that death is an important subject, as it raises awareness of our own mortality. In some way, death is the subject of the arts. MAiD is of particular importance at this moment, of course, because the subject has hounded me between adjustments to federal legislation which has now been in place for about a decade, which has changed once and is set to change perhaps, again next year”.

Q. With MAID being reassessed next year, how would you like to see it evolve?

“I take no position. I have really meditated on this and introspected on whether if it is possible for me to sustain a position of agnosticism with regard to MAID, or frankly, with regard to virtually any subject. That is the ideal that I aspire to, and to the extent that I can, I will maintain that, and so I exert no preference on the evolution or de-evolution. I wouldn’t even render it in those terms because that suggests that an adjustment or broadening might confer some benefit, and I am not sure that is the case. However, I would say that my role is to continue to facilitate the conversation in a debate-oriented public square”. 

Q. Part of the review and possible expansion of MAiD in 2027 includes mental illness as the sole underlying condition. Would you like to speak about that?

“I can speak about it to the extent that I am familiar with the facts of the case. The consideration has been going on for several years. There have been presentations to a special advisory council in parliament by a variety of experts who are of different positions about the possibility of MAiD for people whose sole underlying criterion is mental illness. And rather than an action being taken next year in March, there is a suspension of effectiveness of legislation that would afford MAiD to people of no pre-existing condition apart from a grievous irremediable mental illness, which is to say if parliament was to do nothing, that on the seventeenth of March 2027, then that would become the new law. So, what is being done in the interim is determining whether or not there would be legislation to meet that or perhaps whether or not the can will be kicked further down the road. From my perspective, which I have to underline is humble and not expert, because my focus on this has been more on the almost theatrical facilitation of a variety of points of view rather than on the legislative evolution and statistics, although it is necessary for me to do some of that work to frame the book. It would be a broadening of eligibility that we would be looking at, so it is not for me to say that it is good or bad”. 

Q. What would you like readers to take away from your book?

“I would say that my job is not to seek what people will take away. My job was to present a sort of buffet; a variety of points of view, established in facts, in law and in statistics and in compassion and admiration for all of the people who contributed to the book. And what people will find in the book to a significant extent reflects them, rather than a reflection of the book or my will. I think that is generally true of the arts, which is what I aspire to be doing with this book. I am thinking of this as more of a work of art, if I can be so hideously hubristic as to invoke that phrase, than a work of journalism. So, I invite the breath of the subjectivities that will come to this book, I hope”

The Writing on the Wind’s Wall can be purchased online through Guernica Editions

You can learn more about Kevin Heslop at www. Kevinandrewheslop.com.

Interview conducted 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/

Come From Away Will Bring You Home!

by Richard Young

Reviewed by Charlotte MacDonald.

“You are here,” and I was somewhere between pride and applause.

Bringing to life a true story of Canadian kindness and resilience in the aftermath of the devastating tragedy of 9/11, The Grand Theatre’s non-replica production of the Tony and Olivier Award-winning musical Come From Away, reimagined by Canadian director Julie Tomaino, is sure to steal your heart and leave you with a renewed sense of what it means to be Canadian.

The play opens by introducing the audience to the calm, quaint town of Gander, Newfoundland, and its cast of dynamic, unmistakably Canadian characters. Though described through modest landmarks, including a two-person police department, a local TV station and a hockey rink, the town feels small on paper, yet rich with personality on stage. Claude, played by Darrin Baker, the outgoing mayor, Beulah, played by Darlene Spencer, a devoted Royal Canadian Legion volunteer, and Bonnie, played by Denise Oucharek, the local SPCA manager, help bring the community to life on stage. Through natural dialogue, warm banter, and (of course) Newfoundland accents, it becomes clear within moments that these characters are what make Gander far greater than its size.

(Photo: Dahlia Katz.)

As the play enters into a rhythm, the characters move through their day, describing their routines as if reading from diary entries aloud. Everything unfolds as it always does, just another ordinary day in Gander. As an audience member, though, anticipation builds waiting for the moment the news breaks. There on the edge of the world in quiet Gander, it is clear nothing much seems to go on…queue one of the biggest catastrophes of the 21st century.

Suddenly, as news spreads of the attack on their neighbouring country, the locals are facing the order for thirty-eight planes to be diverted to their low-traffic airport. Overwhelmed by the prospect of thousands of people from around the world landing in their small town, with no word on how long they will be staying, the locals quickly spring into action to prepare for the fast-approaching and frenzied arrival ahead. In a flash of lightning, 7,000 displaced passengers begin to arrive on the doorstep of this small Canadian town, doubling its population overnight.

Filled with music and complex characters, Come From Away shows the world the power of kindness in times of tragedy. As a Canadian, you can’t help but feel pride for the glowing examples set for us by our own people, as they show more compassion than was ever asked of them and deeply alter the trajectory of thousands of people’s lives for the better, without ever expecting anything in return.

(Photo: Dahlia Katz.)

The cast remained fixed at 12 tightly knit actors, weaving in and out of each other’s stories as they played dozens of distinct characters, with many actors doubling or tripling their roles. Most frequently, the cast would switch back and forth between playing the locals of Gander and the “plane people” who have “come from away.” With the most minor costume changes, you would expect this back and forth to be confusing, and yet each actor’s rendition of their character was so distinct that following along felt completely intuitive. This was probably one of the most impressive aspects of the production to me, as the cast seamlessly transitioned between very distinct characters in a way that felt so natural and clear that you automatically knew who was who.

A standout in this regard to me was Izad Etemadi, a cast member who played two very distinct “plane people.” One of his characters was Kevin T., an eccentric and humorous gay man who had arrived in Gander with his partner Kevin J., played by Alex Wierzbicki (yes, they are both named Kevin). His other character was a quiet, serious, and aloof Muslim man who spent most of his time alone and distancing himself from the others. These two roles contrasted in performance so greatly that I did not even notice until a third of the way into the performance that the same actor played them. Etemadi’s performance as a Muslim man also brought forward serious topics of racial and religious discrimination, representing the realities many would have faced during this period.

(Photo: Dahlia Katz.)

Something I enjoyed about this performance was how it had constant contradictions. The play did not try to frame this as a perfectly happy and heroic story where kindness completely erased the horror and made it all okay. Instead, it allowed for nuance, showing that multiple experiences can be had at a single time. Rather than representing a linear story, it had a range of emotions where fear turned into gratitude and happiness bled to guilt as people grappled with the rawness of their emotions in the face of complex tragedy.

Touching on topics of loss, grief and identity, Come From Away’s message continues to ring through to today as people continue to grapple with these experiences. A beautifully true Canadian story, it reminds us that the only antidote to inhumanity is humanity itself.

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.

Inner Elder packs a punch at Port Stanley Festival Theatre

by Richard Young

by Richard Young

(Pictured: Michelle Thrush, creator and performer, Inner Elder.)

To be sure, there is lots of great local theatre playing in the London area this weekend. Come From Away closes out its extended run at the Grand Theatre on Sunday, while London Community Players’ sold-out run of Mamma Mia! continues at the Palace Theatre, and the Elgin Theatre Guild’s final show of 2026/27, The Foursome by Norm Foster, has three performances on Friday, Saturday and Sunday.

Not to be overlooked, however, is Inner Elder, a real-life autobiographical one-person show, performed by Canadian actress and Cree Indigenous activist, Gemini Award-winning Michelle Thrush, on stage now at the Port Stanley Festival Theatre for three remaining performances, Friday at 7:30 pm and Saturday at 2:00 pm and 7:30 pm.

Premiering in 2018, Inner Elder is a structured monologue during which author Michelle Thrush recounts her personal life and experiences, combining pathos, hardships, and some good-natured laughs along the way.

I saw Inner Elder’s opening night on Thursday and can attest to the show’s poignancy and the tour de force performance of its author.

Running a tightly packed 60 minutes in length, Inner Elder takes the audience through Thrush’s life as a young child and teenager, “raising” two alcoholic parents and struggling to find her identity as a First Nations person in a predominantly white society. Looking for role models on television shows like Little House on the Prairie and Bewitched, she is disappointed to find no one who looks like her. Her public schooling offers her no respite, where Thrush experiences racism firsthand.

The pivotal point in Thrush’s life comes in her early 20s, when she decides to pursue acting as the best way to find her identity and assert herself as a “brown girl” in a white world. As she states during the play, she has never looked back.

Set within a simple set of impressionistic trees, Thrush transforms herself from a young girl into an elderly grandmother through the use of very basic props and costume changes. Indeed, it is her inner monologue that propels the story more than anything else.

The play brings tears of sorrow and laughter to the audience’s eyes as we share Thrush’s ups and downs. We share her inner jokes and asides, all the while knowing she is laying bare her soul onstage.

If you’re looking for something a little different, I highly recommend the short drive to catch Inner Elder during its short run at the Port Stanley Festival Theatre

IF YOU GO:

What: PSFT presents Inner Elder.

When: May 27-30, 2026.

Where: Port Stanley Festival Theatre, 302 Bridge St., Port Stanley, ON.

Tickets: At psft.ca or call the box office at 519-782-4353.

Inner Elder, written and performed by award-winning Cree artist Michelle Thrush, kicks off PSFT 2026 Summer Season.

by Richard Young

Prepared with files from PSFT

(Pictured: Michelle Thrush. Photo Credit: Ben Laird.)

The Port Stanley Festival Theatre  2026 Summer Season kicks off on Wednesday, May 27, with Inner Elder, written and performed by award-winning Cree artist Michelle Thrush.

Inner Elder is an intimate story that will open your heart and put a smile on your face.

Award-winning Cree artist Michelle Thrush weaves real-life memories with laughter and grace. A one-woman show that takes the audience on a poignant journey full of unexpected twists and turns.

A young Indigenous girl growing up in Alberta navigates a world shaped by hardship, humour, and the guiding presence of her grandmothers. When life feels darkest, her superhero Kookum—armed with magic moccasins—appears to light the way.

After each performance, audiences are invited to meet Michelle – a rare one-of-a-kind experience only at PSFT.

Michelle Thrush is well known for her roles in TV and film. She is a multi-award-winning actress, and she is a recipient of the Lieutenant Governor’s Distinguished Artist of Alberta Award. Joining her are Dianne Goodman, Company Manager and Neil Fleming, Producer/Technical Director.

“Thrush’s ability to make the audience laugh with silly antics, while keeping the show’s message of resilience and self-empowerment at the forefront, is a testament to her ability as an actor. Through it all, Thrush unabashedly allows spectators to witness her vulnerability; in fact, she wears it like a badge of honour. And why not? The adversity that shaped Thrush’s life forced her to forge ahead and become the impressive artist that stands before us.” – NAC Indigenous- Courtney Castelino, BroadwayWorld.com

IF YOU GO:

What: PSFT presents Inner Elder.

When: May 27-30, 2026.

Where: Port Stanley Festival Theatre, 302 Bridge St., Port Stanley, ON.

Tickets: At psft.ca or call the box office at 519-782-4353.

For more information about the Port Stanley Festival’s 2026 Summer Season, visit 2026 Summer Theatre Season Archives – Port Stanley Festival Theatre

Follow PSFT on Facebook and Instagram.



It started with the Velvet Underground: London’s Betamaxx

by Richard Young

By Bob Klanac

(Betamaxx Members, Left to Right: Jaq Inglis, drums, Sookie Mei, bass, backing vocals, Mark Ordas, guitar, backing vocals, Kathy Quayle, vocals, Simon Goodwin, keyboard, vocals.)

About six years ago, a friend of Simon Goodwin gave him a nudge with the idea of starting a Velvet Underground cover band.

Fresh out of the London theatre scene, Goodwin shrugged and started putting together what became Venus in Furs. It was fun, but after a few jam sessions, they put the band on hold. Soon after, an invitation to play at a friend’s summer party brought them back together.

A funny thing happened at the party. The crowd loved them. And the band was wowed by the response.

“I was surprised,” Goodwin laughs. “We just played some private parties, but we were just goofing around.”

It was all just goofing around until Goodwin and others in the band realized they had something.

Bassist Sookie Mei recalls that at some point, “We were just like, jamming in someone’s basement and then decided to try and make it go as a band. And we ended up expanding the repertoire to be more 70s and 80s stuff.”

Goodwin adds that “It’s a lot of work to go through from pulling together some songs for a party to being able to do a full night’s material in a bar.”

(Photo Credit: Paul Latorre.)

But work they did, going from a year as a four-piece to a five-piece before adding trained theatre performer Kathy Quayle as their frontwoman. As a singer, Quayle is incandescent, her limbs flying in time to the music with every moment rehearsed and every moment real. She is the visual lynchpin that, to borrow a quip from The Big Lebowski, ties the band together.

Before Quayle grabbed the lead microphone, Goodwin admits, “It was kind of difficult for me to be the only singer to carry out the whole thing.”

“So, having Kathy come and take a bit of a share of the vocals? It’s awesome, she’s awesome. And everyone loves her.”

Mei doubles down on what Quayle brought to the band. “It’s great to have a front woman who’s not behind an instrument, you know, who’s engaged more with the audience. And she’s dynamic, and great to look at, you know?”

So now they had a band, but given that their repertoire had drifted from its Velvets roots, they had to come up with a different name. They had started with Venus in Furs as their nom de plume, but the focus had shifted, and they needed to find another name to hang on their shingle.

Mei recalls they came up with a ton of band names, and all of them were taken already.

“We were trying to think of something that conveyed the 80s, with a nostalgic feel, but also cool. So, we decided on Betamaxx with the extra X.”

“That was one of the ones we thought wasn’t taken, but then it turned out there’s actually a DJ out of Poland and a band in Southern California that had the same name!”

Mei laughs and adds, “So we’re just not original, which is fitting for a cover band!”

Betamaxx’s focus on 80’s music wasn’t accidental. Not entirely.

Goodwin admits, “I kind of pushed it that way.”

“Well, because we were doing, like, late 70s, early 80s songs, I kind of said, well, let’s, let’s do a new wave thing because there’s no one else really doing it. I looked around, and there was only one other band covering that niche.”

“Besides, it was the music of our youth for the most part. And the band very happily went along with it.”

So, with a set list of three, the newly dubbed Betamaxx set out to do some gigging around town.

“I think the first was the Richmond Hotel about three or four years ago,” recalls Goodwin, “and we’ve just kind of grown since then.”

Goodwin understates things a tad. Betamaxx shows at the Richmond are wonderfully intimate, with a roiling crowd of dancers pushing the edge of the dance floor until even those at the crowded tables are bouncing along with the relentless beat.

“Yeah, I am surprised,” admits Goodwin. “It’s lovely, you know. We just kind of, you know, found a niche as I suggested, and uh, you know, there’s a lot of people that are in our kind of age range.”

Betamaxx is a generational rallying call, a gathering of the tribes, people who have their lives back after some years of establishing a career or family.

The band explores big hits by The Cure, the B-52s, and obscure one-hit wonders by Alphaville (Forever Young) and Peter Schilling (Major Tom), former 80s earworms that hit the nostalgia note before they hit the cerebellum. You all know these songs, whether as an obsessive fan or just having been an 80s kid.

Mei agrees, adding, “I believe people love the music of their youth, and the 80s were a huge decade for music. People of all ages seem to enjoy 80s music.”

“We’ve got people our age and older who love it. We’ve even got young 20-somethings who are into Betamaxx, and it’s the 80s music that is the key. The second thing is, we’ve got a really great band.”

According to Goodwin, it’s not just a coincidence that they’ve grown as a band. It’s also an attention to detail that he’s pushed on the band.

“We work really hard to sound like the recordings, the original recordings, because I think people really respond to that quality. I think that helps.”

Mei notes that their success has been recognized in a somewhat tangible fashion, given that Betamaxx snapped up the Best Cover Band honours at last year’s Forest City London Music Awards.

“Yeah,” she says sheepishly, “we’ve definitely risen up to  London greatness!”

Mei muses, “You know, it’s wonderful to look out into the audience and see people from all different walks of life. You know, we’ve got young people, we’ve got various people identifying with different genders, and you know, working class, white collar workers, or whatever.”

As for what’s next, Goodwin concedes that with the band all having day jobs, it’s really more about the fun than the money.

“People have asked us if we’d like to go to Windsor or wherever, but we’re not really interested,” he says flatly.

“We just kind of take gigs of convenience or anything we feel like we want to play.”

This summer, those gigs include Pride London’s mainstage, Ribfest and an upcoming slot at Old South’s Wortley Roadhouse.

“We’re also doing a Hamilton Road block party and something for the Forest City Music London awards as well,” Goodwin explains. “So, we’ve got a lot of little kind of showcase shows like that over the summer. And that’s right up our alley. That’s exactly the kind of stuff we want to do.”

Upcoming Betamaxx Shows:

July 4:   Wortley Roadhouse, 9pm-1am

July 18: Hamilton Rd Block Party, 2-3pm

July 19: Pride Festival, Victoria Park, (Date and time TBD)

July 31: Ribfest, Victoria Park, 7:30-9pm

Sept 26:Richmond Tavern, 3-6pm

Follow Betamaxx on Facebook https://www.facebook.com/share/1BTKY5MTRv/

By Bob Klanac

Bob Klanac is a London-based music journalist who has penned hundreds of reviews and interviews. He was a juror for the Polaris Music Prize, a member of the Slaight Family Polaris Heritage Prize Jury and a Juno Awards juror. Bob has also penned two books, Promo Man about London’s late music legend Nick Panaseiko and Shooting Stars, Telling Tales, about photographer to the stars photo-journalist John Rowlands.

Theatre Aezir presents The Kept Brother, May 23.

by Richard Young

With files provided by Theatre Aezir.

(Pictured: London author and playwright Paul Cavanagh.)

The Kept Brother is a theatrical play written by the London, Ontario-based author and playwright Paul Cavanagh. It was developed as part of the Cascade Playwrights’ Lab Showcase at the city’s Grand Theatre, where excerpts from the work were read on the Auburn Stage.

Theatre Aezir invites you to join the cast and playwright of The Kept Brother for its first full reading on Saturday, May 23, at First Baptist Church.

The Plot Thickens

Ever feel like your family is a little… intense? Come meet Deacon. He lives in his sister Carly’s basement, keeps to himself, and has one tiny, awkward quirk: he knows exactly when the people around him are going to kick the bucket.

Life in the suburbs is quiet until Great-Aunt Véronique drops by with some heavy baggage and a shared secret. When Deacon’s “sixth sense” starts ringing alarm bells for his sister Carly, the family hits a breaking point. Is Deacon gifted, or is he just losing it? It’s a story of sibling loyalty, hidden histories, and a final twist that might just change how you see “family intuition” forever.

The Cast:

Deacon – Jackson Balint (recently Richard Dreyfuss in The Shark Is Broken)

Carly – Jessica Perreira (The Phoenix Lottery, Marion Bridge)

Corbin – Ryan Memarzadeh (Dating Games)

Ever – Locksley Thorne (Debut with Theatre Aezir)

Veronique – Elizabeth Durand (Artistic Director)

911 Dispatcher – Don Millar (Member of the Board of Directors)

IF YOU GO:

What: First Full Reading of Paul Cavanagh’s The Kept Brother.

When: Saturday, May 23rd @ 2:30 PM

Where: First Baptist Church, 568 Richmond St., London, ON. Please use the Clarence Street entrance.

Cost: Absolutely Free

How to Snag a Spot:  RSVP via email to: tickets@theatreaezir.com (Include your name and the number of seats you’d like to reserve.) Space is limited, so don’t leave your attendance to fate.

To learn more about Theatre Aezir, visit Theatre Aezir – London, Ontario Theatre Company

Dysfunction Done Right in The Family Creetin

by Richard Young

Reviewed by Jo-Anne Bishop.

(Pictured: Cast & Crew of The Family Creetin. Photo by Ross Davidson)

Every so often, a local production comes along that makes you rethink your expectations entirely. The Family Creetin, presented by Banished by the King Productions, is one of them.

I’ll admit it, I went in cautiously. Locally written shows can be hit or miss, and sometimes the humour leans too heavily on inside jokes. Not here. Patrick Brennan has written something that feels bigger than that—and funnier, too.

The setup is classic: a group of siblings gathered in an English country house, all carrying a ton of baggage and very little patience for one another. From there, things unravel quickly (in the best way). The comedy comes from character, not gimmicks, and it lands because it feels familiar. If you’ve ever survived a tense family gathering, you are in on the joke.

It’s not without its bumps. A lot is going on, and at times the play can feel like a ping-pong match, your head constantly turning to keep up with the action. A bit of tightening would sharpen some of the bigger moments. That said, Brennan’s direction keeps things impressively controlled. The pacing is tight where it needs to be, and even when the script edges toward chaos (which it does – a lot!), the staging keeps it from tipping over. There’s a clear sense that this is a play that has evolved over time, and if this is the result of that evolution, it’s very much in the right direction.

(Photo by Ross Davidson)

The production makes smart use of the black box space in Procunier Hall at the Palace Theatre. The set is simple, tasteful, and exactly what it needs to be, no more, no less. It fits the space beautifully while leaving plenty of room for the performances to breathe. But if I’m to be honest, this is a show that feels ready for a larger stage; it has the legs for it.

And it’s the performances that really carry it. This is a strong cast across the board, and more importantly, they work as a true ensemble—feeding off each other, building momentum, and clearly enjoying the ride. That sense of connection translates directly to the audience.

A big part of what elevates the production is the physicality and facial work. Reactions are sharp, expressions are doing just as much work as the dialogue, and it adds an extra layer of comedy that keeps scenes lively even in quieter moments. The casting feels particularly well matched—these actors fit their roles in a way that makes the dynamics feel natural and fully lived-in.

(Photo by Ross Davidson.)

Dylan Rock as Frederic is a standout, with a strong physical presence and consistently engaging reactions. Ben Kennes’s Reginald is equally memorable, bringing excellent timing and expression that make every moment count. And Kevin Avram nearly walks away with the show as Bertrand. His portrayal of the perpetually drunk brother is fully committed and genuinely hilarious, especially with his repeated, perfectly timed “Oh mother” lines, which somehow get funnier every time. His final moment ties everything together beautifully.

The sisters—Sophie Thompson (Victoria) and Sue Harrington (Gloria)—land some big laughs with their sharp back-and-forth, while Jennifer Groulx’s Sybil provides a sweet, grounding counterbalance to the chaos. Rachel Sherret’s prim, all-knowing Mary (who has a quote for everything) is crisply timed and consistently funny, and Nicole McTeer nails the Hollywood starlet as Ginger.

(Photo by Ross Davidson.)

Luis Marin turns up the heat as Latin lover Raul, while Dustin Didham’s Nigel—a sooty, slightly suspect chimney sweep—adds another comic layer. Ryan Starkweather’s Roger, the curious banker, doubles as narrator, punctuating the action with a clicker that freezes the stage in well-executed tableaux—timing the cast delivers to hilarious effect. Rounding out the ensemble is Patrick Hoffer as Archibald, the family patriarch with a watchful eye.

Costumes by Tanis Daoust suit the period nicely, and the technical team—stage manager Jeremy Hewitson, assistant stage manager Eric Curtis, sound by Doug Deschenes, and lighting by Mark Mooney—keep everything running smoothly behind the scenes.

(Photo by Ross Davidson.)

What’s most impressive is how easily this play connects. It doesn’t feel small or niche. It feels like something with real staying power. You could see it on a bigger stage, in a longer run, or picked up by other companies around the globe—without missing a beat.

Bottom line:

A sharp, funny, and well-played ensemble comedy that proves local theatre can punch well above its weight. It is busy at times, but consistently entertaining, and the kind of show that makes you hope someone is already planning the encore.

IF YOU GO:

What: The Family Creetin, written by Patrick Brennan and presented by Banished by the King Productions

When: April 16th to 25th, 2026

Where: Procunier Hall, Palace Theatre, 710 Dundas Street, London, Ontario

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

*This is a wheelchair accessible facility.

Check out The Beat Magazine’s Q&A Interview with the play’s author and director, Patrick Brennan, at: Q&A Interview with Patrick Brennan, Author and Director of The Family Creetin. – The Beat Magazine 2025

Reviewed by Jo-Anne Bishop.

Q&A Interview with Patrick Brennan, Author and Director of The Family Creetin.

by Richard Young

What follows is a Q&A Interview with Patrick Brennan, author and director of The Family Creetin, playing at the Procunier Hall at the Palace Theatre from April 16 to 25. The Interview was conducted by The Beat Magazine’s Publisher & Content Manager, Richard Young.

Q. Tell me about The Family Creetin – backstory, author, and performance history.

The Family Creetin was born out of a few places and ideas. I was always enamoured with the golden age of British detective fiction, particularly Lord Peter Whimsey in Dorothy Sayers string of novels and the ridiculousness of self-seriousness. I’ve been writing shows since 2012 for Banished by the King and have always skewed to the less serious, more character-driven work. I like finding the fun in how characters interact. For our theatre group, we were always looking for large, gender balanced shows and the prospect of a single set, big cast, whodunnit-type show was such a natural fit. I loved giving every character the spotlight through the show, and the range of the roles was a lot of fun to play with. Just a mass of ridiculous and self-important people that played on some tropes with some hopeful plot twists, and this show is a good, fun night out.

Q. Could you provide a brief plot synopsis?

In The Family Creetin, a group of six siblings and their significant others are called home by their father, a Duke that owns a massive food canning empire, for a mysterious reason. They fight, bicker, and snipe at each other before the Duke makes known his plans, and a frantic search for a thief begins!

(Pictured: Patrick Brennan, author and director of The Family Creetin.)

Q. Does the Family Creetin have any real-life counterpart?

I have heard it said that it is Downton Abbey-meets-Arrested Development, and that’s high praise! I began watching Downton Abbey weeks before the show originally opened in 2015, having written it a year before and was shocked by how many character names they stole from me!

Q. How would you best describe the play?

The play is a comedy, though I’ll leave that up to the audience. If there’s a message, I hope it is that a bit more kindness and empathy are never misplaced.

Q. I see that the play was performed at TAP back in 2015. Why are you reviving it in 2026? Any major revisions to the script?

We originally ran the show back in April of 2015 and thought eleven years was the perfect amount of time for people to forget the story and pay for another ticket to come see it again! This script is more polished and, as with the first, improved with rehearsals. We have had the advantage of two exceptionally creative, funny, and inventive casts running through this script, and, with complete control over the material, we have always encouraged and applied suggestions and adlibbing – if it’s funny, it stays! I couldn’t be more grateful to all of the moments, small and large, that these actors have put into making the show better, rehearsal after rehearsal.

Q. Why have you chosen Procunier Hall for this run?

The space is ideal for the single room, tight quarters, crucible of the show! And it was available.

(Pictured: Rachel Sherret, Luis Marin, Sophie Thompson, and Ben Kennes.)

Q. How would you describe the sets, props and costumes of the play?

The Palace Theatre has been exceptionally generous with its set pieces, props, and costumes to make a very immersive sitting/drawing room environment for interwar England. We also have incredibly talented cast members who stitch, sew, bring props, and put a full effort into making their characters look as good as they perform them.

Q. What can audiences expect?

I would hope audiences take away some laughs, a bit of an escape, and maybe a line or two that sticks with them! Our performers, whether in the spotlight or awaiting their next line, make it a veritable Where’s Waldo of moments, faces, and bits that make multiple viewings a must.

Q. Is there anything else you think readers should know about The Family Creetin?

The Family Creetin has been so incredibly special to me personally. Not only was it my second script for Banished by the King, allowing me to work with my brother, Sean, and so many others in the group, but it was also where I met my would-be wife, Amanda. I was a self-absorbed, wannabe industrialist with an embarrassing secret, and she was a strong-willed, opinionated, in-your-face American dancer from the silent film era. A match made in heaven, and one for which I absolutely love this show. Also, there’s a sequel!

(Pictured: The Family Creetin set in Procunier Hall.)

Cast and Crew of The Family Creetin:

Cast:
Patrick Hoffer – Archibald
Sophie Thompson – Victoria
Ben Kennes – Reginald
Sue Harrington – Gloria
Dylan Rock – Frederic
Kevin Avram – Bertrand
Jennifer Groulx – Sybil
Ryan Starkweather – Roger
Luis Marin – Raul
Rachel Sherret – Mary
Nicole McTeer – Ginger
Dustin Didham – Nigel

Crew:

Directed By: Patrick Brennan
Produced By: Dan Curtis
Stage Manager: Jeremy Hewitson
Lighting Design By: Mark Mooney
Sound Design By: Doug Deschenes
Costume Design By: Tannis Daoust.

IF YOU GO:

What: Banished By The King Productions presents The Family Creetin.

When: April 16 to 25, 2026.

Where: Procunier Hall at the Palace Theatre, 710 Dundas Street, London, ON.

Tickets: https://mytickets.palacetheatre.ca/eventperformances.asp?evt=527

About Banished By The King Productions:

Banished By The King Productions has been creating original and unique theatre in London, Ontario, since 2009. Since the initial banishment, Banished has produced eighteen original works, all written by local London, Ontario, playwrights.

It all started as a dream to continue to produce, write, and act in shows after graduating from university. Many of our original and founding members attended King’s University College, and thus, once our studies were over, we became Banished By The King. Over the years, the group has morphed and grown to include the talents of many members of London’s thriving community theatre scene.

In 2024, we became the Theatre Company in Residence at the Palace Theatre Arts Commons to continue to create new theatrical productions and promote original London-based work.

Website – www.banishedproductions.ca

Q&A Interview Conducted by Richard Young, Publisher & Content Manager of The Beat Magazine 2025.

Community Art Groups: Camaraderie, Education, and Exposure

by Richard Young

By Beth Stewart

London has a richness of community art groups, including the Brush and Palette Club, the Gallery Painting Group, the Lambeth Art Association, and the London Community Artists.

While each occupies a unique niche, all provide camaraderie, education, and exposure.

The Brush and Palette Club (B & P), formed in 1972, grew out of painting sessions organized by artist and teacher Dorthy Heaven. By 1989, the small group had grown to 50; current membership is capped at 110 for practical reasons, and it has a healthy wait list.

B & P Publicity Convenor Marilyn Kidd says many artists join the club because art making can be an isolating activity. Membership allows them to be “stimulated, motivated and inspired.” She says members enjoy participating in art-related activities with the group and “growing together as they learn about new painting techniques.”

The club meets monthly, except for July and August, at Riverside United Church. Members enjoy presentations by invited speakers, trips, and seven hands-on workshops in a variety of media per year.

(Pictured: Brush and Palette artist Linda Deckert’s “High on a Windy Hill”, acrylic, 24 by 28 inches.)

The club strives to provide a supportive environment for members, to provide opportunities to broaden artistic skills, and to promote visual art in the community at large.

What differentiates the B & P Club from other art groups is the nature and quantity of its activities. Each meeting has an invited guest who speaks on a wide variety of topics relating to art. The meetings are also social occasions with time for friendly conversation and interaction during a coffee break. As well, there are two club luncheons each year.

An annual show and sale gives members a specific event to work toward. Working together at the show creates a deep bond as members all pull together to make the event a big success.

The Brush and Palette Club’s next Art Show and Sale is April 9 to 11 at Riverside United Church.

(Pictured: Brush & Palette artist Alice Price-Vermeulen’s “Palimpsest”, mixed media, 12 by 12 inches.)

Kidd joined the group in 2012. She says, “Being a member has encouraged me to persevere and to grow as an artist, and I have benefitted from the friendship and support of other members.” She is also a long-time member of the Gallery Painting Group, where she enjoys “plein air” work. She says, “Each group offers various advantages, and I would not give up either of them!”

For additional information, visit: https://brushandpaletteclub.com/

The Gallery Painting Group (GPG) was formed in 1953 at the recommendation of the president of the Western Art League, which was founded in 1876 to promote art in London, Ontario

It includes 70 local artists who enjoy the plein air painting experience, which is the act of painting outdoors. From May to October, members of the group paint on location on Tuesday and Saturday mornings at various locations in and around the London area.

(Pictured: Gallery Painting Group artist Wendy Reid’s “Off the Trail”, oil pastel on black paper, 9 by 12 inches. From a plein air day at Springbank Park.)

As members interact frequently, official meetings are limited to two per year.

Marily Kidd says, while the group has fewer meetings, members interact frequently from May to October while painting together outdoors in and around London in “fascinating and diverse locations.” Because it’s a smaller group, the sense of community is strong.

(Pictured: On location sketches by GPG artist Len Hughes showing members at work.)

Each fall, the GPG holds a show and sale of the paintings produced by its members throughout the summer. Their next show will take place at First Street. Andrews United Church, October 22nd to 25th, 2026.

For additional information, visit: https://www.gallerypaintinggroup.com/ or interact with the GPG on Facebook: https://www.facebook.com/londonpleinair/

The Lambeth Art Association (LAA) provides support for established and emerging artists in the practice and appreciation of art. It fosters relationships, delivers educational opportunities, and offers exhibition opportunities.

Begun in 1972, with just five members, the Lambeth Art Association now boasts a membership of over 130 artists. LAA members work in oil, acrylic, watercolour, pastel, pencil, fibre, and mixed media. Members meet monthly, from September to May at Riverside United Church. All meetings feature a guest speaker or a hands-on activity. Each year, members enjoy six art-based workshops and community events. Members exhibit their artwork at the association’s popular Art Show and Sale held in the spring of each year.

The next show is April 30 to May 2, 2026, at Lambeth United Church, 4268 Colonel Talbot Road at Main Street. The show will include framed and unframed work in a variety of media. Styles range from traditional to abstract.

Sold work is taken home immediately by its lucky owners and the resulting vacant space is quickly filled with art that has been held in reserve. Savvy visitors come more than once to avoid missing that special piece.

(Pictured: Lambeth Art Association artist Margret Bullock’s “Field of Dreams”, mixed media collage of an imaginary garden scene, 20 by 20 inches.)

Patricia Walker joined the LAA in 2025. She says, “I feel very lucky to be part of the Lambeth group.” When she moved back to southwestern Ontario in 1980, she enquired about joining, but the wait list at that time was years long, so she continued to work in isolation with not a whole lot of excitement about art. This, recalls Walker, resulted in a “period of non-productivity.”

(Pictured: LAA artist Lisa Chiborak’s “Really Big Shoes”, acrylic, 20 by 20 inches.)

Walker says, “The group is friendly and willing to share their techniques, their journey and their frustrations with different mediums. It makes me want to keep creating.” In addition to the LAA, Walker belongs to the London Community Artists, the St. Thomas Art Guild, the Port Stanley Art Guild and the Creative Nomads.

For additional information, visit: https://www.lambethart.com/ or interact with the LAA on Facebook: https://www.facebook.com/lambethartassociation/

The London Community Artists (LCA) is the new kid on the block. It was formed by Wendy Jennings in 2018 in response to the lengthy wait lists to join other clubs.

Membership was initially limited to 50 members, but this was increased to 75 in 2023. Even with the expansion in membership, LCA maintains a wait list of approximately 100 hopefuls. New members are accepted in January to fill any vacancies that have come about throughout the year.

(Pictured: 09 London Community Artists’ Heather Peel, “Autumn Calm”, acrylic (mostly palette knife work), 11 by 14 inches.)

Members’ meetings feature speakers, and there are frequent “Paint Days” at Western Research Park, where members get together to paint and share some special times. The club also offers monthly art challenges in which members submit their best work in response to a specific topic. Entries are reviewed by their peers, and the first and second-place winners receive a gift card for art supplies.

In 2024, they began hosting workshops led by both internal and external experts.

The LCA has established long-term partnerships with Cherryhill Village Mall, Western Research Parks and the Children’s Hospital at London Health Sciences’ Victoria Campus. Members have art on display at each of these locations throughout the year. Their longest-running and most successful display is at the Cherryhill location, where member artists have sold over 140 pieces of art.

(Pictured: “Old Post Office (Cambridge)”, watercolour and ink, 16 by 20 inches, by LCA artist Bill Stephens.)

LCA hosts two major Art Shows each year: one in April and another in November. This year’s Spring Show is scheduled for April 16 to 19, 2026, at The Collider, located in the Western Research Park off Veterans’ Memorial Drive and Bradley Avenue.

Current president Bill Stephens joined in 2019. It is the only club he belongs to, and he has been involved in all the club’s activities.

Membership has served him well in his personal art journey. Stephens says, “I have learned so much from our talented members.”

For additional information, visit: https://londoncommunityartists.ca/

Written by Beth Stewart

Beth Stewart is a writer, educator, and visual artist. She has a B.A. and a B.Ed. from the University of Windsor and a Diploma in Art Therapy from Western University. Beth has worked as an Art Therapist with Canadian war veterans and as a Secondary School Teacher of art and English for the TVDSB. She retired in 2024.

Beth was the arts editor at Scene Magazine from 2004 to 2006. She founded Artscape Magazine in 2006 and served as its editor until 2008. In addition, Beth wrote on the arts for Lifestyle Magazine from 2006 to 2017 and served as the copy editor for The Beat (in print) from 2009 to 2013.

As a visual artist, Beth works mainly in dry media and favours coloured pencil. Over the past decade, Beth’s focus has been on wild and domestic birds. Beth is a member of the Coloured Pencil Society of America, the Gallery Painting Group, the Eclectic Collage Collective, the Lambeth Art Association, and a founding member of the Coloured Pencil Artists of Canada group.

Web: https://bethstewart.ca/

Facebook: https://www.facebook.com/profile.php?id=100009620916363