We are living just two millennia after one of history’s greatest philosophers walked the earth. This philosopher came of age in the Roman Empire, spreading a message of kindness, forgiveness, mercy, and duty. Through his life and legacy, he taught millions of people how to live, die, and better themselves while treating their neighbors with compassion. But his wisdom became controversial—a threat to the state—and he ultimately met his end at the hands of Roman centurions.
Even in his agonizing final moments, later immortalized in great works of art, he urged his followers to stay strong, live a good life, and forgive the Romans for their ignorance. In his bravery, he cemented his legacy forever.
This is the story of Jesus, celebrated worldwide today on Christmas.
It is also the story of Seneca. Remarkably, these two figures lived nearly parallel lives, with many sources suggesting they were born in the same year. While exact dates remain uncertain, it is undeniable that two of history’s most profound thinkers lived at the same time.
Even more striking are the overlaps in their teachings. This Christmas morning, it’s worth reflecting on the shared wisdom of these extraordinary lives.
On the Golden Rule:
“Thou shalt love thy neighbor as thyself.” — Jesus
“Wherever there is a human being, there is an opportunity for a kindness.” — Seneca
On getting revenge:
“If someone strikes you on the right cheek, turn to him the other also.” — Jesus
“It is a petty and sorry person who will bite back when he is bitten.” — Seneca
On tending to one’s own garden:
“And why do you look at the speck in your brother’s eye, but do not consider the plank in your own eye?” — Jesus
“You look at the pimples of others when you yourselves are covered with a mass of sores.” — Seneca
On material possessions:
“Do not store up for yourselves treasures on Earth, where moth and decay destroy, and thieves break in and steal…No one can serve two masters. He will either hate one and love the other, or be devoted to one and despise the other. You cannot serve God and mammon.” — Jesus
“If my wealth should melt away, it would deprive me of nothing but itself, but if yours were to depart you would be stunned and feel you were deprived of what makes you yourself. With me, wealth has a certain place; in your case it has the highest place. In short, I own my wealth, your wealth owns you.” — Seneca
On living in the present:
“Therefore do not worry about tomorrow for tomorrow will worry about its own things. Sufficient for the day is its own trouble.” — Jesus
“Two elements must therefore be rooted out once and for all: the fear of future suffering, and the recollection of past suffering; since the latter no longer concerns me, and the former concerns me not yet.” — Seneca
The legacy, teachings, and wisdom of both figures have lived on far beyond their deaths.
This Christmas, marvel at the near-miracle of these two wise men—alive at the same time—whose suffering and teachings shaped a lasting legacy.
“You are afraid of dying. But, come now, how is this life of yours anything but death?” – Seneca, Moral Letters.
Seneca tells us an amazing story about an obscenely wealthy Roman who was carried around by slaves on a litter. On one occasion, after being lifted out of a bath, the Roman asked, “ Am I sitting down yet?” Seneca’s point was essentially: What kind of sad, pathetic life is it if you’re so disconnected from the world that you don’t even know whether you‘re on the ground? How did the man know whether he was even alive at all?
Most of us are afraid of dying. But sometimes this fear begs the question: To protect what exactly? For a lot of people, the answer is: hours of television, gossiping, gorging, wasting potential, reporting to a boring job, and on and on and on. Except, in the stricter sense, is this actually a life? Is this worth gripping so tightly and being afraid of losing?
“Many times, an old man has no other evidence besides his age to prove he has lived a long time.” – Seneca, On Tranquility of Mind.
How long have you been alive? Take the years, multiply them by 365, and then by 24. How many hours have you lived? What do you have to show for all of them?
The answer for many people is: Not enough. We had so many hours that we took them for granted. All we have to show for our time on this planet are rounds of golf, years spent at the office, time spent watching mediocre movies, a stack of mindless books we hardly remember reading, and maybe a garage full of toys. We’re like the character in Raymond Chandler’s The Long Goodbye: “Mostly, I just kill time,” he says, “and it dies hard.”
One day, our hours will begin to run out. It would be nice to be able to say: “Hey, I really made the most of it.” Not in the form of achievements, not money, not status – you know what the Stoics think of all that – but in wisdom, insight, and real progress in the things that humans struggle against.
What if you could say that you really made something of this time that you had? What if you could prove that you really did live [ insert number] years? And not just lived them, but lived them fully?
(Source: The Daily Stoic: 366 Meditations on Wisdom, Perseverance, and the Art of Living.)
by Richard Young, Publisher & Content Manager, The Beat Magazine 2025.
(Pictured: The Beat Arts In London, Issue 1, October 2009. Cover Art by Lionel Morise)
After a nine-year hiatus, I recently revived The Beat Magazine, an independent arts magazine I founded and published from 2009 to 2013, as The Beat Magazine 2025 website.
Since then, several of my peers and contemporaries have asked me one simple question: Why?
It’s a question I have asked myself many times over the last few weeks.
First and foremost, my reason for doing so is my humble attempt to make up for the lack of local arts and culture coverage in the mainstream media over the last several years. Frankly, I think this is criminal in a city the size of London. London and area creatives deserve better.
As one of our volunteer writers, Dawn Lyons, sums it up:
“London’s arts scene is alive with talent, creativity, and passion. It’s full of amazing artists across disciplines who continue to create, perform, and inspire, often without the recognition they truly deserve. I see The BeatMagazine 2025 as a way to showcase that energy and help connect people in the community with the incredible work happening around them.”
Much like the former print publication, the website provides timely, informed local arts news and commentary, and previews and reviews of local arts events. It also includes profiles of the area’s creatives and arts and culture venues. It is ad-free, and subscriptions are free.
(Pictured: The Beat Magazine, Issue 30, March 2012. We featured Ceris Thomas on the cover. Ceris was appearing in The Drowsy Chaperone, then playing at the Palace Theatre.)
Second, simply because I want to.
Since the print magazine folded in the summer of 2013, I have kept myself busy doing many things.
I wrote freelance for a variety of local print publications, including Lifestyle Magazine, Business London, London, Inc., Professionally Speaking (Ontario College of Teachers), Scene Magazine, and the Villager Group of community magazines.
(Pictured: The Beat Magazine, Issue 25, October 2011. This cover featuring a cast member from Evil Dead: The Musical proved to be one of our most popular ones. We had difficulty keeping our stands stocked!)
I worked part-time/casually at a well-respected London Advertising & Marketing agency, writing copy about heavy industrial machinery. Talk about a learning curve! I thank owners Robert Adeland and Mina Thaler for their patience in teaching me the ins and outs of large cranes, dump trucks, excavators, and the like.
From December 2022 until August 2025, I was the Publicity and Program Department Head for Silver Spotlight Theatre, London’s theatre company that gives those 55 and older a chance to sing, dance, and perform on stage or backstage.
Most recently, I have served on the London Public Library’s Historic Sites Committee, the body that erects plaques around the city commemorating people and places of local historical significance. One project I take particular pride in is an Interpretive Sign Celebrating Wonderland Gardens’ Contribution to London’s Music History, which I prepared in collaboration with the City of London Culture Office. It will be officially unveiled on a date TBD.
(Pictured: The original Wonderland Gardens Outdoor Bandshell. Wonderland opened on May 24, 1935.)
That brings me up to the summer of 2025.
An unexpected medical diagnosis of Chronic Kidney Disease in July forced me to reevaluate many aspects of my life.
First and foremost, was changing my dietary and exercise habits. Gone are all processed foods, fast foods, and those with high levels of sodium and potassium. No more putting off going to the gym at least three times weekly.
Second, was relieving those things that cause me mental stress and unnecessary anxiety.
At my age (70-something), I decided that I want to fully re-engage with the local arts and culture community, rather than focusing on one aspect of it with my involvement with Silver Spotlight Theatre.
I also want to work at my own beck and call and not be accountable to others who may not always share my at times unbridled enthusiasm and relentlessness.
(Pictured: The final issue of The Beat Magazine, Summer 2013, featuring London dancer and choreographer, Amy Wright, on the cover)
In short, reviving The Beat Magazine seemed to be the best course of action to follow at this point in my life.
Has it taken up a lot more of my time than I thought? Hell, yes! But it’s my time and I love it.
Is there any financial return? Hell no! It’s strictly, to use the old cliche, a labour of love.
So, welcome to the new Beat Magazine in the form of The Beat Magazine 2025 website!
Let us know what you would like us to cover. Let us know if you would like to volunteer some writing about the local arts and culture scene. Let us know how we’re doing. What’s working and what’s not working.
The Beat Magazine was London’s premier independent arts print magazine from 2009 to 2013. After a long hiatus (nine years!), I reactivated its website as The Beat Magazine 2025 in late July.
My reason for doing so is straightforward. My goal is to gather together in one place the local arts and culture news that the mainstream London media outlets no longer seem interested in covering, unless there are exorbitant advertising dollars involved.
Since going live online, thebeatmagazine2025.ca has published Weekly Arts & Culture listings, Q&A Interviews with local musicians and artists, Media Releases about local Arts & Culture events, reprinted theatre Reviews from Entertain This Thought, and other general arts news, most of which has not been reported in the local media.
In mid-August, I invited all known active London and area theatre companies – community and professional – to participate in a Feature Story profiling them and their 2025-2026 seasons. Each company/group was sent a generic Questionnaire designed to enable me to gather the necessary information. Most (but, unfortunately, not all) responded with the information I was seeking.
Some companies/groups had lots to say, others not so much.
In light of this, I have decided to organize the responses in a Q&A format using the eight Guide Questions I sent to the companies.
Over the next couple of weeks, I will be posting a new Local Theatre Q&A every other day.
Posts will appear alphabetically, beginning with London’s AlvegoRoot Theatre.
AlvegoRoot Theatre – Telling local stories and creating local theatre of Southwestern Ontario. An Interview with Adam Corrigan Holowitz.
Q When was your company founded? By whom and why?
AlvegoRoot Theatre was founded in 2009 by Adam Corrigan Holowitz. Over our first three seasons, we found our mission to develop local plays which speak directly and meaningfully to London and the Souwesto Region.
Q Is your company best described as professional or not-for-profit community theatre?
AlvegoRoot is a professional theatre ensemble that primarily focuses on presenting local plays and supporting new play development. A quick note of clarification: not-for-profit vs non-profit. I am not a tax expert by any means, so I may not have the finer points down, but a non-profit exists for the advancement of social good (this can include clubs or recreational organizations) whereas a not-for-profit means any organization that does not have shareholders or an owner to benefit directly based on revenue. Almost all theatres in Canada operate on a not-for-profit basis, meaning they do not have shareholders. This includes most professional theatres. The artists and employees being paid for their labour does not make the venture for one. There are very few commercial for-profit theatres in Canada; Mirvish is the most notable. So, the distinction I generally make is between professional theatre and community/amateur theatre. Both are important, and both take different kinds of sacrifice.
Q Does AlvegoRoot Theatre have a Mission or Statement of Purpose?
Telling Local Stories, Creating Local Theatre
London Ontario’s AlvegoRoot Theatre supports the work of local playwrights and puts local stories onstage. 2025 marks AlvegoRoot Theatre’s 17th Season. Over those 17 seasons we have produced over 67 productions, 29 of which were world premieres of local plays. At The Manor Park Memorial Hall, AlvegoRoot presents theatre year-round, dedicated to providing a range of dynamic theatre experiences for audiences and supporting the growth of professional regional theatre makers.
Q What venue(s) do you use to stage your productions?
Our home base is The Manor Park Memorial Hall, where we present plays and special events year-round. We are honoured to manage and develop The Manor Park Memorial Hall into a performing arts venue that hosts the work of theatre artists and musicians from across our city. We also produce a summer production annually in June or July at Fanshawe Pioneer Village. We have been partnering with Fanshawe Pioneer Village since 2014.
Q Does your company have a Board of Directors and paid Staff?
Adam Corrigan Holowitz is the Artistic Director of AlvegoRoot Theatre, and Kydra Ryan is the Associate Artistic Director.
Q Tell me about your 2025-2026 Season. Does it have any underlying theme?
This season, our three mainstage productions, Medical Wonder, London Fog, and Sleigh Without Bells, have all had an overarching elemental theme of fire. The characters in each play must reconcile with humanity’s ability to create the means for destruction. In Medical Wonder, the character of Dr. Imogen Volek chooses between using her medical research as a means for healing or a means to create a biological weapon. In London Fog, the characters of Victoria and Albert use arson to disrupt and disturb the elite of Edwardian London. Finally, in Sleigh Without Bells, the massacre of the Donnelly Family of Biddulph is central to the play.
Q What show(s) will you be staging this fall? Tell me a little bit about each.
This fall, we present Sleigh Without Bells: A Donnellys Story by James Reaney (October 22) and a theatrical concert version of Colleening: The Letters and Poetry of Colleen Thibaudeau (Nov 7 – 9).
About Sleigh Without Bells: Lost in a blizzard, a young man finds himself at the Donnelly farmstead, the one place his father warned him not to tread. Now entangled in the darkest period in the lives of the Donnellys, his own life is in danger.
Written by James Reaney Directed by Kydra Ryan Performed by Adam Corrigan Holowitz.
About Colleening: Going COLLEENING is always an adventure for the friends of the great London poet Colleen Thibaudeau. You never know where you may end up. Her letters and poems create a captivating journey through childhood memories, home life, and Canadian culture.
Featuring songs based on her poems by Oliver Whitehead and Stephen Holowitz, this theatrical concert celebrates a seminal figure in Canadian literature with all the playful intensity and tender wit for which Colleen was known.
Directed and Created by Adam Corrigan Holowitz Text by Colleen Thibaudeau Music by Oliver Whitehead and Stephen Holowitz Music Direction by Stephen Holowitz Featuring Katy Clark, Paul Grambo, Kydra Ryan
This concert version of Colleening is part of Colleening 2025, a grassroots celebration of the centenary of acclaimed London poet Colleen Thibaudeau (1925-2012).
Q Do you have any thoughts about the London area theatre community and your part in it?
AlvegoRoot strives to create productions and events where our community can have meaningful interactions with live theatre. A goal of our work is to nurture rich relationships between the audiences, the artists, and the plays in a space where all members of the community can feel welcomed, needed, and comfortable to engage with theatre that tells our local stories and speaks to our local community.
The Souwesto arts movement, of which James Reaney and Colleen Thibaudeau were prominent members, greatly influences our work. The use of local stories, people, and geography is central to AlvegoRoot. Reaney’s playwriting influences me through aesthetics, poetry, and symbolism to tell local stories. Thibaudeau’s ability to saturate her poetry with local and personal details has influenced our writing and theatre-making. While a wide range of writers and theatre artists influence our work, Reaney and Thibaudeau’s work continues to influence AlvegoRoot on a spiritual level more than any other artists.
Richard's Blog 