Richard's Blog

What follows is a Q&A Interview with Brian Speagle, Director of Memoir playing at the Manor Park Memorial Hall from April 29 to May 3. The Interview was conducted by The Beat Magazine’s Publisher & Content Manager, Richard Young.

(Pictured: Director Brian Speagle with Charlene McNabb and Dan Curtis.)

Q. Tell me about Memoir – backstory, author, performance history, etc.?

Memoir is set in the summer of 1922. It will prove to be Sarah Bernhardt’s last. The action of the play takes place at her island estate off the coast of Brittany, France. Sarah, with her secretary and assistant Georges Pitou, is doing her best to remember events from her life to be included in volume two of her memoirs. Sarah Bernhardt dominated the world of theatre for most of her life, in France, all of Europe, and North and South America. The Divine Sarah achieved worldwide fame in the 19^th century, which was unprecedented. Sarah Bernhardt was known as much for her personal life, which today would have been tabloid and internet fodder, as for her multitude of on-stage personas.

Canadian playwright, the late John Murrell, premiered Memoir at the Guelph Spring Festival in 1977. It has since been presented in the UK, Ireland, Japan, and the U.S. It enjoyed a two-year run at the Theatre Edouard VII in Paris. The play has also been adapted for TV and film in Canada, Europe, and Asia.

Q. What prompted you to select Memoir for your 2026 season?

I first came in contact with this play in 1978, when I was in a scene study class at university. I played ‘Pitou’ in a few scenes! I also used Memoir in my teaching career with senior drama students. After forty-five years, I decided it was time to direct this show.

Q. Could you provide a brief Plot Synopsis

Sarah Bernhardt is trying to write volume two of her memoirs. She enlists Pitou to play characters from her past, to jog her memory. At first reluctant, Pitou eventually begins to revel in his roles. As the play proceeds, however, many of her memories become painful and traumatic for her. In the end, Sarah comes to accept her life decisions, and the play ends on an optimistic note.

(Pictured: Sarah Bernhardt.)

Q. It’s my understanding that Sarah Bernhardt performed in London. How, if at all, does this play into the show?

Sarah’s appearances at the Grand Opera House in London, Ontario, do not play directly into the show. However, she may have worked closely with a local stagehand or two! You’ll have to see the show to find out!

Q. Two-character plays can sometimes present significant challenges to the actors. Comment?

The text of Memoir presents a major challenge for actors. The ‘Sarah’ character is on stage for the entirety of the action. It is physically and emotionally demanding for both actors.

Q. Could you say a few words about your actors – Charlene McNabb and Dan Curtis?

I first presented Charlene and Dan with this script in 2019! We were hoping to produce it in 2020. Well, we know how that turned out! After seven years, we are all quite enthused to finally stage Memoir for London audiences. Throughout the rehearsal process, Charlene has been totally committed to faithfully developing ‘Sarah!’ She has done extensive research into the amazing life of her character, and that background dedication shows in her portrayal. Dan Curtis takes on the demanding role of ‘Pitou’ with aplomb, as he does with every character I’ve seen him portray. He plays several characters within the character of ‘Pitou,’ sometimes switching back and forth within the same sentence. Quite amazing to witness. Charlene and Dan are both experienced actors, and their professionalism is first-rate.

Q. Why did you choose Manor Park Memorial Hall for this run?

Manor Park Memorial Hall was, for me, the natural choice for this show. The set design invites the audience into an intimate environment with the actors. We are doing something different with the seating, which theatregoers will notice as soon as they enter the space.

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

The set is minimal, a few flats. Most of what the audience sees onstage is furniture and props. Tannis Daoust, our costume designer, has done her research for the historical era of the show, and the results are wonderful.

Q. What can audiences expect from Memoir?

The audience can expect some laughs and some tears. I hope they learn something about Sarah, the complexities of her life, and the contradictions. They will also notice the strong bond between Sarah and Pitou as the play unfolds.

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

Murrell does take some poetic license with Sarah’s life. For example, in reality, Pitou was not in Sarah’s service at the end of her life.

About Scooter Productions:

Scooter Productions was formed in 2017. Founding members are Phil Cal, Heather Rivet, Sherine Thomas-Holder, and Brian Speagle. Scooter Productions encourages and supports all of the arts in southwestern Ontario.

Published by Richard Young

A retired History and Politics high school teacher (1978-2008). Former Publisher/Managing Editor of The Beat Magazine (2009-2014). Freelance Writer. Proud Grandfather. View all posts by Richard Young

Dysfunction Done Right in The Family Creetin

April 19, 2026 by Richard Young

April 19, 2026by 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.

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.

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.

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.

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 16^th to 25^th, 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.

Theatre Aezir’s The Shark is Broken Hooks the Audience—Line and Sinker

April 12, 2026 by Richard Young

April 12, 2026by Richard Young

Reviewed by Jo-Anne Bishop

(Pictured: Jackson Balint as Richard Dreyfuss, Andrew Dodd as Roy Scheider, and Josh Cottrell as Robert Shaw. )

You don’t need a massive stage, a mechanical shark, or a Hollywood budget to make something memorable. Theatre Aezir proves that with The Shark is Broken, a smart, funny, and well-acted production now playing in the lower-level theatre at First Baptist Church in London, Ontario.

Written by Ian Shaw and Joseph Nixon, the play takes us behind the scenes of the famously troubled 1974 shoot of the Steven Spielberg film, Jaws. The setting: the Orca, floating off Martha’s Vineyard, where filming delays have left actors Robert Shaw, Richard Dreyfuss, and Roy Scheider stuck together with too much time on their hands and nowhere to go. As it turns out, that’s a perfect recipe for conflict, comedy, and the occasional moment of honesty.

The set does exactly what it should: half a boat, fully believable. It lets the audience look directly into the action and never tries to be more complicated than necessary. The props are right; the details are right—it all works. Add in clean, effective lighting and sound to move us through time, and the technical side of the show stays solid without ever stealing focus.

(Pictured: The Orca)

Director Dylan Christopher Trahan keeps things tight and lets the script and actors do the heavy lifting. The show takes a little time to find its groove—call it getting its sea legs—but once it does, it cruises along nicely.

But make no mistake, this is an actor’s show.

(Pictured: Jackson Balint as Richard Dreyfuss.)

Jackson R.R. Balint leans fully into Richard Dreyfuss’ jittery, fast-talking energy, bringing just the right amount of edge without tipping into parody. Andrew Dodd’s Roy Scheider is the calm in the storm—measured, grounded, and quietly confident, with a physical resemblance that doesn’t hurt either.

(Pictured: Andrew Dodd as Roy Scheider.)

But the real catch of the day is Josh Cottrell as Robert Shaw.

From the moment he steps on stage, you’re hooked—line, sinker, and probably the whole tackle box. This isn’t just a good performance; it’s a fully lived-in portrayal. The voice, the stance, the presence, it’s all there. At times, it genuinely feels like Robert Shaw himself wandered in, decided to do a few scenes, and left the rest of the cast to keep up. It’s a commanding performance and the anchor that holds everything together.

(Pictured: Josh Cottrell as Robert Shaw.)

What’s especially impressive is that none of the actors fall into simple impressions. These feel like real people, not SNL sketches. Their chemistry is strong, their timing is sharp, and their relationships keep the audience invested throughout.

Costumes by Elizabeth Durand are another win. Accurate to the film and era without feeling like costume for costume’s sake. It’s one more detail that helps sell the world of the play.

Full disclosure: I’m a longtime Jaws fan and a big admirer of Steven Spielberg, so this show was always going to be in my wheelhouse. But even if you’ve never seen the film (though honestly, you should fix that), there’s plenty here to enjoy. At its core, this is a story about big personalities stuck in a small space, and that’s something anyone can relate to.

It starts a bit slow, but once it hooks you, it doesn’t let go. By the end, I was all in, and possibly the first on my feet for a standing ovation.

Theatre Aezir’s The Shark is Broken is funny, engaging, and impressively well done. No frills, no fuss, just strong performances and a story that lands. And this small show proves – you don’t need a bigger theatre.

IF YOU GO:

What: Theatre Aezir’s presentation of The Shark is Broken, by Ian Shaw & Joseph Nixon

Where: First Baptist Church, 568 Richmond St, London, Ontario

When: April 9-19^th, 2026

Tickets: $38 Tickets for The Shark is Broken

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 23^rd 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.

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

April 9, 2026 by Richard Young

April 9, 2026by 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

April 3, 2026 by Richard Young

April 3, 2026by 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

Richard's Blog

The Beat Magazine Q&A Interview with Brian Speagle, Director of Scooter Productions’ Memoir

Share this:

Related

Published by Richard Young

Post navigation

Dysfunction Done Right in The Family Creetin

Theatre Aezir’s The Shark is Broken Hooks the Audience—Line and Sinker

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

Community Art Groups: Camaraderie, Education, and Exposure