Tag: review

Dysfunction Done Right in The Family Creetin

by Richard Young

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.

The Importance of Being Earnest: A Riot of Colour and Wit – If You Can Keep Up!

by Richard Young

by Richard Young

Reviewed by Jo-Anne Bishop

There’s a reason Oscar Wilde’s The Importance of Being Earnest has endured for well over a century. Premiering on Valentine’s Day in 1895 at London’s St. James Theatre, the play is a razor-sharp satire of Victorian society, skewering everything from marriage and class to the absurdity of social expectations. Wilde’s signature style—fast-paced, highly stylized, and dripping with irony—remains both its greatest strength and, at times, its greatest challenge.

As quoted in the director’s note, “rarely has the stiletto of dissident humour been driven so smilingly between the ribs of bourgeois convention.”  This line from Neil Bartlett perfectly captures Wilde’s enduring bite.

Now playing at the Grand Theatre, this production, directed by Alistair Newton, leans boldly into theatricality, delivering a visually striking and energetically performed interpretation that feels surprisingly modern and relevant in 2026. Wilde’s themes of performative identity, social façades, and the tension between authenticity and expectation still resonate today, perhaps even more in an age of social masking, highly curated personas and digital selves.

That said, this is not a production you can passively absorb.

(Photo by Dahlia Katz.)

I found myself needing time to sit with the show afterwards. The rapid-fire dialogue and heightened language, true to Wilde, can be difficult to follow, especially if you’re not already familiar with the story. There were moments where I lost the thread entirely, only to piece things together in retrospect. For audiences new to the play, a bit of homework beforehand will go a long way. If you have a short attention span or struggle with dense, fast-paced English dialogue, this is one where preparation really matters.

Visually, the production makes a striking and very bold statement. Set designer Michelle Tracey creates three distinct worlds across the acts: a lush, all-green opening (down to the piano and cigarette case), a fully yellow second act, and a vivid red-and-yellow third. The only figure fully in red is the formidable Aunt, commanding attention in a room that mirrors her dominance. It’s an ambitious and cohesive design, though at times, its intensity borders on overwhelming.

(Photo by Dahlia Katz.)

The costumes, designed by Judith Bowden, are pitch-perfect: bright, bold, and beautifully in sync with the set’s colour story. One exception is Cecily, whose costume felt slightly muted by comparison, causing her to fade visually in moments where she might otherwise shine. At the same time, it perfectly separated her character from the others, showing the contrast between the city’s pomp and the country’s quiet reserve.

(Photo by Dahlia Katz.)

The dialect work, coached by Phyllis Cohen, is strong throughout, helping anchor the heightened language in both clarity and rhythm.

Performance-wise, the cast is superb across the board. Deena Aziz brings warmth and precision to Miss Prism, while James Daly’s Algernon Moncrieff is delightfully playful. Julien Galipeau grounds John Worthing with charm, and Kaylee Harwood delivers a sharp, engaging Gwendolen Fairfax. As Lady Bracknell, Claire Jullien commands the stage with authority and wit, while Ben Sanders capably fills multiple roles, including Reverend Canon Chasuble and Lane.

Standout performances for me came from Billy Lake as Lady Stella Clinton and the Merriman—whose drag performance drew some of the biggest laughs of the evening—and Mirabella Sundar Singh as Cecily Cardew, who brought a delightful presence and nuance to the role.

Ultimately, The Importance of Being Earnest isn’t going to be for everyone, and this production doesn’t try to soften its edges. It’s fast, it’s dense, and it demands your attention. But if you’re willing to meet it on its level, it offers a rewarding, visually dazzling, and often very funny experience. And while there may not be a distinct message or lesson to learn, it makes a bold statement.

Overall, this is a vibrant, well-directed production with exceptional performances, inventive design, and a distinctly modern pulse. Just be prepared to keep up.

IF YOU GO:

What: Oscar Wilde’s The Importance of Being Earnest, Directed by Alistair Newton

Where: The Grand Theatre, 471 Richmond St, London, Ontario

When: March 24th to April 12th, 2026.

Tickets: $25-97, available at the Box Office or online at The Importance of Being Earnest | The Grand Theatre

Reviewed by Jo-Anne Bishop

Background and Experience in the Arts

My background in the Arts started with an early love for music and dance. I attended my first concert at 10 years old (Helix at the Sarnia Arena in 1983!) and began tap and modern jazz dance lessons around the same time. My love for live theatre was built through school trips to the Stratford Festival to see plays like Romeo and Juliet, The Merchant of Venice, and Macbeth, and a trip to Toronto for The Phantom of the Opera, which quickly became my all-time favourite.

I dreamed of performing for many years, but being too self-conscious to audition in high school, I sat on the sidelines and instead reviewed music and theatre for our school newspaper. In 2013, I finally pushed my fears aside and was cast in my first play, Laughter on the 23rd Floor, as Carol Wyman, the only female writer on the Max Prince show. I have since performed in productions of Birth (Jillian, 2016), Hamish (Annette, 2023) and The Curious Incident of the Dog in the Nighttime (Mrs. Alexander, 2024).

Previous Reviewing Activities

SCITS, Sarnia, Ontario – High school newspaper reviewer for Music and the Arts

London Fringe Festival, London, Ontario, 2012-2015

Independent Reviewer and Blogger (Theatre in London and The Pollyanna Papers), 2015-2016?

Why am I jumping back into the fray now?

After performing for a few years, I’ve decided to take a break from the grind of auditioning, rehearsing and performing. While I love it immensely, it’s a lot of work. Performing has given me a whole new perspective and appreciation of what goes into a production and the ability to look at reviewing with a fresh set of eyes.

Thoughts about the London arts and culture scene, especially local theatre

Hoo wee! London has such a wealth of talent, from youth to adults. Every time I see a play, I am amazed at how talented our actors, directors, producers, set/prop/costume/light/, and 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.

A Killer Performance Anchors a Sharp “Prescription: Murder”

by Richard Young

by Richard Young

Reviewed by Jo-Anne Bishop

(Pictured: Cast of Prescription: Murder, Tameka Brown, Eve Cohen, Andre Cormier, David Pasquino, Sam Didi, and Makayla Ashenden. Photo Credit: Ross Davidson.)

Murder is rarely this polished – or this fun to watch.

On the Auburn Stage at the Grand Theatre in London, Ontario, Prescription: Murder wastes no time pulling its audience into a sleek, slow-burning game of cat and mouse. Running March 19–29 and directed by Stephen Mitchell, this black box production leans into intimacy and largely thrives because of it.

Originally written by William Link and Richard Levinson, the play serves as the foundation for the iconic television detective Columbo. The story centres on a brilliant and calculating psychiatrist who believes he has devised the perfect crime, only to find himself gradually entangled in a battle of wits with the seemingly unassuming Lieutenant Columbo. What unfolds is less a traditional whodunit and more a tense psychological chess match, where the outcome feels inevitable, but the journey is where all the intrigue lies.

(Pictured: David Pasquino as Lieutenant Columbo. Photo Credit: Ross Davdson.)

The ensemble is tight and reliable across the board. Makayla Ashenden brings a grounded vulnerability to Susan Hudson, while Tameka Brown and Eve Cohen offer strong, steady support as Miss Petrie and Claire Flemming. Sam Didi moves seamlessly through dual roles, and David Pasquino’s Lieutenant Columbo is understated, patient, and quietly probing—exactly what the role demands.

But let’s be honest: this is André Cormier’s show.

(Pictured: Andre Cormier as Dr. Roy Flemming. Photo Credit: Ross Davidson.)

As Dr. Roy Flemming, Cormier delivers a performance that is sharp, controlled, and magnetic. He walks a perfect line between charm and menace, with only the slightest of line slips in an otherwise near-flawless turn. What stands out most is his precision. Every look and every pause feels intentional. His seething, barely contained irritation with Columbo simmers just beneath the surface, and it’s riveting to watch. You don’t just see the character unravel; you feel it.

The staging makes smart use of the black box space, carving out distinct environments—the doctor’s office, reception area, apartment, and Columbo’s workspace—without overcomplicating things. A few of the scene changes occasionally drag a beat too long, but they’re supported by effective lighting and sound that keep the tension alive.

(Pictured: Tameka Brown as Miss Petrie, Andre Cormier as Dr. Roy Flemming, and Eve Cohen as Claire Flemming. Photo Credit: Ross Davdson.)

Costuming and attention to detail further ground the production in authenticity. Each character is clearly defined through wardrobe, but it’s Lieutenant Columbo who benefits most from these thoughtful choices. David Pasquino appears perfectly dishevelled with mussed hair, a slightly rumpled coat, and even an untied shoe that subtly reinforces the character’s offbeat, absent-minded persona. It’s a small but effective touch, and one that adds texture and believability without feeling trite or overstated.

(Pictured: Andre Cormier as Dr. Roy Flemming and David Pasquino as Lt. Columbo. Photo Credit: Ross Davdson.)

There are a few minor cracks in the illusion. Some set pieces wobble when doors are slammed, which briefly pulls focus. But these moments are small and quickly forgotten. Overall, this Prescription: Murder is lean, engaging, and anchored by a standout central performance. It’s a confident piece of theatre that knows exactly what it’s doing—and for fans of classic detective drama, it absolutely delivers.

IF YOU GO:

What: DJP Productions presents Prescription: Murder by William Link and Richard Levinson

When: March 19-29, 2026

Where: Auburn Stage, Grand Theatre, 471 Richmond St, London Ontario.

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

Reviewed by Jo-Anne Bishop.

Background and Experience in the Arts

My background in the Arts started with an early love for music and dance. I attended my first concert at 10 years old (Helix at the Sarnia Arena in 1983!) and began tap and modern jazz dance lessons around the same time. My love for live theatre was built through school trips to the Stratford Festival to see plays like Romeo and Juliet, The Merchant of Venice, and Macbeth, and a trip to Toronto for The Phantom of the Opera, which quickly became my all-time favourite.

I dreamed of performing for many years, but being too self-conscious to audition in high school, I sat on the sidelines and instead reviewed music and theatre for our school newspaper. In 2013, I finally pushed my fears aside and was cast in my first play, Laughter on the 23rd Floor, as Carol Wyman, the only female writer on the Max Prince show. I have since performed in productions of Birth (Jillian, 2016), Hamish (Annette, 2023) and The Curious Incident of the Dog in the Nighttime (Mrs. Alexander, 2024).

Previous Reviewing Activities

SCITS, Sarnia, Ontario – High school newspaper reviewer for Music and the Arts

London Fringe Festival, London, Ontario, 2012-2015

Independent Reviewer and Blogger (Theatre in London and The Pollyanna Papers), 2015-2016?

Why am I jumping back into the fray now?

After performing for a few years, I’ve decided to take a break from the grind of auditioning, rehearsing and performing. While I love it immensely, it’s a lot of work. Performing has given me a whole new perspective and appreciation of what goes into a production and the ability to look at reviewing with a fresh set of eyes.

Thoughts about the London arts and culture scene, especially local theatre

Hoo wee! London has such a wealth of talent, from youth to adults. Every time I see a play, I am amazed at how talented our actors, directors, producers, set/prop/costume/light/sound designers are. I don’t think causal observers realize just how much goes into making a production from the audition to the curtain call. It is a huge undertaking, and to think our theatres produce such world-class productions on some very tight budgets is astounding, especially at the community theatre level, where volunteers do everything.

Sadly, since COVID, I have witnessed a huge decline in attendance at performances, and it breaks my heart. I have also noticed a sad lack of reviews lately, which I find are necessary to give people an idea of what to expect and a reason to go to the theatre.

So, before I can put my feet on the stage again, I want to help put bodies in the seats. We need to reignite a love for theatre and the arts in this city.

Silver Spotlight Theatre announces its fourth production, Showtune.

by Richard Young

Silver Spotlight Theatre, London’s community theatre group for those 55+, has the Cast, Artistic Team, and Crew in place for its next production, Jerry Herman’s Showtune, opening at the Auburn Theatre in early December 2025.

“Jerry Herman made a name for himself as a premier composer for the Broadway stage with Hello Dolly, Mame, and La Cage Aux Folles. Each of these shows has a highly recognizable score with a common theme, imagining a brighter future. And what is needed more today than an imagined brighter future?” says Director Rick Smith. “It Only Takes A Moment, Open A New Window, The Best of Times Is Now, are but a few examples of his positivity in words and music. There are so many more heartfelt songs gathered in this revue that is a celebration of the works of one of the predominant composers of the classic Broadway musical.”

“We have assembled an Artistic Team, Cast, and Crew who share that optimism. These folks are fearless and open to trying new things. Some of these 55+ targeted cast and crew have been involved in previous Silver Spotlight Theatre Productions, and some are brand new to this company. It is encouraging to see the new faces of older people showing up and strutting their stuff. Their enthusiasm, eagerness, and bravery never cease to amaze.”

Rehearsals begin in August and continue until the show’s opening in December.

Co-founded by Art Fidler and Rick Smith in 2022, Silver Spotlight Theatre is a branch of London’s Musical Theatre Productions. It features and is produced by performers and staff 55+ with a mission of presenting full-scale Broadway musicals. Its three previous shows, Babes In Arms (2023), Grease (2024), and Into The Woods (2024) played to sold-out houses.

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

Media Inquiries: Richard Young, Community Outreach and Program Head, richardyoung51@rogers.com

Silver Spotlight Theatre presents Into The Woods: Stage Manager Cameron Johnston

by Richard Young

Stage Manager Cameron Johnston on Silver Spotlight Theatre’s next production, Stephen Sondheim’s Into The Woods:

“I am excited to have been tapped as Stage Manager for Silver Spotlight’s production of Into the Woods. Having started with Silver Spotlight as assistant stage manager for Babes in Arms, it’s a great honour for me to move into the Stage Manager’s role. With Rick Smith’s direction, and the team he has gathered around him, this is going to be a dynamite show. I’m encouraging everybody who loves musical theatre to make plans to attend.”

Be part of this magical show. Auditions will be held on Wednesday, June 12, and Thursday, June 13 at 150 Dufferin St., London from 7:00 pm to 9:30 pm, with callbacks on Saturday, June 15. Time slots can be reserved by email at intothewoods@mtplondon.ca

More information about the play can be found on the Musical Theatre Productions website: www.mtplondon.ca