Tag: reviews

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.

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

by Richard Young

by 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 9-19th, 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 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.

Remembering Wonderland Gardens and The Pop Festival of August 1969

by Richard Young

Mention the name Wonderland Gardens today, and most Londoners will probably respond, “Wonderland what”?

The site of the legendary dance hall, which burned down in 2005, is now called Springbank Gardens, and all that remains of the original venue is the outdoor bandshell.

The story of Wonderland Gardens begins in the early 1930s, when Charles Jones signed a long-term lease for a small lot of land in Westminster Township adjacent to the Thames River. His plan was to build a series of gardens, fountains, woods, ponds, and footpaths, including a luxurious swimming pool, all surrounding a 550-square-metre, open-air dance floor with a bandstand and Spanish Colonial-style pavilion.

Wonderland Summer Gardens opened on May 24, 1935, and it quickly became one of the city’s hot spots. Big Bands like Guy Lombardo and his Royal Canadians and those led by Glenn Miller, the Dorsey brothers, and local musicians like Johnny Downs and Lionel Thornton all graced the venue’s bandshell. Generations of Londoners danced and canoodled under the stars on the venue’s open-air dance floor.

As the decades passed and musical tastes changed, the venerable dance hall changed with the times. By the 1960s, Wonderland was London’s favourite concert/dance hall for the thousands of London area Boomers who flocked there to see major acts like Sly and the Family Stone, Deep Purple, The Mandala, Grant Smith and the Power, and many others too numerous to list.

Wonderland was also a jumping-off point for local bands like The Bluesmen Revue, A Small Experience, and The New Set, who mostly opened for the headliners.

For John Sharpe, The New Set’s former drummer, Wonderland holds a special place in his musical career.

“A group could play any number of teen towns or private events, but everyone knew you had not really ‘made it’ until you played Wonderland,” recalls John. “It was a magical place that attracted hundreds of teens to its weekly rock ‘n’ roll shows, so every group in the area wanted in on the action.”

Jim Chapman, former bassist for The Bluesmen Revue, a very popular London R&B group, remembers headlining at Wonderland many times.

“The room had excellent acoustics both on the stage and in the hall. In those days that was the exception rather than the norm,” Jim recalls. “And it had one of the smallest dressing rooms I ever saw in a venue that size. How the multi-person big bands ever managed to get their people dressed for a gig I cannot imagine!”

Ken Thorne, of A Small Experience, another London band that regularly played Wonderland, remembers the venue’s dressing rooms, too.

“The original dressing room walls were scrawled with the signatures of many of the artists who performed there. Whenever we played there, we used to try and find the new additions while waiting to go on stage,” says Ken.

On August 13 – 14, 1969, Wonderland hosted a two-day Pop Festival featuring Frank Zappa and the Mothers of Invention, Alice Cooper, Cat Mother & The All Night News Boys, George Olliver & The Natural Gas, and others for the whopping price of $7.00! The event preceded the much larger Woodstock Music Festival that took place in New York State, August 15 – 18.

Apparently, Zappa was asked why he wasn’t playing Woodstock. His reply? “Because we don’t want to.”

Rumour has it that after his set, Zappa waterskied on the heavily polluted Thames River, which flowed behind Wonderland! The rumour was recently confirmed during an interview I did with Chuck Jones.

As the years progressed, touring acts moved to other venues in town and Wonderland became more of a location for special events like company parties, conventions, rallies, and receptions.

“In its final days, the City of London had an active interest in Wonderland, but the council would not invest the money needed to refurbish it and keep it a top live performance venue,” Jim laments. “When Wonderland burned down, there was a lot of talk that something political and fishy had gone on, though I have no way of knowing if that was the case. Like many people, when I heard news of the fire, I shed a tear for all the great days and memories gone by.”

So next time you pedal or walk through Springbank Gardens, take a pause to see if you can hear some of the strains of great music that was once played on the site.

Author’s Note: Since this story was published in The Byron Villager a few years back, I was commissioned by the City of London Culture Office to prepare an Interpretive Sign that visually tells the history of Wonderland Gardens from 1935 to its rebirth as Springbank Gardens. Hopefully, the official unveiling of the sign will take place by summer’s end.

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