Tag: writing

Q&A Interview with David Pasquino, Founder of DJP Productions

by Richard Young

by Richard Young

What follows is a Q&A Interview with David Pasquino, founder of DJP Productions, who also plays Lieutenant Columbo in the company’s inaugural production, Prescription: Murder, which plays on the Auburn Stage at the Grand Theatre from March 19 to 29.

(Pictured: DJP Productions founder David Pasquino in character as Lt. Columbo. Photo by Ross Davidson.)

Q. How did Prescription: Murder come about? Is it my understanding that its origins are to be found in an episode of the beloved TV series Columbo? Which came first – the play or the TV show?

It’s a great question, and the answer is a bit of a twist worthy of Columbo himself.

Most people assume Prescription: Murder came after the TV series, but in fact, it’s where Columbo began. The story first appeared in March 1960 as a short piece by William Link and Richard Levinson in Alfred Hitchcock’s Mystery Magazine, featuring a detective named Lt. Fisher.

The next version of the story was called Enough Rope and was featured in alive television drama on The Chevy Mystery Show. That’s where we first encounter Lt. Columbo. In the show, Dr. Flemming and his wife plan a weekend trip to Toronto (as opposed to upstate New York, as we see in the play)!

That version evolved into the stage play Prescription: Murder in 1962, which toured successfully and was headed for Broadway before the untimely death of its lead actor, Thomas Mitchell. It wasn’t until 1968 that the story was adapted into the now-iconic TV special starring Peter Falk, launching the beloved Columbo series as we know it.

So, the origin story actually runs in reverse of what most people think:
short story → live TV → stage play → TV special.

Q. What motivated you to select this particular play for DJP Productions’ first production?

Honestly? It’s Pat Sajak’s fault!

A couple of years ago, I came across an article about what Pat planned to do after Wheel of Fortune. Surprisingly, it wasn’t retirement, it was community theatre! Even more surprising? He was stepping into the role of Dr. Flemming in Prescription: Murder at the Hawaii Theatre for a fundraiser. I had no idea that Columbo had started as a play!

That stopped me in my tracks. I had grown up watching Columbo with my family, but I had no idea the character originated on stage. Curious, I ordered the script, and the moment I read it, I was hooked. The tension, the structure, the cat-and-mouse dynamic, it all felt tailor-made for live theatre. And somewhere along the way, I had a realization: I need to see this on stage… and I want to play Columbo.

I brought the idea to my talented wife, Diana Tamblyn, and instead of talking me out of it, she leaned in. She offered to take on the marketing and promotion, and together we saw the opportunity: a smart, suspenseful story with a built-in nostalgia factor that we felt would really resonate with London audiences.

So, what started as a late-night click on an article quickly turned into something much bigger: the launch of DJP Productions and our first production.


Q. Could you provide a brief plot synopsis of the play?

Without giving too much away? Okay: a murder has taken place. A certain unkempt, fumbling, cigar-smoking detective appears on the scene and must unravel the mystery while matching wits with a brilliant killer.

Q. Why did you choose to stage the play at the Auburn Theatre?

I’ve performed there before, so I already knew how special the space is, it has this intimate energy where the audience feels close enough to be part of the story, but still large enough to create real theatrical impact. For a show like Prescription: Murder, where tension and subtlety matter, that balance is everything.

As a first-time producer, that “middle ground” was important. I didn’t want something too small or something overwhelming. The Auburn sits perfectly in that sweet spot: ambitious, but manageable.

There’s also a practical side. It’s a great central location, and having the support of The Grand Theatre behind the scenes, especially for ticketing, adds a level of professionalism and confidence that’s invaluable for a first production.

To top it off, our Director, Stephen Mitchell, worked as a technician in the space for many years, so he is intimately familiar with it. In a lot of ways, the Auburn wasn’t just a venue choice; it became part of the foundation that made launching DJP Productions feel possible.

Q. The Lt. Columbo character, played so marvellously by the late Peter Falk, with all his quirks and mannerisms, must be a hoot to play. Tell me about how you prepared to play the character.

You’d think the first thing I’d do is binge-watch Columbo—but I actually did the opposite.

Peter Falk’s performance is so iconic, so deeply ingrained in all of us, that I knew if I immersed myself in it again, I’d end up doing an imitation of him, and that’s not what this play calls for. Since this version of Columbo actually predates the TV series, so my goal was to go back to the source.

Instead, I lived in the script. I read it over and over, really digging into the stage directions, the rhythm of the dialogue, the subtle cues the writers embedded. I wanted to understand who Columbo was before he became the trench coat, the cigar, the cultural icon.

That said, you can’t completely escape Peter Falk, and I wouldn’t want to. There are a few small, intentional nods in my performance, and I’m sure some of those familiar quirks will surface naturally. But the aim isn’t to replicate—it’s to rediscover.

It will be interesting to hear from people what they think. Regardless, trying to step into the shoes that Peter Falk wore so well for so long is a daunting task, and I hope that people will find my Columbo both fresh and… comfortably familiar.

(Pictured: Tameka Brown as Miss Petrie, André Cormier as Dr. Roy Flemming, and David Pasquino as Lt. Columbo. Photo by Ross Davidson.)

Q. What have been your major challenges getting into the character? Any fear that audiences will spend too much time comparing your portrayal to that of Falk?

I have woken up early many mornings worrying about exactly that! Of course, I want to pay homage to Peter Falk’s Columbo, but I don’t want to be David Pasquino playing Peter Falk playing Columbo.

Again, that’s where the script comes in because it was written before Peter Falk ever took on the role, so my responsibility was to stay true to that original interpretation. I even considered dyeing my hair to resemble him more closely—but my wife made a great point: not looking like Falk might actually help the audience separate my Columbo from his.

Q. What can audiences expect from Prescription: Murder?
For those audience members who are fans of Columbo, hopefully a pleasant visit with a familiar friend. For those who are new to Columbo, an introduction to a cast of interesting, fun characters and a visit to a time before cell phones!

And for both, an enjoyable evening experiencing the twists and turns in a smart, fun story, watching a game of cat and mouse between two brilliant but unconventional people, where the outcome may be known, but how they get there is all the fun!

Q. Tell me about DJP Productions, its origins, mandate and future plans.
I set up DJP Productions for the sole purpose of putting on this show. “DJP” may be my initials, but it could also stand for “Discover Joy and Passion,” which is what I hope that everyone involved in this show, cast, crew and audience, will experience.

As for the future… let’s see how this one goes, and then I’ll see what I’m up for. Although I have had a few people approach me with ideas!

Q. Is there anything else you think our readers should know about DJP’s production of Prescription: Murder?

Let’s all have some fun and enjoy the show!

(Pictured: Cast & Crew of Prescription: Murder. Photo by Ross Davidson.)

Cast:

Tameka Brown – Miss Petrie
Andre Cormier – Dr. Roy Flemming
Eve Cohen – Claire Flemming
Makayla Ashenden – Susan Hudson
David Pasquino – Lieutenant Columbo
Sam Didi – Dave Gordon/Delivery Person

Crew:

Stephen Mitchell – Director/ Sound & Set Design
Mariann Sawyer – Stage Manager
Jessica Norrie – Assistant Stage Manager
Barbara Rand – Props Lead
Nancy Daoust – Props Assistant
Tannis Daoust – Costumes
Diana Tamblyn – Marketing & Promotion
Rob Coles – Lighting Design
David Pasquino – Producer

IF YOU GO:

What: DJP Productions presents Prescription: Murder.

When: March 19 to March 29, 2026.

Where: Auburn Stage at the Grand Theatre, 471 Richmond Street, London, ON.

Tickets: Available in-person at the Box Office, by phone at 519.672.8800, and online at Prescription: Murder | The Grand Theatre

Why Have I Revived The Beat Magazine? It’s a labour of love and more.

by Richard Young

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 Beat Magazine 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.

Contact me at richardyoung@thebeatmagazine2025.ca

Thanks for taking the time to read this.

Richard Young, Publisher & Content Manager, The Beat Magazine 2025, https://thebeatmagazine2025.ca/

Feature Story: Introducing London and Area Theatre Companies and Groups

by Richard Young

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.

For more information about AlvegoRoot Theatre and to purchase tickets, visit https://www.alvegoroottheatre.com/

You can also follow AlvegoRoot Theatre on Facebook and Instagram.

Dorothy Parker On Writing.

by Richard Young

(Source: Writers Write)

How do you actually write out a story?

‘It takes me six months to do a story. I think it out and then write it sentence by sentence—no first draft. I can’t write five words but that I change seven.’

How do you name your characters?

‘The telephone book and from the obituary columns.’

Do you keep a notebook?

‘I tried to keep one, but I never could remember where I put the damn thing. I always say I’m going to keep one tomorrow.’

How do you get the story down on paper?

‘I wrote in longhand at first, but I’ve lost it. I use two fingers on the typewriter. I think it’s unkind of you to ask. I know so little about the typewriter that once I bought a new one because I couldn’t change the ribbon on the one I had.’

How about the novel? Have you ever tried that form?

‘I wish to God I could do one, but I haven’t got the nerve.’

Do you think economic security an advantage to the writer? 

‘Yes. Being in a garret doesn’t do you any good unless you’re some sort of a Keats. The people who lived and wrote well in the twenties were comfortable and easy living. They were able to find stories and novels, and good ones, in conflicts that came out of two million dollars a year, not a garret. As for me, I’d like to have money. And I’d like to be a good writer. These two can come together, and I hope they will, but if that’s too adorable, I’d rather have money. I hate almost all rich people, but I think I’d be darling at it.’

The Paris Review interview by Marion Capron

Change is a fact of life.

by Richard Young

Most people reach a stage or point in their lives when circumstances, often beyond their control, necessitate major lifestyle changes.

In my case, it was a recent, unexpected diagnosis of Stage 3 Chronic Kidney Disease as a result of the Type 2 Diabetes I have lived with for over a decade. Although I have managed it reasonably well, keeping my A1C at 7.0 (3-month blood sugar average) or under, it has taken an unavoidable toll on my kidneys.

During a three-hour consultation at London’s Kidney Care Centre, I was informed that unless I make major changes to my diet, especially curtailing my intake of sodium (salt) and foods high in potassium and phosphorus, and adopting a more rigorous exercise regimen, I will be looking at the prospect of dialysis within two years.

Now, that is a sobering thought!

In addition to diet and exercise changes, they recommended that I avoid any undue stress in my life. Hmm….

Since retiring from my thirty-year high school teaching career in 2008, I have lived my life using the motto: “Retired, not Expired!”

Hence, I have pursued various activities and interests to keep myself active and engaged.

In 2009, a group of my fellow freelance writers and artists launched The Beat Magazine, a monthly independent arts and culture magazine. I assumed the combined roles of Publisher and Managing Editor, while my good friend, Nicole Laidler, became the Editor, responsible for gathering and editing the magazine’s content. Somewhat arrogantly, we called ourselves “London’s premier independent arts print magazine and leading source of informed local arts news.”

Despite bleeding money for most of our existence (publishing a profitable arts magazine in London is no easy task), it was a great ride, and we lasted until 2013 before the money finally ran out. Today, I maintain The Beat Magazine 2009 as a website and Facebook page.

After The Beat folded, I began freelance writing for other local publications, including, at one time or another, Lifestyle, Business London, London Inc., Scene, and the Villager Publications group of community magazines.

I also took on a casual part-time copywriting position at Marketing Strategies & Solutions, an advertising house that specialized in promoting heavy industrial equipment and services. Now, that was a learning curve!

In 2023, at the invitation of my former teaching colleague, Art Fidler, who had just founded Silver Spotlight Theatre, a community theatre group for people 55+, I agreed to put together a profitable performance Program for the group’s first production, Babes In Arms. The role expanded to publicizing the show in the local mainstream media and social media platforms.

I did the program and publicity for Silver Spotlight Theatre’s production of Into The Woods in November 2024.

I also publicized the highly successful variety show, Groovin’ for Good, a fundraiser for the London Food Bank in May 2025.

I had planned on doing the publicity and program for Silver Spotlight Theatre’s next production, Showtune, in December 2025. But the several factors that had caused me undue stress in my SST role, combined with my unexpected CKD diagnosis, prompted me to step away from the role late in July.

However, I’m not throwing in the towel altogether on my love of the local arts and culture scene, especially community theatre.

It’s the main reason I have reactivated The Beat Magazine 2009 website after an eleven-year hiatus!

It will give me the autonomy to do what I want, when I want, and how I want.

Please join me in this next step in my life journey at http://www.thebeatmagazine2009.ca

Thanks for reading this Blog post.